Prueba Práctica : Análisis de Textos Esta obra ha sido diseñada para guiar y enseñar a los opositores a enfrentarse a la parte práctica de la fase oposición de Enseñanza Secundaria , especialida Inglés. El manual ue tienes entre tus manos te aconse!ará cómo analizar los te"tos, ué partes fundamentales no puedes de!ar de mencionar y analizar en la prueba práctica de tu e!ercicio, as# como te mostrará e!emplos prácticos de cada una de las posible preguntas ue pudieran conformar la prueba práctica. Empezamos.
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Prueba Práctica : Análisis de Textos ÍNDICE 1. Intro% Sugerencias para el opositor. &. 'iterary te"ts analysis guide. (. )nalysing *aragraphs. +. o- to use uotations in your e"am. . /ournalistic te"ts analysis guide. 0. hec2list before you finish your e"am. *3)4IE% 1. E!ercicios sobre aspectos literarios, socioculturales, estil#sticos, te"tuales, lé"icos y morfosintácticos presentes en te"tos te"tos de carácter literario y period#stico. &. E!ercicios sobre comprensión de te"tos literarios y period#sticos. (. 4raducciones al castellano e in5ersa de te"tos period#sticos y literarios.
1. INTRO: (
Prueba Práctica : Análisis de Textos Suerencias sobre la !e"or #or!a de reali$ar los e"ercicios % !e"orar el rendi!iento del o&ositor en el exa!en &ráctico:
'o( to anal%$e a text) 1. 3ead or reread the te"t -ith specific uestions in mind. &. 6arshal basic ideas, e5ents and names. 7epending on the comple"ity of boo2, this reuires additional re5ie- of the te"t. (. 4hin2 through your personal reaction to the boo2% identification, en!oyment, significance, application. +. Identify and consider most important ideas 8importance -ill depend on conte"t of class, assignment, study guide9. . 3eturn to the te"t to locate specific e5idence and passages related to the ma!or ideas. 0. :se your 2no-ledge follo-ing the principles of analyzing a passage described belo-% test, essay, research, presentation, discussion, en!oyment.
*. +iterar% Texts anal%sis uide:
4he purpose of a literary analysis essay is to carefully e"amine and sometimes e5aluate a -or2 of literature or an aspect of a -or2 of literature. )s -ith any analysis, this reuires you to brea2 the sub!ect do-n into its component parts. E"amining the different elements of a piece of literature is not an end in itself but rather a process to help you better appreciate and understand the -or2 of literature as a -hole. ;or instance, analyzing a short story might include identifying a particular theme 8li2e the difficulty of ma2ing the transition from adolescence to adulthood9 and sho-ing ho- the -riter suggests that theme through the point of 5ie- from -hich the story is told< or you might also e"plain ho- the main character=s attitude to-ard -omen is re5ealed through his dialogue and>or actions.
RE,E,-ER: ?riting is the sharpened, focused e"pression of thought and study. )s you de5elop your -riting s2ills, you -ill also impro5e your perceptions and increase your critical abilities. ?riting ultimately boils do-n to the de5elopment of an idea. our ob"ecti/e in
(ritin a literar% anal%sis essa% is to con/ince t0e &erson readin %our essa% t0at %ou 0a/e su&&orted t0e idea %ou are de/elo&in. +
Prueba Práctica : Análisis de Textos In order to achie5e this ob!ecti5e, -e must ta2e into account these three principles% 1. Your essay must cover the topic you are writing about. 2. Your essay must have a central idea (stated in your thesis) that governs its development. 3. Your essay must be organized so that every part contributes something to the reader’s understanding of the central idea .
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T0e ele!ents o# a ood +iterar% essa% :
1.1.1 T0e T0esis State!ent 1.1.* T0e Introduction 1.1. T0e -od% o# t0e essa% 1.1.2 T0e Conclusion
1.1.1.
T0e T0esis State!ent:
4he thesis statement tells your reader -hat to e"pect% it is a restricted, precisely -orded declarati5e sentence that states the purpose of your essay @@ the point you are trying to ma2e. E"amples% “The fate of the main characters in Antigone illustrates the danger of excessive pride.” “The imagery in Dylan Thomas’s poem “Fern Hill” reveals the ambiguity of our relationship ith nature.” 1.1.&. he !ntroduction" 4he introduction to your literary analysis essay should try to arouse interest in your reader. 4o bring immediate focus to your sub!ect, you may -ant to use a uotation, a pro5ocati5e uestion, a personal anecdote, a startling statement, or a combination of these. Aou may also -ant to include bac2ground information rele5ant to your thesis and necessary for the reader to understand the position you are ta2ing.
In addition3 %ou need to include t0e title o# t0e (or4 o# literature and na!e o# t0e aut0or.
Prueba Práctica : Análisis de Textos E"ample% “The first paragraph of Alberto Alvaro !ios’s short story “The "ecret #ion” presents a telve$year$old boy’s vie of groing up $$ everything changes. As the narrator tells us% hen the magician pulls a tablecloth out from under a pile of dishes% children are ama&ed at the “stay$the$same part%” hile adults focus only on the tablecloth itself '()*. Adults have the benefit of experience and +no the tric+ ill or+ as long as the techni,ue is correct. -hen e “gro up” e gain this experience and +noledge% but e lose our innocence and sense of onder. n other ords% the price e pay for groing up is a permanent sense of loss. This tradeoff is central to “The "ecret #ion.” The +ey symbols in the story reinforce its main theme/ change is inevitable and alays accompanied by a sense of loss.” 1.1.3 he #ody of the $ssay and the !mportance of opic %entences"
4he term regularly used for the de5elopment of the central idea of a literary analysis essay is the body. In this section you present the paragraphs ( at least 0 paragraphs for a 122$312 ord essay* that support your thesis statement. Bood literary analysis essays contain an e"planation of your ideas and e5idence from the te"t 8short story, poem, play9 that supports those ideas. e&tual evidence consists of summary % paraphrase % specific details' and direct uotations. Each of the paragraphs of your essay should contain a topic sentence 8usually the first sentence of the paragraph9 -hich states one of the topics associated -ith your thesis, combined -ith some assertion about ho- the topic -ill support the central idea. 4he substance of each of your developmental paragraphs 8the body of your essay9 -ill be the e"planations, summaries, paraphrases, specific details, and direct uotations you need to support and de5elop the more general statement you ha5e made in your topic sentence. E"ample% “"ammy4s descriptions of the A 5 6 present a setting that is ugly% monotonous% and rigidly regulated. -e can identify ith the uniformity "ammy describes because e have all been in chain stores. The fluorescent light is as blandly cool as the 7chec+erboard green$and$cream rubber tile floor7 '(89*. The 7usual traffic in the 0
Prueba Práctica : Análisis de Textos store moves in one direction 'except for the sim suited girls% ho move against it*% and everything is neatly organi&ed and categori&ed in tidy aisles. The dehumani&ing routine of this environment is suggested by "ammy4s offhand references to the typical shoppers as 7sheep%7 7house slaves%7 and 7pigs.7 These regular customers seem to -al2 through the store in a stupor< as Sammy tells us, not e5en dynamite could mo5e them out of their routine 8+C9.D
1.1. he *onclusion
Aour literary analysis essay should ha5e a concluding paragraph that gi5es your essay a sense of completeness and lets your readers 2no- that they ha5e come to the end of your paper. Aour concluding paragraph might restate the thesis in different -ords, summarize the main points you ha5e made, or ma2e a rele5ant comment about the literary -or2 you are analyzing, but from a different perspecti5e. +o not introduce a new topic in your conclusion. ote1%
T0e Title o# our Essa% It is essential that you gi5e your essay a title -hich is descripti5e of the approach you are ta2ing in your paper. /ust as you did in your introductory paragraph, try to get the readerFs attention. ote &%
T'REE CON5ENTIONS TO RE,E,-ER 6'EN 6RITIN7 A +ITERAR ANA+SIS ESSA 1. Aou must gi5e a clear, full reference to the -or2 and author you are -riting about some-here in your introductory paragraph *. :se the correct format for referring to the -or2 you are discussing. 4he titles of short stories, poems, and essays should be placed in uotation mar2s< the titles of no5els, plays, films, and 4G sho-s should be either underlined or italicized% . :se the present tense -hen you are discussing and -riting about literature @literary -or2s are considered to e"ist in the present.
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Prueba Práctica : Análisis de Textos (. Anal%$in a &assae In -riting about literature or any specific te"t, you -ill strengthen your discussion if you offer specific passages from the te"t as e5idence. 3ather than simply dropping in uotations and e"pecting their significance and rele5ance to your argument to be self@e5ident, you need to pro5ide sufficient analysis of the passage. 3emember that your o5er@riding goal of analysis -riting is to demonstrate some ne- understanding of the te"t.
Princi&les o# anal%$in a &assae 1. $ffer a thesis or topic sentence indicating a basic obser5ation or assertion about the te"t or passage. &. $ffer a conte"t for the passage -ithout offering too much summary. (. ite the passage 8using correct format9. +. 4hen follo- the passage -ith some combination of the follo-ing elements% 7iscuss -hat happens in the passage and -hy it is significant to the -or2 as a -hole. onsider -hat is said, particularly subtleties of the imagery and the ideas e"pressed. )ssess ho- it is said, considering ho- the -ord choice, the ordering of ideas, sentence structure, etc., contribute to the meaning of the passage. E"plain -hat it means, tying your analysis of the passage bac2 to the significance of the te"t as a -hole. . 3epeat the process of conte"t, uotation and analysis -ith additional support for your thesis or topic sentence. •
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2. 'o( to use 8uotations in %our Exa!s 9 Essa% : .1 ;sin Direct 8uotations uotations can illuminate and support the ideas you are trying to de5elop. ) !udicious use of uoted material -ill ma2e your points clearer and more con5incing. ,s with all the te&tual evidence you use' ma-e sure you e&plain how the evidence is relevant let the reader -now what you ma-e of the uotations you cite.
Jelo- are guidelines and e"amples that should help you use uotations effecti5ely%
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Prueba Práctica : Análisis de Textos 1. Jrief uotations 8four lines or fe-er of prose and three lines or fe-er of poetry9 should be carefully introduced and integrated into the te"t of your paper. *ut uotation mar2s around all briefly uoted material.
Prose exa!&le: )s the KmanagerK of the ) L *, 'engel is both the guardian and enforcer of Kpolicy.K ?hen he gi5es the girls Kthat sad Sunday@school@superintendent stare,K -e 2no- -e are in the presence of the ) L *Fs 5ersion of a dreary bureaucrat -ho KdoesnFt miss muchK 8+CH9. /a-e sure you give page numbers when necessary. 0otice that in this e&le the page numbers are in parenthesis after the uotation mar-s but before the period.
*. 'engthy uotations should be separated from the te"t of your paper. 6ore than four lines of prose should be double spaced and indented ten spaces from the left margin, -ith the right margin the same as the rest of your paper. 6ore than three lines of poetry should be double spaced and centered on the page. 0ote" do not use uotation mar-s to set off these longer passages because the indentation itself indicates that the material is uoted.
Prose exa!&le: 4he first paragraph of K4he Secret 'ionK introduces the narrator as someone -ho has !ust entered adolescence and isnFt uite sure -hat to ma2e of it% I -as t-el5e and in !unior high school and something happened that -e didnFt ha5e a name for, but it -as there nonetheless li2e a lion, and roaring, roaring that -ay the biggest things do. E5erything changed. /ust that. 'i2e the rug, the one that gets pulled @@ or better, li2e the tablecloth those magicians pull -here the stuff on the table stays the same but the gaspM from the audience ma2es the staying@the@same part not matter. 'i2e that. 8+1@+&9 /a-e sure you give page numbers when necessary. 0otice in this e&le that the page numbers are in parenthesis after the period of the last sentence.
. If any -ords are added to a uotation in order to e"plain -ho or -hat the uotation refers to, you must use brac-ets to distinguish your addition from the original source.
Exa!&le: 4he literary critic /ohn Strauss asserts that Khe NAoung Boodman Jro-nO is portrayed as self@righteous and disillusioned.K #rac-ets are used here because there is no way of -nowing who he is unless you add that information.
.* Punctuatin Direct 8uotations:
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Prueba Práctica : Análisis de Textos 1. ?hen the uoted material is part of your o-n sentence, place periods and commas inside the uotation mar2s.
Exa!&le: 4he narrator of K4he Secret 'ionK says that the change -as Kli2e a lion.K he period is inside the uotation mar-s.
*. ?hen the uoted material is part of your o-n sentence, but you need to include a parenthetical reference to page or line numbers, place the periods and commas after the reference.
Exa!&le: 4he narrator of K4he Secret 'ionK says that the change -as Kli2e a lionK 8+19. he period is outside the uotation mar-s' after the parenthetical reference.
. ?hen the uoted material is part of your o-n sentence, punctuation mar2s other than periods and commas, such as uestion mar2s, are placed outside the uotation mar2s, unless they are part of the uoted material.
Exa!&le
Exa!&le <&art o# oriinal=: 4he 7u2e sho-s his indignation that the 7uchess could li2e e5eryone and e5erything -hen he says, KSir, Ft-as all oneMK he e&clamation point is placed inside the uotation mar-s because it appears in the original .
2. ?hen the original material you are uoting already has uotations mar2s 8for instance, dialog from a short story9, you must use single uotation mar2s -ithin the double uotation mar2s.
Exa!&le: 'engel tries to stop Sammy from uitting by saying, K FSammy, you donFt -ant to do this to your 6om and 7adF. K
. >ournalistic Texts: )3)4E3IS4IS
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Prueba Práctica : Análisis de Textos /ournalistic style holds a special place in the style of literary language, since in many cases, it must process the te"ts created in other styles. Scientific and business speech focused on the intellectual reflection of reality, artistic speech @ on her emotional reflection. urrent )ffairs plays a special role @ it see2s to satisfy both intellectual and aesthetic needs. $utstanding ;rench linguist . Jalli -rote that Kscientific language @ the language of ideas and artistic speech @ the language of feelingsK 1. )dded to this is that !ournalism @ the language and thoughts, and feelings. 4he importance of topics co5ered by the media reuires a thorough reflection and appropriate means of logical e"position of thought, and e"pression of the authorFs attitude to e5ents is impossible -ithout the use of emotional language. /ournalistic te"t feature is the -ide co5erage of the 5ocabulary of literary language% @4he scientific and technical terms to the -ords of e5eryday spo2en language. @Sometimes the -riter goes beyond the literary language, using his speech, slang -ord for this, ho-e5er, should be a5oided. Spea2ing of !ournalistic style, you must immediately note that not all te"ts that appear in the media belong to the !ournalistic style. ?hen a !ournalist in a ne-spaper article tells about research on genetics and thus uses the scientific terms, or announces the launch of a spaceship, rescue e"ercises, and includes the opening of the air sho- in his speech of technical terms and in the court chronicle uses the legal le"icon. In these cases -ords and figures of speech are included in the e"pressi5e means of !ournalistic style, are included in the language of mass information. 4o see a 5ast theme, the breadth of !ournalism, !ust open any issue of any ne-spaper and see her titles. Aou get 2ind of notes, snapshot content of the ne-spaper. 4he ne-spaper can -rite about politics, diplomacy, sports, art, social mo5ements, economics, construction, etc. 4opics difficult to ne-spaper publications difficult to e"haust, so they are di/erse. So, !ournalistic style, one of the 5arieties of -hich it is ne-sprint 8ne-spaper subgenre9, is a 5ery comple" phenomenon because of the heterogeneity of its tas2s and conditions of communication. ?e -ill spea2 mainly about the features of a ne-spaper of speech, because it is more studied in modern style. $ne of the important functions of !ournalism 8in particular, its ne-spaper and magazine types9 is the information. 4he desire to promptly report the recent ne-s could not be reflected in the nature of communication problems, and in the speech of their incarnation. Jecause of this !ournalism, especially ne-spapers, -ere characterized by 5i5id and direct e"pression of function effects, or e"pressi5e. 4hese t-o basic functions, as -ell as linguistic@stylistic features, implement them, and today is not dissected in ne-spaper language. Is di5erse and genre repertoire of modern !ournalism, is not inferior literature. ere and 11
Prueba Práctica : Análisis de Textos reportage, and notes, and current affairs information, and inter5ie-s, and editorial, and a report and s2etch, and lampoon, and re5ie-, and other genres. /ournalism is rich and e"pressi5e in resources. )s fiction, it 0as considerable &o(er to in#luence, uses a 5ariety of trails, rhetorical figures, the multiple le"ical and grammatical means.
Some stylistic features in /ournalistic te"ts are% 19 documentary character, manifested in the ob!ecti5ity and presentation factually pro5en that in terms of style can be defined as a 5i5idly documented, factual accuracy of e"pression< documentary factual accuracy is manifested in termination of speech, limited metaphor of terms 8other than the standard9, the -ide use of !argon< &9 self@restraint, formality, emphasizing the importance of facts, information, and these features are implemented, the character of speech, peculiar phraseology 8cliche9 and so forth< (9 ) certain generality, abstraction and conceptual presentation as a result of analyticity. +9 Imaginati5e use of -ords% metaphor, metonymy, especially the impersonation. 9 E"pression e5aluation is e"pressed in forms of superlati5es % the most drastic 'measures*% a severe 'crisis*% acute 'controversy* is excellent% strictly% the most favorable. 4hese, in general terms the main features of ne-spaper style and linguistic resources to implement them. 'e"ical features of !ournalistic te"ts% It has an e"traordinary breadth and di5ersity of 5ocabulary. 6essage function ma2es use of a neutral 5ocabulary, in -hich the special role played by political, economic @ in general conceptual 5ocabulary. ;or e"ample, -ord@terms% mar+eting% management% business% exchange% ideology% exchange rate% deregulation% and many others @ ha5e become to2ens are constantly occurring in the ne-spapers. In principle, the -hole range of literary language is open to !ournalism. Jut the main criterion for the use, selection of speech means @ accessibility. E"cluded language means, do not possess this uality% highly technical -ords and e"pressions dialectisms, barbarisms @ anything that might cause difficulty in understanding the message. )s one !ournalist -rote, Kthe paper read by academics and ordinary -or2ers, old and young, teachers and engineers, doctors ... you read the papers ... 4hat is -hy people call the ne-spaper should be a simple -ord, -hich has, ho-e5er, the ability to 5ery clearly and 5ery accurately e"press the most complicated concepts K.
?. C'EC@+IST -e#ore %ou #inis0 %our EA, 9ESSA 1&
Prueba Práctica : Análisis de Textos 1. Is the topic you ha5e chosen to -rite about manageable for the length of the paper you are -ritingQ Is it too narro- or too broadQ &. Is your title engagingQ 7oes it suggest the approach you are ta2ing in your paperQ (. 7oes your first paragraph introduce your topic, name the -riter and the -or2, and end -ith your thesis statementQ ?ill it get the readerFs attentionQ +. Is your thesis clearQ 7oes it state the central idea of your paperQ . Is your paper organized in a -ay that your reader -ill be able to follo-Q 0. )re your de5elopmental paragraphs unified 8e5erything in the paragraph relates to the topic of the paragraph9 and coherent 8e5erything in the paragraph is arranged in a logical order9Q H. a5e you used transitional -ords -here necessary -ithin each paragraphQ )re there transitions lin2ing all the paragraphs of your essayQ C. 7oes your concluding paragraph pro5ide a sense of closureQ P. a5e you used technical terms correctlyQ 1R. a5e you used brief summary, paraphrase, specific details, and direct uotationsQ a5e you e"plained -hy you are using them and ho- they support your central ideaQ 11. If you ha5e used information from sources outside the actual -or2 of literature 8for e"ample, boo2s of criticism9, ha5e you documented this information properlyQ 4o pro5ide documentation for literary papers, you need to use 6') documentation style, -hich can found in most English handboo2s and in boo2s on ho- to -rite research papers. 1&. a5e you proofread your final draftQ
PRACTICE: TET ANA+SIS: 1. E"ercicios sobre as&ectos literarios3 socioculturales3 estilBsticos3 textuales3 lxicos % !or#osintácticos &resentes en textos de carácter literario % &eriodBstico:
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Prueba Práctica : Análisis de Textos TET 1. “The best thing% though% in that museum as that everything alays stayed right here it as. :obody4d move. ;ou could go there a hundred thousand times% and that r the +id that as your partner in line the last time had got scarlet fever and you4d have a ne partner. >r you4d have a substitute ta+ing the class% instead of ?iss Aigletinger. >r you4d heard your mother and father having a terrific fight in the bathroom. >r you4d =ust passed by one of those puddles in the street ith gasoline rainbos in them. mean you4d be different in some ay@ can4t explain hat mean. And even if could% 4m not sure 4d feel li+e it.”
8uestions: 1. Identi#% and co!!ent about t0e Aut0or and t0e boo4 (0ere t0is &assae belons. *. T%&e o# text and !ain #eatures. . Co!!ent about t0e st%le used in t0e text3 t0e narrator3 t0e lanuae. 2. 5ocabular%: Substitute t0e (ords in bold (it0 a s%non%!. . 7i/e a de#inition #or t0e underlined (ords. ?. 60at can %ou in#er #ro! t0is &assae)
Ans(ers #or Text 1: 1. 4he author is /.7.Salinger. 4he boo2 is The atcher in the rye . 4he best tip to identify the te"t is the name of the character % 6iss )igletinger. She is oldenFs grade school teacher -ho Ktoo2 us Nto the museumO damn near e5ery Saturday.K e thin2s about her in hapter 10 -hile he is loo2ing for *hoebe on the Sunday morning before he goes on a date -ith Sally ayes. 1+
Prueba Práctica : Análisis de Textos $nce -e recognize the author and the boo2 it is ad5isable to pro5ide information about them if -e 2no- it. It should not be 5ery dense but the person chec2ing our test must ta2e the impression that -e 2no- a lot about the author and his>her -or2. )bout the author and the boo2% / erome 7a5id Salinger -as born in e- Aor2 ity in 1P1P. 4he son of a -ealthy cheese importer, Salinger gre- up in a fashionable neighborhood in 6anhattan and spent his youth being shuttled bet-een 5arious prep schools before his parents finally settled on the Galley ;orge 6ilitary )cademy in 1P(+. e graduated from Galley ;orge in 1P(0 and attended a number of colleges, including olumbia :ni5ersity, but did not graduate from any of them. ?hile at olumbia, Salinger too2 a creati5e -riting class in -hich he e"celled, cementing the interest in -riting that he had maintained since his teenage years. Salinger had his first short story published in 1P+R< he continued to -rite as he !oined the army and fought in Europe during ?orld ?ar II. :pon his return to the :nited States and ci5ilian life in 1P+0, Salinger -rote more stories, publishing them in many respected magazines. In 1P1, Salinger published his only full@length no5el, The atcher in the !ye% -hich propelled him onto the national stage. 6any e5ents from Salinger=s early life appear in The atcher in the !ye. ;or instance, olden aulfield mo5es from prep school to prep school, is threatened -ith military school, and 2no-s an older olumbia student. In the no5el, such autobiographical details are transplanted into a post?orld ?ar II setting. The atcher in the !ye -as published at a time -hen the burgeoning )merican industrial economy made the nation prosperous and entrenched social rules ser5ed as a code of conformity for the younger generation. Jecause Salinger used slang and profanity in his te"t and because he discussed adolescent se"uality in a comple" and open -ay, many readers -ere offended, and The atcher in the !ye pro5o2ed great contro5ersy upon its release. Some critics argued that the boo2 -as not serious literature, citing its casual and informal tone as e5idence. 4he boo2 -asTand continues to beTbanned in some communities, and it conseuently has been thro-n into the center of debates about ;irst )mendment rights, censorship, and obscenity in literature. 4hough contro5ersial, the no5el appealed to a great number of people. It -as a hugely popular bestseller and general critical success.
&. 4his te"t is a descripti5e te"t . 4he narrator is describing a place, the museum. In this 2ind of passage -e find lots of noun phrases % Uthe best thingD ,U a hundred thousand timesD, Uyour partner in line the last timeDV ?e also find descripti5e ad!ecti5es % Upretty, s2inny, na2ed, scarlet, different, etc.D Jesides, -e must realize that these ad!ecti5es are related to the body and they imply some 2ind of se"ual language referred to -omen 8 s2inny, na2ed, scarlet, prettyV9.
(. 4he style is collouial addressed to young or plain readers. It also portraits the real language of the protagonist, olden. i.e. . UobodyFdD , Uobody=s be differentD U I meanD, U I meanD V 1
Prueba Práctica : Análisis de Textos Salinger o5eruses the contractions to emphasize this collouial language as in real@ spo2en language. 4he narrator of the story is olden a teenager -hose eyes are used by the author to portrait the )merican society in the forties. 4he language used in this piece of te"t gi5es us another important clue to identify the author and his nationality, the use of )merican English 5ocabulary% i.e. U2idD instead of child, U prettyD -hich substitutes 5ery, +. Gocabulary. atching% grab, pic2 up, capture. ole% hollo-, depression, ca5ity. . 6eaning. @S2inny% Jeing 5ery or e"tremely thin. 8Esuelético>a9 @*uddles% ) small body of standing -ater 8rain-ater9 or other liuid. 8 charcos9 0. ?e can infer from this passage that olden is describing the stillness of the museum and in certain -ay his o-n attitude to-ards life, he is !ust a spectator of life. $n the other hand he introduces a contrast to this e5erlasting feeling to-ards life, the fact that -e as human beings change, -e de5elop and step by step -e settle do-n and become adults. E5en in this short passage Salinger is able to reflect his main idea that one about the teenage as a process of constant change in our li5es, through the -ords of the narrator, although e5erything that surrounds us is still, it is unchangeable,-e change.
Text *. The fashionable international world attended EN MASSE this afternoon at the wedding of the chevalier Jean Wyse de Neaulan, grand high chief ranger of the Irish National Foresters, with Miss Fir onifer of !ine "alley# $ady Sylvester El%shade, Mrs &arbara $ovebirch, Mrs !oll Ash, Mrs 'olly 'a(eleyes, Miss )a*hne &ays, Miss )orothy anebra+e, Mrs lyde Twelvetrees, Mrs owan -reene, Mrs 'elen "inegadding, Miss "irginia ree*er, Miss -ladys &eech, Miss .live -arth, Miss &lanche Ma*le, Mrs Maud Mahogany, Miss Myra Myrtle, Miss !riscilla Elderflower, Miss &ee 'oneysuc+le, Miss -race !o*lar, Miss . Mi%osa San, Miss achel edarfrond, the Misses $ilian and "iola $ilac, Miss Ti%idity As*enall, Mrs /itty )ewey0Mosse, Miss May 'awthorne, Mrs -loriana !al%e, Mrs $iana Forrest, Mrs Arabella &lac+wood and Mrs Nor%a 'olyoa+e
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Prueba Práctica : Análisis de Textos of .a+hol%e egis graced the cere%ony by their *resence# The bride who was given away by her father, the M1onifer of the -lands, loo+ed e23uisitely charming in a creation carried out in green %ercerised sil+, %oulded on an undersli* of gloa%ing grey, sashed with a yo+e of broad e%erald and finished with a tri*le flounce of dar+erhued fringe, the sche%e being relieved by bretelles and hi* insertions of acorn bron(e# The %aids of honour, Miss $arch onifer and Miss S*ruce onifer, sisters of the bride, wore very beco%ing costu%es in the sa%e tone, a dainty M.TIF of *lu%e rose being wor+ed into the *leats in a *instri*e and re*eated ca*riciously in the 4adegreen to3ues in the for% of heron feathers of *aletinted coral# Senhor Enri3ue Flor *resided at the organ with his well+nown ability and, in addition to the *rescribed nu%bers of the nu*tial %ass, *layed a new and stri+ing arrange%ent of W..)MAN, S!AE T'AT TEE at the conclusion of the service# .n leaving the church of Saint Fiacre IN '.T. after the *a*al blessing the ha**y *air were sub4ected to a *layful crossfire of ha(elnuts, beech%ast, bayleaves, cat+ins of willow, ivytod, hollyberries, %istletoe s*rigs and 3uic+en shoots# Mr and Mrs Wyse onifer Neaulan will s*end a 3uiet honey%oon in the &lac+ Forest#
8uestions: 1. Identi#% and co!!ent about t0e Aut0or and t0e boo4 (0ere t0is &assae belons. *. 60at 4ind o# tec0niue is carried out in t0is &assae) . Co!!ent about t0e st%le and lanuae. 2. 5ocabular%: Substitute t0e (ords in bold (it0 a s%non%!. . 7i/e a de#inition #or t0e underlined (ords. ?. 60at can %ou in#er #ro! t0is &assae)
Ans(ers #or Text *: 1. 4he author is /ames /oyce. 4he literary -or2 is Blysses.
Information about the author and the boo2%
Escritor irlandés en lengua inglesa. acido en el seno de una familia de arraigada tradición católica, estudió en el colegio de !esuitas de Jel5edere entre 1CP( y 1CPC, año en ue se matriculó en la ational :ni5ersity de 7ubl#n, en la ue comenzó a aprender 5arias lenguas y a interesarse por la gramática comparada. 1H
Prueba Práctica : Análisis de Textos Su formación !esu#tica, ue siempre rei5indicó, le inculcó un esp#ritu riguroso y metódico ue se refle!a incluso en sus composiciones literarias más inno5adoras y e"perimentales. 6anifestó cierto rechazo por la bWsueda nacionalista de los or#genes de la identidad irlandesa, y su 5oluntad de preser5ar su propia e"periencia lingX#stica, ue guiar#a todo su traba!o literario, le condu!o a rei5indicar su lengua materna, el inglés, en detrimento de una lengua gaélica ue estimaba readoptada y promo5ida artificialmente. En 1PR& se instaló en *ar#s, con la intención de estudiar literatura, pero en 1PR( regresó a Irlanda, donde se dedicó a la enseñanza. En 1PR+ se casó y se trasladó a Yurich, donde 5i5ió hasta 1PR0, año en ue pasó a 4rieste, donde dio clases de inglés en una academia de idiomas. En 1PRH apareció su primer libro, el 5olumen de poemas ?Csica de cmara 8hamber 6usic9 y en 1P1& 5ol5ió a su pa#s con la intención de publicar una serie de uince relatos cortos dedicados a la gente de 7ubl#n, Dublineses 87ubliners9, ue apareció finalmente en 1P1+. 7urante la *rimera Buerra 6undial 5i5ió pobremente !unto a su mu!er y sus dos hi!os en Yurich y 'ocarno. 'a no5ela semiautobiográfica !etrato del artista adolescente 8*ortrait of the )rtist as a Aoung 6an9, de sentido profundamente irónico, ue empezó a publicarse en 1P1+ en la re5ista 4he Egoist y apareció dos años después en forma de libro en :ne5a Aor2, lo dio a conocer a un pWblico más amplio. *ero su consagración literaria completa sólo le llegó con la publicación de su obra maestra, Blises 8:lysses, 1P&&9, no5ela e"perimental en la ue intentó ue cada uno de sus episodios o a5enturas no sólo condicionara, sino también Zprodu!era[ su propia técnica literaria% as#, al lado del Zflu!o de conciencia[ 8técnica ue hab#a usado ya en su no5ela anterior9, se encuentran cap#tulos escritos al modo period#stico o incluso imitando los catecismos. In5ersión irónica del :lises de omero, la no5ela e"plora meticulosamente 5einticuatro horas en la 5ida del protagonista, durante las cuales éste intenta no 5ol5er a casa, porue sabe ue su mu!er le está siendo infiel. :na bre5e estancia en Inglaterra, en 1P&&, le sugirió el tema de una nue5a obra, ue emprendió en 1P&( y de la ue fue publicando e"tractos durante muchos años, pero ue no alcanzar#a su forma definiti5a hasta 1P(P, fecha de su publicación, con el t#tulo de Finnegan4s a+e. En ella, la tradicional aspiración literaria al Zestilo propio[ es lle5ada al e"tremo y, con ello, al absurdo, pues el lengua!e deri5a e"perimentalmente, desde el inglés, hacia un idioma propio del te"to y de /oyce. *ara su composición, el autor amalgamó elementos de hasta sesenta idiomas diferentes, 5ocablos insólitos y formas sintácticas completamente nue5as. 7urante la Segunda Buerra 6undial se trasladó de nue5o a Yurich, donde murió ya casi completamente ciego. 'a obra de /oyce está consagrada a Irlanda, aunue 5i5ió poco tiempo all#, y mantu5o siempre una relación conflicti5a con su realidad y conflicto pol#tico e histórico. Sus inno5aciones narrati5as, entre ellas el uso e"cepcional del Zflu!o de conciencia[, as# como la e"uisita técnica mediante la ue desintegra el lengua!e con5encional y lo dobla de otro, completamente personal, simbólico e #ntimo a la 5ez, y la dimensión irónica y profundamente humana ue, sin embargo, recorre toda su obra, lo con5ierten en uno de los no/elistas !ás in#lu%entes % reno/adores del silo . 1C
Prueba Práctica : Análisis de Textos lysses is set in 7ublin, and the e5ents unfold o5er &+ hours, beginning on the morning of 4hursday 10th /une 1PR+. Some of the e5ents chronicled in the narrati5e correspond to actual episodes and occurrences in /oyceFs life< most of them donFt... 7espite its di5erse styles and fantastic representations, Blysses is a deeply, e5en FmagicallyF naturalistic -or2. 6any of the FrealF things and topical e5ents that the narrati5e presents 8historical references, ne-spaper reports, descriptions of en5ironments, places and ob!ects9 -ere meticulously researched by /oyce< indeed, he is reported to ha5e desired to Kgi5e a picture of 7ublin so complete that if the city one day suddenly disappeared from the earth it could be reconstructed out of my boo2K. o-e5er, there is also a plethora of misrepresented facts and red@herrings in the narrati5e -hich, if you li5e long enough to research them, are 5ery funny. 4he -or2 has 1C chapters -hich corre spond, often appro"imately and strangely, to episodes in The >dyssey of omer.
K:lisesK 8Blysses9 probablemente sea el libro más importante e influyente del siglo \\ 8basta nombrar ba!o su sombra a ;aul2ner, ?oolf, Jec2ett, y por ué no escritores menores como Jurgess o Sturgeon9. 4ambién, uno de los más dif#ciles de leer. 'uego de 5arios intentos de leerlo en castellano, intentos truncos todos, decid# un d#a leerlo en su idioma original, y mis sospechas se hicieron carne% s#, ah# estaba presente lo ue hab#a hecho famoso al libro y al autor, y s#, era muy dif#cil de leer. uenta la historia ue a Jorges le presentaron el Blysses porue él era uno de los pocos dentro del mundillo literario argentino ue pod#a leer inglés 8estamos hablando de la primera mitad del siglo \\, donde primaba el francés sobre el inglés en los ambientes cultos9< cuenta esa misma historia ue Jorges comprendió inmediatamente el genio de /oyce, y también su incompetencia para apreciar el infinito mundo del irlandés. &. 4he techniue carried out in this passage and the complete boo2 is the stream of consciousness. Stream of consciousness attempts to present the unedited, uncensored, free@flo-ing thoughts of a person. o-e5er, /oyce and other -riters -ho use this techniue do so -ith forethought and calculation. 4hey are creating the thoughts of fictitious characters, not brain@scanning the thoughts of real humans. 4he thoughts these -riters present to the reader are shaped to the theme of a literary -or2 or the mindset of its characters. onseuently, one may argue, they are not really presenting true stream of consciousness. (. 4he style % 4he author -rites in third@person point of 5ie- -ith freuent use of allusions, symbols, literary archetypes, pastiche, and the stream@of@consciousness techniue, all of -hich ma2e the no5el difficult to comprehend for e5en the most intelligent and informed readers. In stream of consciousness, a term coined by )merican psychologist ?illiam /ames 81C+&@1P1R9, an author portrays a character=s continuing UstreamD of thoughts as they occur, regardless of -hether they ma2e sense or -hether the ne"t thought in a seuence relates to the pre5ious thought. 4hese thought portrayals e"pose a character=s memories, fantasies, apprehensions, fi"ations, ambitions, rational and irrational ideas, and so on. 1P
Prueba Práctica : Análisis de Textos 'anguage% e uses refined language, 5ulgar language, slang and demotic dialogue, gibberish, coined -ords such as noctambules for night -al2ers, passages in all@capital letters, unpunctuated sentences, and abbre5iations. In the last chapter of the no5el, consisting of eight long paragraphs, /oyce omits punctuation entirely in order to mimic the uninterrupted flo- of na2ed thoughts. /oyce also uses numerous sentences and phrases from 'atin, ;rench, Berman, Spanish, 3ussian 8transliterated9, Italian, and other languages. )nother techniue he uses is to combine t-o -ords into one to create a single ad!ecti5e and sometimes a noun. 8e"amples in the passage% ell+non% bayleaves% hollyberries%telvetreesV9 +. @harming% pleasing, delighting. @ 3elie5ed% alle5iated, eased, . @ Bloaming% the time of day immediately follo-ing sunset. @6istletoe% $ld ?orld parasitic shrub ha5ing branching greenish stems -ith leathery lea5es and -a"y -hite glutinous berries< the traditional mistletoe of hristmas under -hich people 2iss each other. 0. ?e can infer that in this passage /oyce associates members of a -edding -ith trees, in response a barroom discussion about the necessity to preser5e the forests.
Text .
The professor had turned into a street to the left% and al+ed along% ith his head carried rigidly erect % in a crod hose every individual almost overtopped his stunted stature. t as vain to pretend to himself that he as not disappointed. Eut that as mere feeling the stoicism of his thought could not be disturbed by this or any other failure. :ext time % or the time after the next% a telling stro+e ould be delivered @ something really startling@ a blo fit to open the first crac+ in the imposing front of the great edifice of legal conceptions sheltering the atrocious in=ustice of society. >f humble origin % and ith an appearance really so mean as to stand in the ay of his considerable natural abilities% his imagination had been fired early by the tales of men rising from the depths of poverty to positions of authority and affluence. The extreme% almost ascetic purity of his thought combined % had set before him a goal of poer and prestige to be attained ithout the medium of arts% graces% tact% ealth@ by sheer eight of merit alone. >n that vie he considered himself entitled to undisputed success. His father % a delicate dar+ enthusiast ith sloping forehead% had been an &R
Prueba Práctica : Análisis de Textos itinerant and rousing preacher of some obscure but rigid hristian sect@ a man supremely confident in the priledges of his righteousness.
8uestions: 1. Identi#% and co!!ent about t0e Aut0or and t0e boo4 (0ere t0is &assae belons. *. Ex&lain #eatures o# t0e descri&tions carried out b% t0e aut0or. . Co!!ent about t0e st%le and lanuae. 2. 5ocabular%: Substitute t0e (ords in bold (it0 a s%non%!. . 7i/e a de#inition #or t0e underlined (ords. ?. 60at can %ou in#er #ro! t0is &assae)
Ans(ers #or Text : 1.@ 4he author is /oseph onrad. 4he boo2 is The "ecret Agent.
Information about the author and the boo2% onrad is regarded as one of the great no5elists in English, although he did not spea2 the language fluently until he -as in his t-enties 8and then al-ays -ith a mar2ed *olish accent9. e -rote stories and no5els, predominantly -ith a nautical setting, that depict trials of the human spirit by the demands of duty and honour. onrad -as a master prose stylist -ho brought a distinctly non@English tragic sensibility into English literature. ?hile some of his -or2s ha5e a strain of romanticism, he is 5ie-ed as a precursor of modernist literature. is narrati5e style and anti@heroic characters ha5e influenced many authors. The "ecret Agent In the only no5el onrad set in 'ondon, 4he Secret )gent communicates a profoundly ironic 5ie- of human affairs. 4he story is -o5en around an attac2 on the Breen-ich $bser5atory in 1CP+ masterminded by Gerlac, a 3ussian spy -or2ing for the police, and ostensibly a member of an anarchist group in Soho. is masters instruct him to discredit the anarchists in a humiliating fashion, and -hen his e5il plan goes horribly a-ry, Gerlac must deal -ith the repercussions of his actions. &1
Prueba Práctica : Análisis de Textos 6r Gerloc, going out in the morning, left his shop nominally in charge of his brother@in@ la-. It could be done, because there -as 5ery little business at any time, and practically none at all before the e5ening. 6r Gerloc cared but little about his ostensible business. )nd, moreo5er, his -ife -as in charge of his brother@in@la-. 4he shop -as small, and so -as the house. It -as one of those grimy bric2 houses -hich e"isted in large uantities before the era of reconstruction da-ned upon 'ondon. 4he shop -as a suare bo" of a place, -ith the front glazed in small panes. In the daytime the door remained closed< in the e5ening it stood discreetly but suspiciously a!ar.
&.@ ?e can appreciate in this passage ho- the author emphasizes in the characters= physical description, as he does in the -hole no5el. e begins describing the *rofessor in great detail. e e5en says that he is really short 8stunted9. In the same -ay onrad refers in the no5el to the 6ichaelis as a fat person, Ste5ie=s lip, etc. 4he author has a tendency to use negati5e descripti5e ad!ecti5es% U stuntedD, UmeanD, UhumbleD through its use onrad creates an atmosphere of decadence and corruption. onrad also sho-s a contrast bet-een the *rofessor=s internal life and the noise and life of a city li2e 'ondon. e uses -ords and ad!ecti5es -ich refer to many people. (.@ onrad uses a Khea5ily ironic and dry 5erbal styleD. 6any critics note that onradFs irony reflects a pessimistic perspecti5e of the Jritish society in The "ecret Agent . onradFs perspecti5e is reflecti5e of a society still reeling from the traumatizing social effects of industrialization. onradFs pessimistic 5ie- of society en5elops each characterFs personal relationships. 4hroughout The "ecret Agent , the usage of geometric imagery sho-s the ripple effects of e5il -ithin society on the micro le5el. 4hrough his irony, onrad also criticizes the relationships -ithin a society focused on outside appearances rather than in-ard realities. Each of the main characters is a secret agent of sorts, -ith a double or triple life. E5ery character, and especially ?innie, is in5ol5ed in the same manipulati5e game. Each character in the no5el loses part of his person through this game. Jut because ?innie specifically represents the typical Gictorian -ife, onrad harshly punishes her in order to dramatically -arn readers against their dehumanizing standards. +.@ 6ean% ateful, nasty. Boal% $b!ecti5e, aim. .@ Stunted% Inferior in size or uality. Stoicism% )n indifference to pleasure or pain.
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Prueba Práctica : Análisis de Textos 0.@ In this passage the author tries to portrait a character and establish a contrast bet-een his inner -orld and the city that tries to s-allo- human beings. Society is losing their references and it is !ust -orried about benefits, -ealth and abandons the humble side of life, people=s feelings.
Text 2.
“Dearest ?aurice”% she rote% “ mean to rite to you the other night after you had gone aay% but felt rather sic+ hen got home and Henry fussed about me. ’m riting instead of telephoning. can’t telephone and hear your voice go ,ueer hen say ’m not going to come aay ith you. Eecause ’m not going to come aay ith you ?aurice% dearest ?aurice. love you but can’t see you again. don’t +no ho ’m going to live in this pain and longing and ’m praying God all the time that he on’t be hard on me% that he on’t +eep me alive. Dear ?aurice% ant to have my ca+e and eat it li+e everybody else. ent to a priest to days ago before you rang me up and told him anted to be a atholic. told him about my promise about you. said% ’m not really married to Henry any more. -e don’t sleep together@ not since the first year ith you. And it asn’t really a marriage% said% ;ou couldn’t call a registry office a edding. as+ed him couldn’t be a atholic and marry you +ne you ouldn’t mind going through a service.
&(
Prueba Práctica : Análisis de Textos them and al+ed out of the room here as seeing him % and slammed the door to sho hat thought of priests.
8uestions: 1. Identi#% and co!!ent about t0e Aut0or and t0e boo4 (0ere t0is &assae belons. *. 7i/e details to con#ir! t0at t0is is a e&istolar% text. . Co!!ent about t0e st%le and lanuae. 2. 5ocabular%: Substitute t0e (ords in bold (it0 a s%non%!. . 7i/e a de#inition #or t0e underlined (ords. ?. 60at can %ou in#er #ro! t0is &assae)
Ans(ers to Text 2: 1.@ the boo2 if UThe her -or2. 6ore information about the boo2 and the author% Braham Breene -as born in ertfordshire, England, on $ctober &, 1PR+, to 6arion Breene 8first cousin of the -riter 3obert 'ouis Ste5enson9 and harles enry Breene, a school headmaster. )n intro5erted and sensiti5e child, Breene had difficult early years because of his strict father and boarding school bullies. )t si"teen, Breene suffered a brea2do-n and -ent to 'ondon for treatment by a student of Sigmund ;reud. Graham Greene ?hile in 'ondon, Breene became an a5id reader and -riter. Jefore lea5ing, he met Ezra *ound and Bertrude Stein -ho became lifelong literary mentors to him. is other influences -ere enry /ames, /oseph onrad and ;ord 6ado" ;ord. )fter graduating from high school in 1P&& Breene attended $"ford :ni5ersityFs Jalliol ollege, -here he recei5ed a degree in history in 1P&. ?hile at college, Breene became interested in politics, especially 6ar"ist socialism 8but not communism9. 4his interest sometimes created tension in BreeneFs friendship -ith the conser5ati5e -riter E5elyn ?augh although the t-o remained steady friends for many years. In 1P&0, Breene con5erted to atholicism for his fiancée, Gi5ien 7ayrell Jro-ning, -hom he married the follo-ing year. 4he couple e5entually had t-o children. Breene is generally considered a atholic -riter despite his insistence that the con5ersion -as not his greatest literary influence. &+
Prueba Práctica : Análisis de Textos 7uring ?orld ?ar II Breene did intelligence -or2 for the Jritish go5ernment in ?est )frica. is e"periences at home and abroad inspired -or2s li2e 4he eart of the 6atter 81P+C9. In addition to his no5els of intrigue, peopled -ith spies, criminals, and other colorful characters, Breene -rote short stories, essays, screenplays, autobiographies, and criticism. is literary reputation rests primarily on -hat are termed his atholic no5els, Jrighton 3oc2 81P(C9, 4he *o-er and the Blory 81P+R9, 4he eart of the 6atter 81P+C9, and The
The end of the affair Braham BreeneFs no5el The
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Prueba Práctica : Análisis de Textos +.@ @'onging < ungriness, yearning. @Slammed% bang. .@ @ueer% Jeyond or de5iating from the usual or e"pected. @Shutters% A hinged blind for a -indo-. 0.@ 4his fragment sho-s Sarah=s inner conflict bet-een her feelings and her -ill. ?e can infer that 6aurice=s real ri5al is Bod, and he can=t fight against him. Sarah finally dies and he doesn=t recei5e this letter. $nce she realizes that she is -ea2ening to lo5e, she as2s Bod for death as a solution to put an end to her torment.
*. E"ercicios sobre co!&rensin de textos literarios % &eriodBsticos: Text 1: Abstract Art 6ar2 3oth2o, one of the greatest painters of the t-entieth century, -as born in 7auga5pils, 'at5ia in 1PR(. is father emigrated to the :nited States, afraid that his sons -ould be drafted into the zarist army. 6ar2 stayed in 3ussia -ith his mother and older sister< they !oined the family later, arri5ing in the -inter of 1P1(, after a 1&@day 5oyage. 6ar2 mo5ed to e- Aor2 in the autumn of 1P&( and found employment in the garment trade and too2 up residence on the :pper ?est Side. It -as -hile he -as 5isiting someone at the )rt Students 'eague that he sa- students s2etching a nude model. )ccording to him, this -as the start of his life as an artist. e -as t-enty years old and had ta2en some art lessons at school, so his initial e"perience -as far from an immediate calling. In 1P(0, 6ar2 3oth2o began -riting a boo2, -hich he ne5er completed, about the similarities in the childrenFs art and the -or2 of modern painters. 4he -or2 of modernists, -hich -as influenced by primiti5e art, could, according to him, be compared to that of children in that Kchild art transforms itself into primiti5ism, -hich is only the child producing a mimicry of himself.K In this same -or2, he said that Kthe fact that one usually begins -ith dra-ing is already academic. ?e start -ith colour.K It -as not long before his multiforms de5eloped into the style he is remembered for< in 1P+P 3oth2o e"hibited these ne- -or2s at the Jetty *arsons Ballery. ;or critic arold 3osenberg, the paintings -ere a re5elation. 3oth2o had, after painting his first multiform, secluded himself to his home in East ampton on 'ong Island, only in5iting a 5ery fe- people, including 3osenberg, to 5ie- the ne- paintings. 4he disco5ery of his definiti5e form came at a period of great grief< his mother ]ate died in $ctober 1P+C &0
Prueba Práctica : Análisis de Textos and it -as at some point during that -inter that 3oth2o chanced upon the stri2ing symmetrical rectangular bloc2s of t-o to three opposing or contrasting, yet complementary colours. )s part of this ne- uniformity of artistic 5ision, his paintings and dra-ings no longer had indi5idual titles< from this point on they -ere simply untitled, numbered or dated. o-e5er, to assist in distinguishing one -or2 from another, dealers -ould sometimes add the primary colours to the name. )dditionally, for the ne"t fe- years, 3oth2o painted in oil only on large 5ertical can5asses. 4his -as done to o5er-helm the 5ie-er, or, in his -ords, to ma2e the 5ie-er feel en5eloped -ithin the picture. $n ;ebruary &, 1PHR, $li5er Steindec2er, 3oth2o=s assistant, found him in his 2itchen, lying on the floor in front of the sin2, co5ered in blood. is arms had been cut open -ith a razor. 4he emergency doctor arri5ed on the scene minutes later to pronounce him dead as the result of suicide< it -as disco5ered during the autopsy that he had also o5erdosed on anti@depressants. e -as !ust 00 years old.
:ES4I$S )J$:4 4E 4E\4% 1 @ 6ar2 3oth2o emigrated to the :nited States -ith his father and elder sister. -ith his mother and brothers. -ith his mother and elder sister. -ith all his family.
& @ 3oth2o -anted to be an artist from his early childhood. -hen he !oined the )rt Students 'eague. -hen he -atched students dra-ing. -hen he mo5ed to the :pper ?est Side.
( @ 3oth2o thought that modern art -as primiti5e. could be compared to childrenFs pictures. -as already academic. -as childish. + @ 3oth2oFs distincti5e style -as inspired by 3osenberg. resulted from mo5ing to 'ong Island. resulted from his grief. e5ol5ed in 1P+C. @ ?ho named paintings by their coloursQ &H
Prueba Práctica : Análisis de Textos 3osenberg 3oth2o 7ealers Steindec2er ]eys% uestion 1 % (, uestion &% (, uestion(% &, uestion +% +, uestion % (.
Text *: Enlis0 in India. India has t-o national languages for central administrati5e purposes% indi and English. indi is the national, official, and main lin2 language of India. English is an associate official language. 4he Indian onstitution also officially appro5es t-enty@t-o regional languages for official purposes.
7ozens of distinctly different regional languages are spo2en in India, -hich share many characteristics such as grammatical structure and 5ocabulary. )part from these languages, indi is used for communication in India. 4he homeland of indi is mainly in the north of India, but it is spo2en and -idely understood in all urban centers of India. In the southern states of India, -here people spea2 many different languages that are not much related to indi, there is more resistance to indi, -hich has allo-ed English to remain a lingua franca to a greater degree. Since the early 10RRs, the English language has had a toehold on the Indian subcontinent, -hen the East India ompany established settlements in hennai, ]ol2ata, and 6umbai, formerly 6adras, alcutta, and Jombay respecti5ely. 4he historical bac2ground of India is ne5er far a-ay from e5eryday usage of English. India has had a longer e"posure to English than any other country -hich uses it as a second language, its distincti5e -ords, idioms, grammar and rhetoric spreading gradually to affect all places, habits and culture. In India, English ser5es t-o purposes. ;irst, it pro5ides a linguistic tool for the administrati5e cohesi5eness of the country, causing people -ho spea2 different languages to become united. Secondly, it ser5es as a language of -ider communication, including a large 5ariety of different people co5ering a 5ast area. It o5erlaps -ith local languages in certain spheres of influence and in public domains. Benerally, English is used among Indians as a ^lin2= language and it is the first language &C
Prueba Práctica : Análisis de Textos for many -ell@educated Indians. It is also the second language for many -ho spea2 more than one language in India. 4he English language is a tie that helps bind the many segments of our society together. )lso, it is a linguistic bridge bet-een the ma!or countries of the -orld and India. English has special national status in India. It has a special place in the parliament, !udiciary, broadcasting, !ournalism, and in the education system. $ne can see a indi@ spea2ing teacher gi5ing their students instructions during an educational tour about -here to meet and -hen their bus -ould lea5e, but all in English. It means that the language permeates daily life. It is una5oidable and is al-ays e"pected, especially in the cities. 4he importance of the ability to spea2 or -rite English has recently increased significantly because English has become the de facto standard. 'earning English language has become popular for business, commerce and cultural reasons and especially for internet communications throughout the -orld. English is a language that has become a standard not because it has been appro5ed by any ^standards= organization but because it is -idely used by many information and technology industries and recognized as being standard. 4he call centre phenomenon has stimulated a huge e"pansion of internet@related acti5ity, establishing the future of India as a cyber@ technological super@po-er. 6odern communications, 5ideos, !ournals and ne-spapers on the internet use English and ha5e made ^2no-ing English= indispensable. 4he pre5ailing 5ie- seems to be that unless students learn English, they can only -or2 in limited !obs. 4hose -ho do not ha5e basic 2no-ledge of English cannot obtain good uality !obs. 4hey cannot communicate efficiently -ith others, and cannot ha5e the benefit of India=s rich social and cultural life. 6en and -omen -ho cannot comprehend and interpret instructions in English, e5en if educated, are unemployable. 4hey cannot help -ith their children=s school home-or2 e5eryday or decide their re5enue options of the future. ) positi5e attitude to English as a national language is essential to the integration of people into Indian society. 4here -ould appear to be 5irtually no disagreement in the community about the importance of English language s2ills. :sing English you -ill become a citizen of the -orld almost naturally. English plays a dominant role in the media. It has been used as a medium for inter@state communication and broadcasting both before and since India=s independence. India is, -ithout a doubt, committed to English as a national language. 4he impact of English is not only continuing but increasing.
8uestions 1 @ )ccording to the -riter, the Indian constitution recognises && official languages. indi as the national language. & national, official languages. & national languages. & @ EnglishFs status as a lingua franca is helped by &P
Prueba Práctica : Análisis de Textos its status in northern India. the fact that it is -idely understood in urban centres. the fact that people from the south spea2 languages not much related to indi. it shares many grammatical similarities -ith indi. ( @ In paragraph (, FtoeholdF means that English dominated India. changed the names of some cities in India. has had a presence in India. has been in India longer than any other language.
+ @ indi@spea2ing teachers might -ell be heard using English. only use English. only use English for instructions. do not use English. @ In paragraph eight, it says Fthe pre5ailing 5ie-F, -hich suggests that the 5ie- is correct. the 5ie- is held by the ma!ority. the 5ie- is incorrect. the 5ie- is held by the minority. 0 @ English in India is going to decrease. has decreased since independence. causes disagreement. is going to ha5e a greater importance. ]eys% uestion 1% &, &% (,(% (, + % 1, % &,0% +
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Text : T0e 7reat 6all o# C0ina ?alls and -all building ha5e played a 5ery important role in hinese culture. 4hese people, from the dim mists of prehistory ha5e been -all@conscious< from the eolithic period -hen ramparts of pounded earth -ere used @ to the ommunist 3e5olution, -alls -ere an essential part of any 5illage. ot only to-ns and 5illages< the houses and the temples -ithin them -ere someho- -alled, and the houses also had no -indo-s o5erloo2ing the street, thus gi5ing the feeling of -andering around a huge maze. 4he name for UcityD in hinese 8ch=eng9 means -all, and o5er these -alled cities, 5illages, houses and temples presides the god of -alls and mounts, -hose duties -ere, and still are, to protect and be responsible for the -elfare of the inhabitants. 4hus a great and e"tremely laborious tas2 such as constructing a -all, -hich -as supposed to run throughout the country, must not ha5e seemed such an absurdity. o-e5er, it is indeed a common mista2e to percei5e the Breat ?all as a single architectural structure, and it -ould also be erroneous to assume that it -as built during a single dynasty. ;or the building of the -all spanned the 5arious dynasties, and each of these dynasties someho- contributed to the refurbishing and the construction of a -all, -hose foundations had been laid many centuries ago. It -as during the fourth and third century J.. that each -arring state started building -alls to protect their 2ingdoms, both against one another and against the northern nomads. Especially three of these states% the h=in, the hao and the Aen, corresponding respecti5ely to the modern pro5inces of Shensi, Shanzi and opei, o5er and abo5e building -alls that surrounded their 2ingdoms, also laid the foundations on -hich h=in Shih uang 7i -ould build his first continuous Breat ?all. 4he role that the Breat ?all played in the gro-th of hinese economy -as an important one. 4hroughout the centuries many settlements -ere established along the ne- border. 4he garrison troops -ere instructed to reclaim -asteland and to plant crops on it, roads and canals -ere built, to mention !ust a fe- of the -or2s carried out. )ll these underta2ings greatly helped to increase the country=s trade and cultural e"changes -ith many remote areas and also -ith the southern, central and -estern parts of )sia the formation of the Sil2 3oute. Juilders, garrisons, artisans, farmers and peasants left behind a trail of ob!ects, including inscribed tablets, household articles, and -ritten -or2, -hich ha5e become e"tremely 5aluable archaeological e5idence to the study of (1
Prueba Práctica : Análisis de Textos defence institutions of the Breat ?all and the e5eryday life of these people -ho li5ed and died along the -all. 1 @ hinese cities resembled a maze because they -ere -alled. because the houses has no e"ternal -indo-s. because the name for cities means F-allF. because -alls ha5e al-ays been important there.
& @ onstructing a -all that ran the length of the country honoured the god of -alls and mounts. -as an absurdly laborious tas2. may ha5e made sense -ithin hinese culture. made the country loo2 li2e a huge maze. ( @ 4he Breat ?all of hina -as built in a single dynasty. -as refurbished in the fourth and third centuries J. used e"isting foundations. -as built by the h=in, the hao and the Aen. + @ rops -ere planted on -asteland. to reclaim -asteland. on reclaimed -asteland. along the canals. @ 4he Breat ?all helped build trade only inside hina. helped build trade in hina and abroad. helped build trade only abroad. helped build trade only to remote areas. ]eys % uestion 1% & uestion &% ( uestion (% ( uestion +% ( uestion % &
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TET 2: Dirt% -ritain
Jefore the grass has thic2ened on the roadside 5erges and lea5es ha5e started gro-ing on the trees is a perfect time to loo2 around and see !ust ho- dirty Jritain has become. 4he pa5ements are stained -ith che-ing gum that has been spat out and the gutters are full of discarded fast food cartons. Aears ago I remember tra5elling abroad and being saddened by the plastic bags, discarded bottles and soiled nappies at the edge of e5ery road. o-adays, Jritain seems to loo2 at least as bad. ?hat has gone -rongQ 4he problem is that the rubbish created by our increasingly mobile li5es lasts a lot longer than before. If it is not cleared up and properly thro-n a-ay, it stays in the undergro-th for years< a semi@permanent reminder of -hat a tatty little country -e ha5e no-. ;irstly, it is estimated that 1R billion plastic bags ha5e been gi5en to shoppers. 4hese -ill ta2e anything from 1RR to 1,RRR years to rot. o-e5er, it is not as if there is no solution to this. ) fe- years ago, the Irish go5ernment introduced a ta" on non@ recyclable carrier bags and in three months reduced their use by PR_. ?hen he -as a minister, 6ichael 6eacher attempted to introduce a similar arrangement in Jritain. 4he plastics industry protested, of course. o-e5er, they need not ha5e bothered< the idea -as 2illed before it could dra- breath, lea5ing supermar2ets free to gi5e a-ay plastic bags. ?hat is clearly necessary right no- is some sort of combined initiati5e, both indi5idual and collecti5e, before it is too late. 4he alternati5e is to continue sliding do-nhill until ((
Prueba Práctica : Análisis de Textos -e ha5e a country that loo2s li2e a 5ast municipal rubbish tip. ?e may -ell be at the tipping point. Aet -e 2no- that people respond to their en5ironment. If things around them are clean and tidy, people beha5e cleanly and tidily. If they are s urrounded by sualor, they beha5e sualidly. o-, much of Jritain loo2s pretty sualid. ?hat -ill it loo2 li2e in fi5e yearsQ
8uestions 1 @ 4he -riter says that it is a good time to see Jritain before the trees ha5e lea5es because Jritain loo2s perfect. you can see Jritain at its dirtiest. you can see ho- dirty Jritain is no-. the grass has thic2ened on the 5erges. & @ )ccording to the -riter, things used to be -orse abroad. the same abroad. better abroad. -orse, but no- things are better abroad. ( @ ;or the -riter, the problem is that rubbish is not cleared up. rubbish last longer than it used to. our society is increasingly mobile. Jritain is a tatty country. + @ 6ichael 6eacher follo-ed the Irish e"ample -ith a ta" on plastic bags. tried to follo- the Irish e"ample -ith a ta" on plastic bags. made no attempt to follo- the Irish e"ample -ith a ta" on plastic bags. had problems -ith the plastics industry -ho -erenFt bothered about the ta". @ 4he -riter thin2s it is too late to do anything. -e are at the tipping point. there is no alternati5e. -e need to -or2 together to sol5e the problem. 0 @ 4he -riter thin2s that people are sualid. people beha5e according to -hat they see around them. people are clean and tidy. (+
Prueba Práctica : Análisis de Textos people are li2e a 5ast municipal rubbish tip. ]eys% uestion 1% (, uestion &% 1, uestion (% &, uestion +% &, uestion % +< uestion0% &.
. Traducciones al castellano e in/ersa de textos &eriodBsticos % literarios : TET 1 : U4oday mar2s the end of a !ourney that began &RR years ago. 4oday, 'a 6ercedes= mission has been completed. If the cre- -ere unable to reach their destination, at least the cargo -ill.D So said /orge 7ezcallar, Spanish ambassador to the :nited States, in an emotional speech !ust minutes before t-o Spanish army planes headed home from 4ampa, ;lorida -ith 1H tons of coins retrie5ed from the historical ship-rec2. U4oday -e are reco5ering a historical legacy, not a treasure. 4his is not money, it is our history,D added 7ezcallar at the military base -here the ercules aircraft too2 off, -ith stops scheduled in e- /ersey and the )zores Islands before their landing at 4orre!ón de )rdoz on Saturday morning. 4he frigate uestra Señora de las 6ercedes, part of the Spanish )rmada, san2 off the coast of ádiz on $ctober , 1CR+ after sailing from 6onte5ideo in )ugust. 4he ship -as loaded -ith gold and sil5er, -hich ended up at the bottom of the sea, along -ith &+P seamen. $nly around R sur5i5ed. ) :S treasure@hunting company called $dyssey 6arine E"ploration announced the disco5ery of the haul in 6ay &RRH, launching a bitter court battle -ith Spanish authorities o5er o-nership of the nearly 0RR,RRR 5aluable coins.
“ctubre de M82( tras navegar desde ?ontevideo en Agosto. dyssey anunciJ el descubrimiento del botIn en ?ayo de )223% comen&ando una amarga batalla legal con las autoridades espaKolas sobre la legItima pertenencia de las casi 922%222 valiosIsimas monedas.
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Text *:
Princess Cristina (onFt be indicted3 sa%s Nos case "ude 4he Jalearic Islands !udge -ho is in5estigating the alleged di5ersion of public money at Iña2i :rdangarin=s non@profit óos Institute announced 6onday that he -ill not indict *rincess ristina in the case because she -asn=t responsible for ma2ing any decisions at the entity. /udge /osé astro also decided not to call bac2 :rdangarin, the princess= husband, for a testimonial face@off -ith one of his main accusers, 7iego 4orres, his former partner -ho has also been indicted in the case. astro said that his decision -ould only Uremain in effect for no-,D and left the door open for both defendants to confront each other in the future. 4he obscure right-ing union 6anos 'impias had filed a complaint against *rincess ristina, as2ing the !udge to charge her in the public@fund siphoning scheme. Jut astro said there is no e5idence that ristina de Jorbón committed any illegal acts -hen she ser5ed on the board of the institute. :rdangarin recei5ed some se5en million euros from both the Jalearics and Galencia regional go5ernments, but prosecutors say he transferred some of the money to his pri5ate companies.
+a In#anta Cristina no será acusada3 dice el "ue$ del caso Nos. El !uez de las islas baleares ue está in5estigando el presunto des5#o de dinero pWblico al Instituto óos sin ánimo de lucro anunció el 'unes ue no acusará a la *rincesa ristina en el caso porue ella no era responsable de tomar decisión alguna en la entidad. El !uez /osé astro también decidió no 5ol5er a llamar a :rdangarin, marido de la infanta, para un careo con uno de sus mayores acusadores, 7iego torres, antiguo compañero suyo, uien también ha sido acusado en el caso. astro di!o ue su decisión U sólo ser#a por el momentoD , y de!ó un puerta abierta para ue ambos acusados se enfrenten en el futuro. 'a oscura organización de derechas 6anos 'impias ha rellenado una ue!a contra la princesa ristina, pidiéndole al !uez ue la acuse de estar in5olucrada en la trama de apropriación de fondos pWblicos. *ero astro declara ue no hay indio alguno de ue la 7oña ristina de Jorbón cometiera acto delicti5o alguno cuando estu5o relacionada con el instituto. :rdangarin recibió alrededor de H millones de euros de los gobiernos autonómicos Jalear y 5alenciano, pero la acusación dice ue éste des5ió parte de este dinero a sus compañ#as pri5adas.
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Prueba Práctica : Análisis de Textos ?e entered the uiet and humble temple< the priest -aited in his -hite surplice at the lo-ly altar, the cler2 beside him. )ll -as still% t-o shado-s only mo5ed in a remote corner. 6y con!ecture had been correct% the strangers had slipped in before us, and they no- stood by the 5ault of the 3ochesters, their bac2s to-ards us, 5ie-ing through the rails the old time@stained marble tomb, -here a 2neeling angel guarded the remains of 7amer de 3ochester, slain at 6arston 6oor in the time of the ci5il -ars, and of Elizabeth, his -ife. $ur place -as ta2en at the communion rails. earing a cautious step behind me, I glanced o5er my shoulder% one of the strangersTa gentleman, e5identlyT-as ad5ancing up the chancel. 4he ser5ice began. 4he e"planation of the intent of matrimony -as gone through< and then the clergyman came a step further for-ard, and, bending slightly to-ards 6r. 3ochester, -ent on. UI reuire and charge you both 8as ye -ill ans-er at the dreadful day of !udgment, -hen the secrets of all hearts shall be disclosed9, that if either of you 2no- any impediment -hy ye may not la-fully be !oined together in matrimony, ye do no- confess it. Lane
TET 2: 6o-gli put up his strong bro-n hand, and !ust under JagheeraFs sil2y chin, -here the giant rolling muscles -ere all hid by the glossy hair, he came upon a little bald spot. K4here is no one in the !ungle that 2no-s that I, Jagheera, carry that mar2Tthe mar2 of the collar< and yet, 'ittle Jrother, I -as born among men, and it -as among men that my mother diedTin the cages of the ]ingFs *alace at $odeypore. It -as because of this that I paid the price for thee at the ouncil -hen thou -ast a little na2ed cub. Aes, I too -as born among men. I had ne5er seen the !ungle. 4hey fed me behind bars from an iron pan till one night I felt that I -as Jagheera, the *anther, and no manFs plaything, and I bro2e the silly loc2 -ith one blo- of my pa-, and came a-ay< and because I had (H
Prueba Práctica : Análisis de Textos learned the -ays of men, I became more terrible in the !ungle than Shere ]han. Is it not soQKKAes,K said 6o-gli< Kall the !ungle fear JagheeraTall e"cept 6o-gli.K The Lungle Eoo+ by !udyard Qipling. 6ogli ele5ó su fuerte mano morena , !usto ba!o la sedosa barbila de Jagheera, donde los gigantescos mWsculos enrollados estaban ocultos ba!o el lustroso pelo, se topó con un peueño espacio sin pelo. U o hay nadie en la sel5a ue sepa ue yo, Jagheera, lle5o esta señalT la señal de el collar< A aunue, *eueño ermano, yo nac# entre hombres, y fue entre hombres también ue mi madre murióT en las !aulas del palacio real en $odeypore. ;ue por esto ue yo pagué el precio por tres en el conse!o cuando tW eras peueño cachorro. S#, yo también nac# entre hombres. unca hab#a 5isto la sel5a. 6e alimentaban detrás de los barrotes con una barra de acero hasta ue una noche yo sent# ue era Jagheera , la pantera, y no un !uguete de humanos, romp# el estWpido candado con un soplo de mi garra, y escapé< y puesto ue hab#a aprendido las costumbres humanas, me con5ert# en más temible en la !ungla ue Shere ]han. `5erdad ue es as#Q Us#D di!o 6ogli< 4oda la sel5a teme a JagheeraT todos menos 6o-gliD.
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