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Questões de Concursos FUVEST

Resolva questões de FUVEST comentadas com gabarito, online ou em PDF, revisando rapidamente e fixando o conteúdo de forma prática.

541Q943393 | Arquivologia, Interpretação de Textos, Edital 2022, USP, FUVEST, 2021

Texto associado.

No modelo hegemônico, quase todo o treinamento é reservado para o desenvolvimento muscular, sobrando muito pouco tempo para a mobilidade, a flexibilidade, o treino restaurativo, o relaxamento e o treinamento cardiovascular. Na teoria, seria algo em torno de 70% para o fortalecimento, 20% para o cárdio e 10% para a flexibilidade e outros. Na prática, muitos alunos direcionam 100% do tempo para o fortalecimento.

Como a prática cardiovascular é infinitamente mais significativa e determinante para a nossa saúde orgânica como um todo, podendo ser considerada o “coração” de um treinamento consciente e saudável, essa ordem deveria ser revista.

Nuno Cobra Jr. “Fitness não é saúde”. Uol. 06/05/2021. Adaptado.

Sem alteração de sentido, o segundo parágrafo do texto poderia ser reescrito da seguinte maneira:
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542Q943415 | Inglês, Edital 2022, USP, FUVEST, 2021

Lying, thinking

Last night

How to find my soul a home

Where water is not thirsty

And bread loaf is not stone

I came up with one thing

And I don't believe I'm wrong

That nobody,

But nobody

Can make it out here alone

Alone - Maya Angelou

Os versos do poema

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543Q945818 | Física, Conteúdos Básicos, Vestibular, USP, FUVEST, 2019

Em 20 de maio de 2019, as unidades de base do Sistema Internacional de Unidades(SI) passaram a ser definidas a partir de valores exatos de algumas constantes físicas. Entre elas, está a constante de Planck ݄h, que relaciona a energia E de um fóton (quantum de radiação eletromagnética) coma sua frequência݂ f na forma E = hf.
A unidade da constante de Planck em termos das unidades de base do SI (quilograma, metro e segundo) é:
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544Q1020083 | Inglês, Vocabulário Vocabulary, Edital n 46, USP, FUVEST, 2025

Texto associado.
Extraterrestrial tongues


The challenge of imagining alien communication is highlighted in the film Arrival (2016), where linguists confront a language strikingly different from any on Earth. While fictional alien languages like Klingon (Star Trek) often resemble human languages with variations in sound or syntax, the possibilities for extraterrestrial tongues are far more diverse. To truly grasp the potential for alien linguistic systems, we must consider the fundamental components of language itself: signs, structure, semantics, and pragmatics.

The first level, signs, encompasses the means of expression, which could extend beyond spoken words and written symbols to include gestures, smells (as in animal communication), or even electrical impulses. Structure, the second level, involves the organization of language, including grammar and syntax. While we might initially assume alien languages would share structural similarities with our own, they could radically differ, potentially lacking familiar elements like nouns or verbs, or employing entirely novel grammatical categories, perhaps akin to the way maps convey information.

Semantics, the third level, deals with meaning. Here, the problem of untranslatability arises. While some differences in meaning between human languages exist (e.g., the German word "Fernweh"), alien languages might present more fundamental challenges. If aliens perceive and categorize the world in fundamentally different ways, their language might express concepts we struggle to even grasp.

Despite these obstacles, communication may still be possible. Shared needs, such as describing the world or giving commands, could provide a basis for finding points of connection between alien and human languages. Pragmatics, the fourth level, concerns how language is used in context, including metaphors and social conventions. Differences at this level, particularly when combined with semantic differences, as illustrated by the Tamarian language in Star Trek: The Next Generation, can further complicate understanding.

Ultimately, contemplating the possibilities of alien communication pushes us to expand our understanding of language itself. It encourages us to move beyond our "anthropocentric bubble" and consider that alien languages might possess levels or structures we haven't yet imagined, potentially transforming our perspectives on consciousness, intelligence, and what it means to communicate.


Aeon, April 9th, 2025,(Adaptado)
A palavra “grasp” (1º parágrafo) pode ser substituída, sem alterações substanciais de sentido, por
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545Q678925 | Português, Interpretação de Textos, Primeira Fase OAB, FUVEST, FUVEST, 2019

Texto associado.

Uma planta é perturbada na sua sesta* pelo exército que a pisa.

Mas mais frágil fica a bota.

Gonçalo M. Tavares, 1: poemas.


*sesta: repouso após o almoço.

O ditado popular que se relaciona melhor com o poema é:
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546Q951107 | Português, Interpretação de Textos, Primeira Fase OAB, USP, FUVEST, 2018

O oxímoro é uma “figura em que se combinam palavras de sentido oposto que parecem excluir‐se mutuamente, mas que, no contexto, reforçam a expressão” (HOUAISS, 2001). No poema “Sonetilho do falso Fernando Pessoa”, o emprego dessa figura de linguagem ocorre em:
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547Q945789 | Matemática, Áreas e Perímetros, Vestibular, USP, FUVEST, 2019

A menor esfera na qual um paralelepípedo reto‐retângulo de medidas 7 cm × 4 cm × 4 cm está inscrito tem diâmetro de
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548Q945798 | Português, Interpretação de Textos, Vestibular, USP, FUVEST, 2019

Texto associado.
TEXTOS PARA A QUESTÃO

Os textos literários são obras de discurso, a que falta a imediata referencialidade da linguagem corrente; poéticos, abolem, “destroem” o mundo circundante, cotidiano, graças à função irrealizante da imaginação que os constrói. E prendem‐nos na teia de sua linguagem, a que devemo poder de apelo estético que nos enleia; seduz‐nos o mundo outro, irreal, neles configurado (...). No entanto, da adesão a esse “mundo de papel”, quando retornamos ao real, nossa experiência, ampliada e renovada pela experiência da obra, à luz do que nos revelou, possibilita redescobri‐lo, sentindo‐o e pensando‐o de maneira diferente e nova. A ilusão, a mentira, o fingimento da ficção, aclara o real ao desligar‐se dele, transfigurando‐o; e aclara‐o já pelo insight que em nós provocou.
Benedito Nunes, “Ética e leitura”, de Crivo de Papel.

O que eu precisava era ler um romance fantástico, um romance besta, em que os homens e as mulheres fossem criações absurdas, não andassem magoando‐se, traindo‐se. Histórias fáceis, sem almas complicadas. Infelizmente essas leituras já não me comovem.
Graciliano Ramos, Angústia.

Romance desagradável, abafado, ambiente sujo, povoado de ratos, cheio de podridões, de lixo. Nenhuma concessão ao gosto do público. Solilóquio doido, enervante.
Graciliano Ramos, Memórias do Cárcere, em nota a respeito de seu livro Angústia.
Para Graciliano Ramos, Angústia não faz concessão ao gosto do público na medida em que compõe uma atmosfera
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549Q1020085 | Inglês, Interpretação de Texto Reading Comprehension, Edital n 36, USP, FUVEST, 2025

Texto associado.
Leveraging Student Interests to Teach Critical Analysis


Critical analysis often feels burdensome to students—an exercise in sorting hazy ideas with no clear payoff. Yet, when learners glimpse something of value—a “gem” amid the clutter—the process becomes not just manageable but invigorating. By tapping into topics they already care about, we can model the habits of mind involved in deep thinking before guiding students into unfamiliar territory. In this way, what begins as an exploration of personal passion becomes a transferable skill for any subject.

First, invite students to choose a subject that genuinely interests them—whether it’s dissecting the social commentary in a favorite song or debating the ethics of a beloved athlete’s off-field behavior. Guide them through selecting an analytical angle, unpacking layers of meaning, and celebrating discoveries. As they experience critical analysis as an energizing process rather than a dry requirement, they build confidence in their own intellectual curiosity and learn to seek connections between ideas.

Next, when faced with assignments that initially seem remote—say, an art critique or a historical essay—provide a lens that resonates with each student’s strengths. A budding fiction writer, for example, can approach a painting as she would a story: considering character, narrative arc, and emotional impact. By framing unfamiliar topics through familiar mindsets, you grant students an entry point that makes critical analysis feel both relevant and compelling.

Once students have internalized the underlying process, encourage them to take the reins. Rather than asking, “What does this mean?” shift to, “What does this mean to me?” Students might analyze ecological themes in a novel from their passion for climate justice, or reinterpret a political speech through the lens of family heritage. These personal connections transform assignments from obligatory tasks into opportunities for authentic inquiry.

Ultimately, teaching critical analysis in this way moves learners from guided practice to independent exploration. By beginning with their interests, scaffolding new angles, and then inviting student-driven investigations, educators can help every learner—from the avid gamer to the reluctant essaywriter—carry these skills into diverse subjects. In doing so, critical analysis becomes not a chore but a doorway to richer understanding.


Edutopia, May, 1st, 2025
Leia o excerto a seguir que apresenta um resumo, em inglês, do texto original:

“After modeling the analysis process through students’ interests and providing familiar lenses for new topics, the author suggests that in the final stage, students independently apply this method to subjects previously unknown to them.”

Em relação ao trecho apresentado, qual das situações descritas a seguir melhor exemplifica o estágio em que o aluno “tome o controle” do próprio processo de aprendizagem?
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550Q1023773 | Inglês, Palavras Conectivas Connective Words, Técnico Administrativo, USP, FUVEST, 2023

Texto associado.
TEXTO PARA A QUESTÃO


We' ve been given no shortage of digital tools that should, in theory, help us work better, with more focus and efficiency, and connect us more easily with our colleagues. Instead, email, instant messaging, remote-meeting apps, work-flow and project-management software can feel like buckets with holes in the bottom, maddeningly inadequate to the task of keeping us from drowning in work. It' s clear that something in the great digital-workplace experiment has gone wrong. Or maybe it' s more accurate to say that it' s still too early to expect that we would have figured out how to make things go right. "We' re working now with new technologies that only emerged in the "90s," says Cal Newport, a Georgetown computer-science professor. "The idea that we immediately figured out the best way to use them is ahistorical. Of course we haven' t gotten it right yet."

Disponível em http://www.nytimes.com (adaptado).

Observe o seguinte trecho do texto:

"Instead, email, instant messaging, remote-meeting apps, work-flow and project-management software can feel like buckets with holes in the bottom [...]".

O emprego do termo "instead", no contexto em que se encontra, indica que, no ambiente de trabalho, as ferramentas digitais

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551Q943403 | Português, Interpretação de Textos, Edital 2022, USP, FUVEST, 2021

Chega um momento em que a tensão eu/mundo se exprime mediante uma perspectiva crítica, imanente à escrita, o que torna o romance não mais uma variante literária da rotina social, mas o seu avesso; logo, o oposto do discurso ideológico do homem médio. O romancista “imitaria” a vida, sim, mas qual vida? Aquela cujo sentido dramático escapa a homens e mulheres entorpecidos ou automatizados por seus hábitos cotidianos. A vida como objeto de busca e construção, e não a vida como encadeamento de tempos vazios e inertes. Caso essa pobre vidamorte deva ser tematizada, ela aparecerá como tal, degradada, sem a aura positiva com que as palavras “realismo” e “realidade” são usadas nos discursos que fazem a apologia conformista da “vida como ela é”... A escrita da resistência, a narrativa atravessada pela tensão crítica, mostra, sem retórica nem alarde ideológico, que essa “vida como ela é” é, quase sempre, o ramerrão de um mecanismo alienante, precisamente o contrário da vida plena e digna de ser vivida.

É nesse sentido que se pode dizer que a narrativa descobre a vida verdadeira, e que esta abraça e transcende a vida real. A literatura, com ser ficção, resiste à mentira. É nesse horizonte que o espaço da literatura, considerado em geral como lugar da fantasia, pode ser o lugar da verdade mais exigente.

Alfredo Bosi. “Narrativa e resistência”. Adaptado.

O conceito de resistência, expresso pela tensão do indivíduo perante o mundo, adquire perspectiva crítica na escrita do romance quando o autor

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552Q951108 | Português, Interpretação de Textos, Primeira Fase OAB, USP, FUVEST, 2018

Texto associado.

I. Cinquenta anos! Não era preciso confessá‐lo. Já se vai sentindo que o meu estilo não é tão lesto* como nos primeiros dias. Naquela ocasião, cessado o diálogo com o oficial da marinha, que enfiou a capa e saiu, confesso que fiquei um pouco triste. Voltei à sala, lembrou‐me dançar uma polca, embriagar‐ me das luzes, das flores, dos cristais, dos olhos bonitos, e do burburinho surdo e ligeiro das conversas particulares. E não me arrependo; remocei. Mas, meia hora depois, quando me retirei do baile, às quatro da manhã, o que é que fui achar no fundo do carro? Os meus cinquenta anos.

*ágil


II. Meu caro crítico,

Algumas páginas atrás, dizendo eu que tinha cinquenta anos, acrescentei: “Já se vai sentindo que o meu estilo não é tão lesto como nos primeiros dias”. Talvez aches esta frase incompreensível, sabendo‐se o meu atual estado; mas eu chamo a tua atenção para a sutileza daquele pensamento. O que eu quero dizer não é que esteja agora mais velho do que quando comecei o livro. A morte não envelhece. Quero dizer, sim, que em cada fase da narração da minha vida experimento a sensação correspondente. Valha‐me Deus! é preciso explicar tudo.

Machado de Assis, Memórias Póstumas de Brás Cubas.

E grita a piranha cor de palha, irritadíssima:

– Tenho dentes de navalha, e com um pulo de ida‐e‐volta resolvo a questão!...

– Exagero... – diz a arraia – eu durmo na areia, de ferrão a prumo, e sempre há um descuidoso que vem se espetar.

– Pois, amigas, – murmura o gimnoto*, mole, carregando a bateria – nem quero pensar no assunto: se eu soltar três pensamentos elétricos, bate‐poço, poço em volta, até vocês duas boiarão mortas...

*peixe elétrico.

Esse texto, extraído de Sagarana, de Guimarães Rosa,

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553Q1020080 | Inglês, Interpretação de Texto Reading Comprehension, Edital n 48, USP, FUVEST, 2025

Texto associado.
Texto para a questão


Extraterrestrial tongues


The challenge of imagining alien communication is highlighted in the film Arrival (2016), where linguists confront a language strikingly different from any on Earth. While fictional alien languages like Klingon (Star Trek) often resemble human languages with variations in sound or syntax, the possibilities for extraterrestrial tongues are far more diverse. To truly grasp the potential for alien linguistic systems, we must consider the fundamental components of language itself: signs, structure, semantics, and pragmatics.

The first level, signs, encompasses the means of expression, which could extend beyond spoken words and written symbols to include gestures, smells (as in animal communication), or even electrical impulses. Structure, the second level, involves the organization of language, including grammar and syntax. While we might initially assume alien languages would share structural similarities with our own, they could radically differ, potentially lacking familiar elements like nouns or verbs, or employing entirely novel grammatical categories, perhaps akin to the way maps convey information.

Semantics, the third level, deals with meaning. Here, the problem of untranslatability arises. While some differences in meaning between human languages exist (e.g., the German word "Fernweh"), alien languages might present more fundamental challenges. If aliens perceive and categorize the world in fundamentally different ways, their language might express concepts we struggle to even grasp.

Despite these obstacles, communication may still be possible. Shared needs, such as describing the world or giving commands, could provide a basis for finding points of connection between alien and human languages. Pragmatics, the fourth level, concerns how language is used in context, including metaphors and social conventions. Differences at this level, particularly when combined with semantic differences, as illustrated by the Tamarian language in Star Trek: The Next Generation, can further complicate understanding.

Ultimately, contemplating the possibilities of alien communication pushes us to expand our understanding of language itself. It encourages us to move beyond our "anthropocentric bubble" and consider that alien languages might possess levels or structures we haven't yet imagined, potentially transforming our perspectives on consciousness, intelligence, and what it means to communicate.


Aeon, April 9th, 2025,(Adaptado)
"The first level, signs, encompasses the means of expression."

Em relação ao texto apresentado, qual das seguintes reestruturações desse trecho mantém o sentido original, manifesta ênfase semelhante e é gramaticalmente correta?
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554Q1024974 | Inglês, Interpretação de Texto Reading Comprehension, Edital n 46, USP, FUVEST, 2025

Texto associado.
Extraterrestrial tongues


The challenge of imagining alien communication is highlighted in the film Arrival (2016), where linguists confront a language strikingly different from any on Earth. While fictional alien languages like Klingon (Star Trek) often resemble human languages with variations in sound or syntax, the possibilities for extraterrestrial tongues are far more diverse. To truly grasp the potential for alien linguistic systems, we must consider the fundamental components of language itself: signs, structure, semantics, and pragmatics.

The first level, signs, encompasses the means of expression, which could extend beyond spoken words and written symbols to include gestures, smells (as in animal communication), or even electrical impulses. Structure, the second level, involves the organization of language, including grammar and syntax. While we might initially assume alien languages would share structural similarities with our own, they could radically differ, potentially lacking familiar elements like nouns or verbs, or employing entirely novel grammatical categories, perhaps akin to the way maps convey information.

Semantics, the third level, deals with meaning. Here, the problem of untranslatability arises. While some differences in meaning between human languages exist (e.g., the German word "Fernweh"), alien languages might present more fundamental challenges. If aliens perceive and categorize the world in fundamentally different ways, their language might express concepts we struggle to even grasp.

Despite these obstacles, communication may still be possible. Shared needs, such as describing the world or giving commands, could provide a basis for finding points of connection between alien and human languages. Pragmatics, the fourth level, concerns how language is used in context, including metaphors and social conventions. Differences at this level, particularly when combined with semantic differences, as illustrated by the Tamarian language in Star Trek: The Next Generation, can further complicate understanding.

Ultimately, contemplating the possibilities of alien communication pushes us to expand our understanding of language itself. It encourages us to move beyond our "anthropocentric bubble" and consider that alien languages might possess levels or structures we haven't yet imagined, potentially transforming our perspectives on consciousness, intelligence, and what it means to communicate.


Aeon, April 9th, 2025,(Adaptado)
"The first level, signs, encompasses the means of expression."

Em relação ao texto apresentado, qual das seguintes reestruturações desse trecho mantém o sentido original, manifesta ênfase semelhante e é gramaticalmente correta?
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555Q1073721 | Informática, Software, Analista de Comunicação, USP, FUVEST, 2025

“A maioria da população brasileira usa internet apenas pelo celular, diz pesquisa. Mapeamento TIC Domicílios aponta que 29 milhões de pessoas não têm acesso à internet no Brasil, sendo a maioria moradora de áreas rurais.Quase a totalidade (99%) dos usuários de internet brasileiros conectou-se à rede pelo telefone celular, que segue como o dispositivo mais utilizado para essa finalidade. No total, 58% de usuários disseram ter se conectado apenas pelo telefone celular, e 41% afirmaram usar tanto o celular, quanto o computador.”

https://www.terra.com.br/byte/maioria-da-populacao-brasileira-usainternet-apenas-pelo-celular-diz-pesquisa/.


Considerando o contexto brasileiro de acesso à internet, a alternativa que contém um exemplo de recurso mais adequado para o desenvolvimento responsivo em CSS é
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556Q945800 | Português, Interpretação de Textos, Vestibular, USP, FUVEST, 2019

Texto associado.
TEXTO PARA A QUESTÃO

Uma planta é perturbada na sua sesta* pelo exército que a pisa.
Mas mais frágil fica a bota.
Gonçalo M. Tavares, 1: poemas.

*sesta: repouso após o almoço.
Considerando que se trata de um texto literário, uma interpretação que seja capaz de captar a sua complexidade abordará o poema como
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557Q1020084 | Inglês, Vocabulário Vocabulary, Edital n 36, USP, FUVEST, 2025

Texto associado.
Leveraging Student Interests to Teach Critical Analysis


Critical analysis often feels burdensome to students—an exercise in sorting hazy ideas with no clear payoff. Yet, when learners glimpse something of value—a “gem” amid the clutter—the process becomes not just manageable but invigorating. By tapping into topics they already care about, we can model the habits of mind involved in deep thinking before guiding students into unfamiliar territory. In this way, what begins as an exploration of personal passion becomes a transferable skill for any subject.

First, invite students to choose a subject that genuinely interests them—whether it’s dissecting the social commentary in a favorite song or debating the ethics of a beloved athlete’s off-field behavior. Guide them through selecting an analytical angle, unpacking layers of meaning, and celebrating discoveries. As they experience critical analysis as an energizing process rather than a dry requirement, they build confidence in their own intellectual curiosity and learn to seek connections between ideas.

Next, when faced with assignments that initially seem remote—say, an art critique or a historical essay—provide a lens that resonates with each student’s strengths. A budding fiction writer, for example, can approach a painting as she would a story: considering character, narrative arc, and emotional impact. By framing unfamiliar topics through familiar mindsets, you grant students an entry point that makes critical analysis feel both relevant and compelling.

Once students have internalized the underlying process, encourage them to take the reins. Rather than asking, “What does this mean?” shift to, “What does this mean to me?” Students might analyze ecological themes in a novel from their passion for climate justice, or reinterpret a political speech through the lens of family heritage. These personal connections transform assignments from obligatory tasks into opportunities for authentic inquiry.

Ultimately, teaching critical analysis in this way moves learners from guided practice to independent exploration. By beginning with their interests, scaffolding new angles, and then inviting student-driven investigations, educators can help every learner—from the avid gamer to the reluctant essaywriter—carry these skills into diverse subjects. In doing so, critical analysis becomes not a chore but a doorway to richer understanding.


Edutopia, May, 1st, 2025
Na oração “Once students have internalized the underlying process, encourage them to take the reins.” a expressão take the reins tem o mesmo sentido da expressão destacada em:
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558Q1073722 | Informática, Internet, Analista de Comunicação, USP, FUVEST, 2025

Considere os elementos de tag HTML a seguir e assinale aquele que possui a identificação correta.
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559Q1024676 | Inglês, Interpretação de Texto Reading Comprehension, Bibliotecário, USP, FUVEST, 2024

Texto associado.
TEXTO PARA A QUESTÃO


Ethical codes evolve in response to changing conditions, values, and ideas. A professional code of ethics must, therefore, be periodically updated, and also rest upon widely shared values.

Although the operating environment of museums grows more complex each year, the root value for museums, the tie that connects all of us together despite our diversity, is the commitment to serving people, both present and future generations.

Historically, museums have owned and used natural objects, living and non-living, and all manner of human artifacts to advance knowledge and nourish the human spirit. Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving, as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends. Their numbers include both governmental and private museums.

The museum universe in the United States includes both collecting and noncollecting institutions. Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public. Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits, and programs that invite public participation.

Taken as a whole, museum collections and exhibition materials represent the world's natural and cultural common wealth. As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience. It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited. It is also incumbent upon them to preserve that inheritance for posterity.


www.aam-us.org/museumresources/ethics/coe.cfm. Acessado em
22/02/2024. Adaptado.
De acordo com o texto, em relação à diversidade, a função central dos museus norte-americanos compreende
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560Q1024767 | Inglês, Interpretação de Texto Reading Comprehension, Tecnico de Laboratorio, USP, FUVEST, 2025

Texto associado.
The idea of time blindness, or difficulty perceiving and managing time, has spread across social media. While there is no diagnosis for it, some people explain that, despite their best efforts, they frequently lose track of time, underestimate or overestimate how long tasks will take, show up late, and miss deadlines.

Time blindness is a psychological phenomenon that nearly everyone experiences from time to time, said Michael Manos, at the Cleveland Clinic.

“Who doesn’t get completely occupied with a hobby or a conversation they’re having with somebody, or some kind of activity that is so interesting that it occupies attention, and it takes attention away from other things that might be pressing?” he said.

Not all experts agree, but some suggest that it could be a limitation for some people.

Renae Beaumont, an associate professor of psychology in clinical psychiatry, said time blindness and flow, a state of intense focus in an activity that is engaging, enjoyable and temporarily distracts from the passage of time, are different phenomena.

“Flow is typically associated with positive emotions when you’re doing something you enjoy, and you are able to shift to a different task when you need to. Time blindness involves getting stuck, losing track of time and typically having trouble transitioning to a different task,” she said.

There is no clear consensus, but some researchers consider time blindness to be an impairment in temporal perception, or the way the brain experiences time.

Certain strategies may help people who struggle with time perception and management, experts said.

Use digital reminders including alarms, timers and calendars to keep track of appointments, dates and deadlines.

Washington Post. February 5, 2025. Adaptado.
Conforme o texto, uma característica do conceito de “flow” envolve
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