UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
PROVA E CHAVE DE RESPOSTAS
Texto 1
A TALE OF TWO CULTURES: BRINGING LITERARY ANALYSIS AND
COMPUTATIONAL LINGUISTICS TOGETHER
Since the publication of C. P. Snow’s influential The Two Cultures and the Scientific
Revolution (Snow, 1959), the phrase “the two cultures” has been used to signify the rift—
perceived and generally lamented— between scientific and humanities intellectual cultures.
The problem, of course, is the ignorance of each culture with regard to the methods and
assumptions of the other, and the resulting impossibility of genuine dialogue between them,
preventing them from working together to solve important problems. Many scholars
describing the recent rise of Digital Humanities— the area of research and teaching concerned
with the intersection of computing and humanities disciplines— have argued that it effects a
reconciliation of the two alienated spheres, bringing scientific methodology to bear on
problems within the humanities, many of which had previously been addressed in a less-thanrigorous manner (Hockey, 2004).
From within the discipline of English literature, however, the application of computational
methods to literary analysis has frequently been— and continues to be— a matter of
considerable controversy (Flanders, 2009). This controversy arises from the perception of
many traditional humanists that computational analysis, which aims to resolve dilemmas,
seeking singular truth and hard-and-fast answers, is incompatible with the aims of humanistic
research, which is often focused on opening up questions for debate rather than resolving
them decisively, and often premised on the idea that there are no right answers, only well- and
poorly-supported arguments. Critics have responded to these views by arguing that the best
computational literary analysis participates in this project of opening up meaning, arguing that
it is not a rejection of literary reading but rather a method for carrying it out more efficiently
and extending it to more texts (Ramsay, 2007), and that computational modelling, even when
unsuccessful, allows for the application of the scientific method and thus carries the potential
for intellectual advancement not possible with purely anecdotal evidence (McCarty, 2005).
Despite such counter-arguments, however, the fear remains widespread among traditional
literary scholars that the rise of computational analysis will entail the loss of certain sacred
assumptions of humanistic inquiry.
We argue, though, that these fears are not without basis, particularly when one considers the
very different approaches to the question of ambiguity in the two specific disciplines involved
in our project: English Literature and Computational Linguistics. Here, the rift of the two
cultures remains evident.
A major focus of literary scholarship since the early twentieth century has been the semantic
multiplicity of literary language. Such scholarship has argued that literature, distinct from
1
UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
other forms of discourse, may be deliberately ambiguous or polysemous and that literary
analysis, distinct from other analytic schools, should thus aim not to resolve ambiguity but to
describe and explore it. This was a central insight of the early twentieth-century school, the
New Criticism, advanced in such works as William Empson’s Seven Types of Ambiguity
(Empson, 1930) and Cleanth Brooks’s The Well Wrought Urn (Brooks, 1947), which
presented ambiguity and paradox not as faults of style but as important poetic devices.
Fonte: Adaptado de: Adam Hammond, Julian Brooke, Graeme Hirst. A Tale of Two Cultures: Bringing Literary Analysis
and Computational Linguistics Together. Atlanta : Association for Computational Linguistics, 2013.
Disponível em : http://www.aclweb.org/anthology/W13-1401 (acesso em 10/08/2014)
RESPONDA ÀS QUESTÕES CONFORME INFORMAÇÕES CONTIDAS NO TEXTO.
QUESTÃO 1
O pronome relativo which, em negrito no 1º parágrafo, refere-se a
(A) disciplinas.
(B) humanidades.
(C) problemas.
(D) esferas.
QUESTÃO 2
Os estudiosos tradicionais veem o crescimento do uso da computação na análise literária
com
(A) decepção.
(B) resistência.
(C) satisfação.
(D) surpresa.
QUESTÃO 3
De acordo com o 4º parágrafo, é correto afirmar que desde o início do século XX
(A) a ambiguidade é considerada como inerente ao texto literário.
(B) a polissemia não é vista como uma característica relevante do texto literário.
(C) o uso da computação na análise literária já estava estabelecido.
(D) não se percebem diferenças marcantes entre a linguagem literária e outras formas de
discurso.
2
UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
QUESTÃO 4
As publicações de Empson (1930) e Brooks (1947) são mencionadas como exemplos de
trabalhos que
(A) enalteciam questões de ambiguidade.
(B) foram contrários ao uso da computação.
(C) rejeitaram os princípios do New Criticism.
(D) se distanciaram de questões semânticas.
QUESTÃO 5
O que os termos two cultures and two alienated spheres, em negrito no 1º parágrafo,
explicam?
Os termos referem-se às culturas intelectuais das áreas científicas e das humanidades e ao
distanciamento existente entre elas. Esse distanciamento, lamentado por muitos, torna as áreas
alienadas entre si.
QUESTÃO 6
Quais argumentos favoráveis e contrários à controversa utilização de métodos
computacionais na análise literária são apresentados no 2º parágrafo?
Argumenta-se favoravelmente no sentido de que o uso da computação pode abrir novas
possibilidades, muitas das quais inviáveis sem sua utilização, e de que não se trata de uma
rejeição da leitura literária. Por outro lado, existe ainda a preocupação de que o uso da
computação acarretará a perda de alguns pressupostos sagrados da pesquisa das humanidades.
Texto 2
MUSICOLINGUISTICS – FROM A NEOLOGISM TO AN ACKNOWLEDGED FIELD
At the first Conference on Interdisciplinary Musicology, held in Graz, Austria, in 2004, an
entire session was devoted to the problem of music / language interrelationship. This was a
natural continuation of the tradition that started at the Massachusetts Institute of Technology,
where in 1974 there was the seminar on music, linguistics, and aesthetics. The old
protoscientific or rather speculative link between music and language, hence musicology and
linguistics, is today no longer considered alternative, and is commonly found in the work of
numerous musicologists, psychologists and linguists of cognitivistic background (R.
3
UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
Jackendoff, F. Lerdahl, J. Sloboda, I. Cross, J. Pearl and numerous others). Stemming from
the cognitive science of the seventies, the school studying connections between music and
language cognition became reputable in psychological circles in the eighties and nineties.
However, regardless of the status of "scientific field", which today it certainly assumes, the
discipline still gathers a relatively small number of researchers, located in a few centres in the
USA and Europe (Massachusetts Institute of Technology, Brandeis University, Ohio State
University, Marseilles Research Centre for Cognitive Neurosciences, Leipzig Max Planck
Institute, Keele University in England, Groningen University). For this reason, as is the case
with numerous other small projects in cognitive science, the music/language endeavour is still
not classified as a research field nor study program at western universities. Hence the
exclamation of one of the researchers mentioned above, J. Pearl of the University of Santa
Barbara in California, pronounced at the Graz conference, that "we [pursuing the music and
language issue] still do not have a field!"
This pessimism seems to be unwarranted, after all. Although it is true that the name of the
field is still a matter of some dispute, one cannot deny that language and music have indeed
been compared for centuries. While such approaches were common in philosophical and
pedagogical disputes of the earlier times, the true rise of the new discipline came with the
overwhelming influence of psychology on all social sciences – realized through the
behaviourism of the forties and fifties, and particularly cognitivism of the sixties and later.
The "new" theory of western music, based essentially on the analysis of H. Schenker of the
early twentieth century, aimed at describing the musical system as cognitive in nature. The
old music theory analyzes tones and their interrelations, and these are definite – a higher
octave is made by shortening the vibrating chord to its half length. This is all there is to the
music science. The new theory, however, attempts to go deeper than this, to reach the
psychological reality of the events that register certain musical relations – rhythmic, metrical,
melodic, and, to a lesser extent, harmonic: in other words, the issue is why the 2:1 wavelength
ratio is intuitively perceived as the same tone by native listeners (idealized agents analogous
to linguistic native speakers). Although the comparison between language and music is by no
means the only task of this discipline, one should not be surprised to learn that the formal
framework for the field was found in the generative linguistics of the seventies. First of all, at
that time, generative linguistics was dominant in all social science, so that it was taken by
many to be the leading discipline in cognitive psychology, more important than the very
psychological approaches. In this respect, many of its claims, from the most popular
deep/surface structure distinction to technical issues such as transformations found its way to
other domains, musicology included.
Fonte: Adaptado de: Mihailo Antovic. Musicolinguistics – from a Neologism to an Acknowledged Field. Facta
Universitatis, Series Linguistics and Literature, Vol. 3, No. 2, pp. 243-257.
Disponível em : http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1689111 (acesso em 10/08/2014)
RESPONDA ÀS QUESTÕES CONFORME INFORMAÇÕES CONTIDAS NO TEXTO.
4
UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
QUESTÃO 7
Analise as seguintes afirmações.
I. Os temas tratados na Conferência de 2004 na Áustria não se relacionam àqueles do
Seminário de 1974 em Massachusetts.
II. As relações entre a música e a linguagem começaram a ser estudadas somente no
século XX.
III. A Psicologia influenciou o desenvolvimento dos estudos da musicologia no século
XX.
São verdadeiras:
(A) apenas I e II.
(B) apenas I e III.
(C) apenas II.
(D) apenas III.
QUESTÃO 8
O pronome its em negrito no 2º parágrafo refere-se à/às
(A) Ciências Sociais.
(B) Linguística Gerativa.
(C) Musicologia.
(D) Psicologia Cognitiva.
QUESTÃO 9
Que evidências são apresentadas para comprovar que os estudos das relações entre
música e linguagem ainda não constituem um campo estabelecido?
Apesar da existência de numerosos estudos na área, as relações entre a música e a linguagem
não figuram como campo de estudo e de pesquisa nas universidades ocidentais.
QUESTÃO 10
Descreva como o autor comprova a seguinte afirmação:
5
UFES / CCHN / DLL – CENTRO DE LÍNGUAS
CERTIFICAÇÃO DE PROFICIÊNCIA EM LÍNGUA ESTRANGEIRA - INGLÊS
LINGUÍSTICA, LETRAS E ARTES
“The new theory, however, attempts to go deeper than this, (...)” (2º parágrafo)
O autor argumenta que a “velha” teoria se limitava a analisar os tons musicais e suas interrelações, que apresentam escopo limitado. A “nova” teoria, por outro lado, descreve o sistema
musical como sendo de natureza cognitiva e explora a realidade psicológica dos eventos
musicais.
6