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La integración regional en Latinoamérica

El tema de la integración regional es un asunto ampliamente discutido por muchos investigadores de Relaciones Internacionales, Geografía, Economía y otras ciencias. El proceso de integración regional entre Estados nacionales sucede, básicamente, cuando se mezclan, confunden y fusionan de forma voluntaria con sus vecinos. Al hacerlo, estos Estados pierden ciertos atributos fácticos de la soberanía, ya que adoptan nuevas técnicas para resolver en conjunto sus conflictos.
Es destacable que América Latina haya intentado diferentes estrategias de cooperación e integración a lo largo de las últimas décadas. La región tiene diversas organizaciones subregionales de integración como, por ejemplo, la Comunidad Andina de Naciones (CAN), la Asociación Latinoamericana de Integración (ALADI) y el Mercado Común del Sur (MERCOSUR). Sin embargo, estas organizaciones no han logrado mostrarse actores coherentemente unificados, aunque tengan intereses en común. Por lo tanto, esta es la mayor dificultad de estos países latinos, o sea, trabajar juntos en la búsqueda de soluciones no necesariamente enfocadas a nivel nacional, sino de toda la región latinoamericana.
Varios investigadores han analizado cuáles son las causas de estos obstáculos para la unificación en Latinoamérica. Además de los problemas de la falta de coordinación de políticas comerciales comunes, los inconvenientes causados por la pobreza, la desigualdad social y la corrupción tienen una presencia negativa responsable de gran parte de las dificultades para alcanzar una Latinoamérica integrada.
Otro punto que parece recibir pocas inversiones para ampliar la conexión de Latinoamérica es la cuestión cultural. La región tiene diversos aspectos culturales en común, inclusive la misma lengua hablada en, por lo menos, 18 países de su espacio geográfico. No obstante, se puede inferir que este factor no influye significativamente para la integración de América Latina, es decir, somos parecidos y tenemos intereses en común, pero insistimos en actuar separadamente. Así mismo, la ausencia de más políticas culturales que puedan integrar mejor a los países dificulta el acceso a la cultura entre ellos.

(Oliveira Cardoso, Larissa – Revista de Estudios Brasileños – Universidad de Salamanca Adapt.)
Tras el análisis del siguiente fragmento del artículo y el conocimiento sobre tiempos verbales, enseñala la opción que trae la mejor comprensión, en portugués, para la locución verbal destacada: “Es destacable que América Latina haya intentado diferentes estrategias de cooperación […](2º§)
Os pensadores da Escola Jônica buscaram explicar o mundo por meio de um princípio único e racional, denominado arché. Com base nos fundamentos da Escola Jônica, identifique corretamente o elemento que cada pensador considerava como arché.
Em uma escola que atende a etapa do ensino fundamental (anos iniciais e anos finais), duas professoras regentes de turma com formação exclusiva em pedagogia têm experiência com alunos público-alvo da educação especial e solicitam o cumprimento integral da jornada de trabalho, atuando como professoras especializadas em educação especial na Sala de Recursos Multifuncionais (SRM). Considerando a legislação sobre o tema, é correto afirmar que o pedido:
Uma professora de educação física planeja incluir a dança criativa no currículo escolar de uma turma do ensino fundamental. Durante a elaboração de sua proposta pedagógica, a professora analisa os fundamentos e os objetivos da dança criativa e percebe que há pontos que precisam de atenção para não serem confundidos com outros métodos. NÃO corresponde a um princípio ou objetivo da dança criativa no contexto escolar:
Na organização do Atendimento Educacional Especializado (AEE), a equipe pedagógica envolvida é responsável por organizar o uso da Sala de Recursos Multifuncionais (SRM). Considerando as orientações da Instrução Normativa nº 003/2024 – DEDUC/SEED do estado do Paraná, qual a organização possível?
A política nacional de educação especial na perspectiva da educação inclusiva é construída por diferentes atores e marcos normativos, dentre eles o Decreto nº 7.611/2011, que dispõe, dentre outras providências, da educação especial e do atendimento educacional especializado. Assinale a alternativa que descreve corretamente todos os sujeitos que o Decreto nº 7.611/2011 define como Público-Alvo da Educação Especial (PAEE).
Read thoroughly to answer the following question.

Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 5, why does the author mention the opening scene as “iconic”?
Read thoroughly to answer the following question.

Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
The word “riff” in paragraph 3 is best replaced by:
O sintagma “necessidades especiais” não deve ser tomado como sinônimo de deficiências – intelectuais, sensoriais, físicas ou múltiplas –, pois abrange uma série de situações e/ou condições as quais qualquer um pode estar submetido em decorrência de uma limitação, temporária ou permanente, oferecendo obstáculos à vida em sociedade, considerando-se idade, sexo, fatores culturais, condições de saúde, quadros afetivo-emocionais, entre outros. (FERREIRA E GUIMARÃES, 2003, p. 32.)
Dito de outro modo, a fratura de uma perna, a senilidade, a depressão profunda ocasionada pela perda de um ente querido, a obesidade mórbida, a necessidade de uso permanente de medicamentos, órteses ou próteses, entre tantas outras adversidades a que se está sujeito, caracterizam uma situação de necessidades especiais e não se referem, necessariamente, a uma situação de deficiência. Fica evidente em todos esses exemplos que:
Ao final do ano letivo, uma escola que atende aos anos finais do ensino fundamental é procurada por cinco famílias de estudantes Público-Alvo da Educação Especial (PAEE) para efetivar as suas matrículas. Na organização do trabalho pedagógico para o ano seguinte, a equipe gestora, juntamente com os docentes, planeja a enturmação dos novos estudantes PAEE. Considerando as orientações legais e as diretrizes da educação inclusiva, assinale a afirmativa correta.
Marcus foi nomeado para ser professor de matemática na rede pública do Paraná. Em comemoração por essa conquista, decidiu que irá iniciar uma coleção de carros, começando com a compra de 5 unidades, todas distintas entre si, que serão escolhidas com as seguintes características:

Cores: branco, preto, prata, azul ou vermelho;
Categorias: sedã ou SUV;
Modelos: 2023, 2024 ou 2025.

De acordo com esses critérios, o total de maneiras distintas que Marcus poderá começar sua coleção de carros é um número:
Although higher education institutions offer self-paced massive open online courses (MOOCs) on platforms like edX, little systematic effort has been made to examine their instructional design features. Therefore, to review self-paced MOOCs on edX and examine their instructional design features for those interested in designing and offering them is essential. Aiming at offering reliable data, a significative amount of MOOCs that represent engineering, computer science, communications, business and management should be randomly selected for analysis if a realistic view is sought. Moreover the instructional design features of the MOOCs ought to be organized in terms of course structure and elements of course information, as well as types of instructional videos, assessments, and online discussion boards, for by catering to those aspects, issues of current instructional design features will be also involved.
(Available in: https://www.tandfonline.com, Adapted.)

According to what is inferred from usage, the ING forms are:
Read thoroughly to answer the following question.

Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater, Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart, and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid, confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth – I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in 1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was 18, and I loved it tonight. And, my son also loved it... so a great evening all around.

(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Texts vary in style and structure when it comes to their objectives. The intended message and genre conventions in the previous text classify it as a:
A emergência de um espaço público significa que se criou um domínio público que “pertence a todos” (ta koina). O “público” deixa de ser um assunto “privado” – do rei, dos prelados, da burocracia, dos políticos, dos especialistas, etc. As decisões relativas aos assuntos comuns devem ser tomadas pela comunidade.
(CASTORIADIS, 1987, p. 311.)

Um dos aspectos da polis grega, que se associa ao surgimento e desenvolvimento da política, é:
Maquiavel teve curta passagem em cargos públicos no governo florentino, em um período complicado, de grande instabilidade política, no qual o poder passava de mão em mão em espaços de tempo relativamente curtos. Nessa troca de governantes, o referido escritor acaba demitido e exilado em seu próprio país, proibido de ocupar qualquer cargo público, inclusive com uma estadia na prisão. Já em liberdade, retorna à propriedade herdada de seus pais, e vive modestamente longe do glamour da vida pública. Nesse período recluso, ele passa a examinar os pensadores clássicos, e redige suas obras, dentre as quais cabe destacar a mais importante, que marcou seu nome na história do pensamento político: “O Príncipe”.
(WEFFORT, 2001, p. 16.)

Nessa obra em específico (O Príncipe), Maquiavel:

Marque V para as afirmativas verdadeiras e F para as falsas.

( ) O Atendimento Educacional Especializado com o uso de Libras ensina e enriquece os conteúdos curriculares, promovendo a aprendizagem dos alunos surdos na turma comum.

( ) A avaliação processual do aprendizado por meio da Libras é importante para que se verifique, pontualmente, a contribuição do Atendimento Educacional Especializado (AEE) para o aluno surdo na escola comum.

( ) É possível prescindir da organização do ambiente de aprendizagem se as explicações do professor em Libras propiciam uma compreensão das ideias complexas, contidas nos conhecimentos curriculares.

( ) Um ambiente educacional bimodal é crucial e indispensável, já que respeita a proposta inclusiva, bem como a estrutura da Libras como primeira língua e da língua portuguesa escrita como segunda língua.

( ) A quantidade de recursos visuais é primordial para facilitar a compreensão do conteúdo curricular em Libras.

A sequência está correta em

A partir da década de 2000, a educação brasileira passou a se constituir em um espaço mais inclusivo, conjugando igualdade e diferença como valores indissociáveis. Esse é o cenário de elaboração e instituição da Política de Educação Especial na Perspectiva da Educação Inclusiva (PNEEPEI) em 2008. Acerca do PNEEPEI, analise as afirmativas a seguir.
I. Consideram-se alunos com deficiência aqueles que têm impedimentos de longo prazo, de natureza física, mental, intelectual ou sensorial, que em interação com diversas barreiras podem ter restringida sua participação plena e efetiva na escola e na sociedade. II. Os alunos com transtornos globais do desenvolvimento são aqueles que apresentam alterações qualitativas das interações sociais recíprocas e na comunicação, um repertório de interesses e atividades restrito, estereotipado e repetitivo. III. Alunos com altas habilidades/superdotação demonstram potencial elevado em qualquer uma das seguintes áreas, isoladas ou combinadas: intelectual, acadêmica, liderança, psicomotricidade e artes.
Está correto o que se afirma em
De acordo com Aristóteles, a felicidade (eudaimonia) é o bem supremo a ser alcançado pelo ser humano. Sobre a ética aristotélica e o conceito de felicidade, assinale a afirmativa correta.
A oposição entre Heráclito e Parmênides representa um marco no pensamento filosófico dos Pré-socráticos, destacando abordagens opostas à realidade. Sobre as ideias de Heráclito e Parmênides, assinale a afirmativa correta.
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