Questões de Concursos IF SUDEST MG

Leia o poema e as afirmativas a seguir.

O filho do século

Nunca mais andarei de bicicleta

Nem conversarei no portão

Com meninas de cabelos cacheados

Adeus valsa "Danúbio Azul"

Adeus tardes preguiçosas

Adeus cheiros do mundo sambas

Adeus puro amor

Atirei ao fogo a medalhinha da Virgem

Não tenho forças para gritar um grande grito

Cairei no chão do século vinte

Aguardem-me lá fora

As multidões famintas justiceiras

Sujeitos com gases venenosos

É a hora das barricadas

É a hora da fuzilamento, da raiva maior

Os vivos pedem vingança

Os mortos minerais vegetais pedem vingança

É a hora do protesto geral

É a hora dos vôos destruidores

É a hora das barricadas, dos fuzilamentos

Fomes desejos ânsias sonhos perdidos, M

Misérias de todos os países uni-vos

Fogem a galope os anjos-aviões

Carregando o cálice da esperança

Tempo espaço firmes porque me abandonastes.

MENDES, Murilo. O Visionário. In: Poesia completa e prosa. Rio de Janeiro: Nova Aguilar, 1994, p. 239-240.

I. Pode-se dizer que o poema apresenta dois momentos distintos: o primeiro se refere à época anterior à chegada do novo século e o segundo, ao século XX.

II. Todas as situações mencionadas no poema evocam um mundo em que a vida é simples e prazerosa, parecendo ser proveniente da inocência e da ingenuidade.

III. O novo século é caracterizado ao longo do poema pela dor, pelo sofrimento, pela violência e pela morte e desmonta-se em cenas de desesperança.

IV. No verso “Atirei ao fogo a medalhinha da Virgem” representa-se a descrença espiritual ou o abandono da religião, já que a fé de nada adianta, considerando a realidade que se impõe.

Marque a alternativa CORRETA:

Leia atentamente o fragmento I-Juca-Pirama.

Em fundos vasos d'alvacenta argila

Ferve o cauim;

Enche-se as copas, o prazer começa,

Reina o festim.

O prisioneiro, cuja morte anseia,

Sentado está,

O prisioneiro, que outro sol no ocaso

Jamais verá!

A dura corda, que lhe enlaça o colo,

Mostra-lhe o fim

Da vida escura, que será mais breve

Do que o festim!

Contudo os olhos d'ignóbil pranto

Secos estão;

Mudos os lábios não descerram queixas

Do coração.

Mais um martírio, que encobrir não pode

Em rugas faz

A mentirosa placidez do rosto

Na fronte audaz!

Que tens, guerreiro? Que temor te assalta

No passo horrendo?

Honra das tabas que nascer te viram,

Folga morrendo.

Folga morrendo; porque além dos Andes

Revive o forte,

Que soube ufano contrastar os medos

Da fria morte.

GONÇALVES, Dias. Poesia e Prosa Completa. Rio de Janeiro: Nova Aguilar, 1998, p. 380-381.

Considerando o poema como um todo e seu conhecimento sobre o Romantismo brasileiro, assinale a alternativa CORRETA.

To answer question, read the following text.

The movies that rose from the gave

It may disappear for a while, stay out of sight, out of mind, but sooner or later it will rise again, and no matter what we do, or how hard we try, it will never, ever die. A zombie? Hardly, rather our own fascination with what popular culture now refers to as “the living dead”.

Zombies have dominated mainstream horror for more than half a decade. They’re everywhere: movies, books, videogames, comics, even a new Broadway musical adaptation of Sam Raimi’s The Evil Dead. Not only have they replaced previous alpha-monsters such as vampires and werewolves, (1) ___________ are continuing to generate more interest (and revenue) than almost all other creatures put together. Given that several years ago the living dead were considered an obscure and largely underground sub-genre, it would not be an exaggeration to state that they have enjoyed a spectacular rebirth (2) ___________ anything in the history of modern horror.

Where did these creatures come from? Why are they so popular now? And when, if ever, will their reign of terror cease?

(3) ___________ many cultures have their own myths concerning the raising of the dead (one going as far back as the epic of Gilgamesh), the word “zombie” can trace its origins back to west Africa. The legend involves a “houngan” (wizard) using a magical elixir to transform a living human into a mobile, docile and obedient corpse. The fact that this legend is deeply rooted in reality (Haitian zombie powder was discovered to contain a powerful neuro-toxin that caused a live victim to behave like a resurrected corpse) may explain why, when African slaves were brought to the Americas, European colonists also embraced the notion of the living dead.

For several centuries the voodoo zombie remained the staple of tall tales, stage productions, and even early Hollywood movies (4) ___________White Zombie (1932) and I Walked With a Zombie (1943). It wasn’t until 1968 that up-and-coming film maker George A Romero gave us a whole new reason to be afraid. Night of the Living Dead replaced the image of a harmless voodoo-created zombie with a hostile, flesh-eating ghoul that swelled its numbers to pandemic proportions. This new ghoul was the result of science, not magic, specifically radiation from a returning space probe. This new ghoul could, likewise, only be dispatched by a scientific solution: destroying the brain or severing it from the rest of the body. This new ghoul obeyed no one, (5) ___________its own insatiable craving for living, human flesh. In fact, this new ghoul was only referred to throughout the movie as a ghoul. The word zombie was never mentioned.

Available at :< https://www.theguardian.com/film/2006/nov/10/1>. Acess on: 23 mar. 2018.

Check the alternative that shows the sequence of words that CORRECTLY fill in the spaces 1-5.

Leia o texto a seguir.

Ela era transmitida essencialmente pelos parasitas, principalmente as pulgas e os ratos. Era uma doença exótica, contra a qual os organismos dos europeus não tinham defesas. Veio da Ásia pela rota da seda. Veja: a epidemia, essa catástrofe, é, portanto, também um dos efeitos do progresso, do crescimento.

DUBY, Georges. Ano 1000, ano 2000: na pista dos nossos medos. São Paulo: Editora UNESP, 1999. p, 81.

Read the article “The Olympic Games”, to answer question.

The Olympic Games

The ancient Olympic Games were originally a festival, or celebration of and for Zeus; later, events such as a footrace, a javelin contest, and wrestling matches were added. The Olympic Games were a series of athletic competitions among representatives of city-states and one of the Panhellenic Games of ancient Greece. They were held in honor of Zeus, and the Greeks gave them a mythological origin. The first Olympics is traditionally dated to 776 BC. They continued to be celebrated when Greece came under Roman rule, until the emperor Theodosius I suppressed them in AD 393 as part of the campaign to impose Christianity as the State religion of Rome. The games were held every four years, or olympiad, which became a unit of time in historical chronologies.

During the celebration of the games, an Olympic Truce was enacted so that athletes could travel from their cities to the games in safety. The prizes for the victors were olive leaf wreaths or crowns. The games became a political tool used by city-states to assert dominance over their rivals. Politicians would announce political alliances at the games, and in times of war, priests would offer sacrifices to the gods for victory. The games were also used to help spread Hellenistic culture throughout the Mediterranean. The Olympics also featured religious celebrations. The statue of Zeus at Olympia was counted as one of the seven wonders of the ancient world. Sculptors and poets would congregate each olympiad to display their works of art to would-be patrons.

The ancient Olympics had fewer events than the modern games, and only freeborn Greek men were allowed to participate, although there were victorious women chariot owners. As long as they met the entrance criteria, athletes from any Greek citystate and kingdom were allowed to participate, although the Hellanodikai, the officials in charge, allowed king Alexander I of Macedon to participate in the games only after he had proven his Greek ancestry. The games were always held at Olympia rather than moving between different locations as is the practice with the modern Olympic Games. Victors at the Olympics were honored, and their feats chronicled for future generations.

Available at:<https://en.wikipedia.org/wiki/Ancient_Olympic_Games> . Access on: 23 mar. 2018.

Leia o seguinte soneto.

RECORDO AINDA...

Recordo ainda... e nada mais me importa...

Aqueles dias de uma luz tão mansa

Que me deixavam, sempre, de lembrança,

Algum brinquedo novo à minha porta...

Mas veio um vento de Desesperança

Soprando cinzas pela noite morta!

E eu pendurei na galharia torta

Todos os meus brinquedos de criança...

Estrada afora após segui... Mas, aí,

Embora idade e senso eu aparente

Não vos iludais o velho que aqui vai:

Eu quero os meus brinquedos novamente!

Sou um pobre menino... acreditai!...

Que envelheceu, um dia, de repente!...

QUINTANA, Mário. Nariz de vidro. São Paulo: Moderna, 2003, p. 42.

Marque a alternativa que identifica CORRETAMENTE o eu lírico do soneto.

Read the lyrics below.

Don’t laugh at me

Mark Wills

I’m a little boy with glasses

The one they call the geek

A little girl who never smiles

’Cause I’ve got braces on my teeth

And I know how it feels

To cry myself to sleep

I’m that kid on every playground

Who’s always chosen last

A single teenage mother

Tryin’ to overcome my past

You don’t have to be my friend

But is it too much to ask

Don’t laugh at me

Don’t call me names

Don’t get your pleasure from my pain

In God’s eyes we’re all the same

Someday we’ll all have perfect wings

Don’t laugh at me (…)

Disponível em:<https://www.vagalume.com.br|> . Acesso em: 15 Set. 2017.