(UNIFESP) Longevity: Habits May Extend Life Only So Much

 By Nicholas Bakalar

August 8, 2011

The eating, drinking and exercise habits of extremely old but healthy people differ little from those of the rest of us, a new study has found. Gerontologists at the Albert Einstein College of Medicine recruited 477 Ashkenazi Jews ages 95 to 112 who were living independently. The researchers took blood samples, did physical examinations and obtained detailed personal and medical histories from each participant. Then they compared them with 1,374 non-Hispanic white adults, ages 65 to 74, from the general population. For both men and women, consumption of alcohol, amount of physical activity and the percentage of people on low-calorie or low-salt diets were almost identical in the two groups.

Long-lived men were less likely to be obese than their younger counterparts, although no less likely to be overweight. The oldest women were more likely to be overweight and less likely to be obese. More men among the oldest were nonsmokers, but smoking habits were not significantly different among the women.

____1_____ that it all depends on genes, and we might as well eat, drink and be merry? No, according to the senior author, Dr. Nir Barzilai, director of the Institute for Aging Research at Albert Einstein College of Medicine. “For most of us who ___2____ genes for longevity,” he said, “if you follow the healthy lifestyle the medical community has put forth, you are ____3_____ to live past 80.”The study was published online last week in The Journal of the American Geriatrics Society.

(www.nytimes.com. Adaptado.) 

Assinale a alternativa que completa corretamente a lacuna 2 do texto.

(UERJ) The art of difference

Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process?

¹A vision based on ideologies solves both challenges of sharing – the interpretation of the past and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly ²and non-conformist doubts produce suspicion.

A democratic vision – shared aspirations for the future, based on negotiated interpretations of the past that respect diversity – is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, ¹¹though, that this social engineering is a phantasm, largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity by trying to mould memories and hopes.

Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such “engineering”. ¹²Nevertheless, despite this, and maybe even because of it, we cannot give up trying the ³impossible: to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an ⁴unlikely scenario, can art play this part?

The role of art is precisely to keep inspiration alive, to deconstruct ideology, to ⁵recall the necessary dream of freedom, of the individual and of the common good beyond the “either/or” and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion.

What makes art so unique? And why? Because the best narratives of art are purpose-free, uniquely non-instrumental, simply human. Art narrates what we don’t understand in ⁷enlightened ways. Artists in particular offer a wealth of ⁶unseen perspectives and ⁸unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the ⁹unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be ¹⁰intercultural – and art will be the ally in the art of difference that needs to be further developed. “Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence.

Gottfried Wagner alliancepublishing.org

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The verb tense that makes the ideas in the text seem true is:

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¡Atención viajeros!: la seguridad debe ser parte del equipaje

 El pasaporte original mejor no sacarlo, ¿dinero? sólo lo necesario y siempre pero siempre, caminar en compañía de una persona de confianza. Que no le roben en Quito y en ninguna otra ciudad.   La cámara de fotos y video, así como los grandes bolsos son características inconfundibles de los extranjeros. Sin embargo, los mismos constituyen grandes atractivos para la delincuencia. Por eso, entre el pasaporte y los tickets de avión los turistas deberían empacar algunas ‘medidas de seguridad’. Adaptación: http://www.ciudadaniainformada.com/

  De acuerdo al texto, un viajero debe

O texto I, a seguir, é um sumário da revista Ciência Hoje para Crianças do mês de março de 2012. O texto II é um verbete do Dicionário de Gêneros Textuais, de Sérgio Roberto Costa. Analise os dois textos para responder à questão

TEXTO I

TEXTO II

SUMÁRIO (v. ABSTRATO/ABSTRACT, CATÁLOGO, ÍNDICE, GLOSSÁRIO, LISTA, RELAÇÃO, RESUMO, ROL, SINOPSE, TÁBUA, TABELA):  resumo (v.) dos pontos principais de livro, discurso (v.), exposição (v.), dissertação (v.), tese (v.) etc. Resumo (v.), indicação de poucas linhas, no início de um capítulo, do assunto nele tratado. Como sinônimo de índice (v.), discriminação das principais divisões de uma obra, documento (v.), etc. (com títulos, seções, etc.), dentro da mesma ordem em que a matéria aí aparece, geralmente acrescida da indicação dos números de páginas em que as divisões estão respectivamente localizadas.  

O texto I se estrutura por meio

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