Texto 5.

HORACE WALPOLE, an 18th-century British author and collector, wrote that William Kent “was so much consulted by all who affected taste that nothing was thought complete without his assistance”. Kent was both prolific and polymathic—an architect, sculptor, painter, decorator and designer who dazzled Georgian Britain with his glitzy brand of Palladianism.

His surviving work includes the Treasury and Horse Guards buildings in London, and the interiors and furniture for some of Britain’s treasure houses, including Chiswick House in west London and Houghton Hall in Norfolk. The British artist was the originator of the English landscape garden and was responsible for the reintroduction of Palladian architecture to the country. The newly installed Hanoverian royal family became patrons: he was commissioned by Queen Caroline, wife of George II, to create a library at St James’s Palace, and by Frederick, the king’s eldest son, to design a royal barge. So why has Kent spent the better part of the two-and-a-half centuries since his death being largely disregarded?

A principal reason is that even during his lifetime he was divisive. William Hogarth, a satirical printmaker and a self-appointed champion of Britishness, despised the Italianate Kent. Hogarth called him a “contemptible dauber” and, in a popular print titled “The Bad Taste of the
Town”, showed “KNT” at the apex of the many follies unfurling over London. By the time Kent died in April 1748 the fickle eye of fashion had moved on to the neoclassicism of the Adam brothers and the Gothic revival. Obituaries were perfunctory: most took the same tone as the General Advertiser, which brusquely reported that Kent had died “of a Mortification of his Bowels”.

A new show aims to bring “Kentissime”—a term coined by Walpole—back to the limelight. The exhibition is the third in a collaborative series of monographs exploring Georgian “tastemakers”, organised by the Victoria and Albert Museum in London and the Bard Graduate Centre in New York. It sketches out Kent’s career, from his humble start as the son of a rural joiner and his first job as a coach-painter in Hull. It shows how his fortunes changed at the age of 23 when benefactors sent him to Italy. He returned a decade later as a favourite of the third Earl of Burlington, a young, fantastically wealthy gentleman architect with a deep desire to become the central arbiter of British taste. It was under his patronage and influence that Kent became one of the most sought-after designers and landscape gardeners of the day.

The exhibition contains around 200 pieces of Kent’s work, including plans, never realised, for redesigned Houses of Parliament. It also includes examples of his gilt furniture, much loved by some, but loathed by detractors as exemplifying his showy, deceitful style. Julius Bryant, one of the show’s curators and a longstanding Kent fan, says it will challenge ideas of good taste. “People who come expecting English understatement are in for a nasty surprise,” he says. “He was in-your-face and brash. And his clients loved it.”

“William Kent: Designing Georgian Britain” is at the Victoria and Albert Museum, in London, until July 13th From the print edition: Books and arts Source: <http://www.economist.com/node/21599329/print> Accessed on March 20th (adapted.)

According to the text, choose the correct alternative.

História do rock brasiliense contada por Irlam
Rocha Lima, repórter do Correio Braziliense

Confesso que cheguei atrasado ao rock de Brasília. Quando desci ao porão do Cafofo, bar que Rênio Quintas e sócios tinham na comercial da 407 Norte, para assistir a um ensaio do Aborto Elétrico, o barulho já se espalhava por vários pontos da cidade. Eu era ligado à MPB de Caetano, Chico, Gil, Milton, Gal, Bethânia, Elis, Nara e Novos Baianos e achava muito tosco aquele som que os roqueiros brasilienses faziam.

Depois que Renato Russo veio à redação do Correio para divulgar o festival que ia acontecer no teatro da Associação Brasiliense de Odontologia (ABO), na 916 Sul, e me mostrou a letra de algumas de suas músicas, inclusive Geração Coca-Cola, despertou-me grande curiosidade. Desde então, passei a acompanhar de perto tudo o que ele e seus companheiros de movimento vinham fazendo.

Assisti aos shows do Temporada de Rock, na ABO, e tomei conhecimento do trabalho das bandas que se apresentaram no festival: Legião Urbana, Plebe Rude, Capital Inicial (ainda sem Dinho Ouro Preto nos vocais), XXX e Banda 69. À época, a Plebe era a mais falada. Depois “descobri” Escola de Escândalo e passei a ouvir o que o vocalista Bernardo Mueller tinha a dizer. Fui a alguns shows do Escola, inclusive no Circo Voador (Rio de Janeiro), e ficava impressionado com a guitarra do “Fejão”, para muitos o melhor guitarrista da história do rock brasiliense. Frustrei-me por não ver o Escola, com seu trabalho original, seguir a trajetória da Legião, do Capital e da Plebe, gravando disco e sendo reconhecido
nacionalmente.

Disponível em: <http://www.correiobraziliense.com.br/app/noticia/

especiais/brasilia-capital-do-rock/2013/03/07/InternaBSBCapital Rock,353299/historia-do-rock-brasiliense-contada-por-reporter-docorreio- braziliense.shtml>. Acesso em: 21/3/2014, com adaptações

Nas passagens “Eu era ligado à MPB de Caetano”, “Depois que Renato Russo veio à redação do Correio” e “À época, a Plebe era a mais falada", o emprego da crase é

Unas fiestas singulares

Las fiestas en honor a Sanfermín combinan lo oficial con lo popular, lo religioso con lo profano, lo local con lo foráneo. Es una semana larga que va del 6 al 14 de julio.

Muchos turistas suelen viajar a España para ver esas fiestas, contratan diferentes empresas de turismos especializadas aunque algunos de ellos (los turistas) terminen estafados en lo que a servicios se refiere.

¿Cómo es la fiesta? El pueblo con los pañuelos en la mano, agitándolos al viento, los callejones se convierten en un mar rojo de olas triangulares que sólo se sosiegan cuando las manecillas del reloj se unen arriba.

Son las doce en punto cuando un miembro del consistorio prende la mecha ágil del chupinazo y un estruendo creciente invade la fiesta. Y el culto religioso y formal se combina con el culto a los toros y el culto al vino.

Indique la opción correcta. En la línea 2, “lo religioso, lo profano” ambos “lo” son: