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).
A fusão das telecomunicações, da informática, da imprensa, da
edição, da televisão, do cinema e dos jogos eletrônicos em uma
indústria unificada da multimídia é o aspecto da revolução digital que os jornalistas mais enfatizam. Mas não é o único, nem
talvez o mais importante. Escolhas políticas e culturais fundamentais abrem-se diante dos governos, dos grandes atores
econômicos, dos cidadãos. Não se trata apenas de raciocinar em
termos de impacto (qual o impacto das “infovias” na vida política, econômica ou cultural?), mas também em termos de projeto (com que objetivo queremos desenvolver as redes digitais
de comunicação interativa?).
(LÉVY, Pierre. A inteligência coletiva. Por uma antropologia do ciberespaço. 4.
ed. São Paulo: Loyola, 2003. p. 13. Adaptado.)
As preocupações sociológicas e filosóficas com as questões relacionadas à expansão e dominação que as mídias impunham, já era uma das pautas dos filósofos da Escola de Frankfurt, cujas reflexões ainda orientam estudos até hoje. Foi nessa escola filosófica que surgiu o termo “indústria cultural”, dentre outros. São ideias de seus representantes:
As preocupações sociológicas e filosóficas com as questões relacionadas à expansão e dominação que as mídias impunham, já era uma das pautas dos filósofos da Escola de Frankfurt, cujas reflexões ainda orientam estudos até hoje. Foi nessa escola filosófica que surgiu o termo “indústria cultural”, dentre outros. São ideias de seus representantes:
Read the text thoroughly.
The game is changing. For the first time in history, the Paris 2024 Olympic and Paralympic Games will see an equal number of men and women competing. This 50:50 representation of athletes makes them the first to reach gender equality. Progress does not stop there. With an expected global audience of 3 billion, this year’s Games have been deliberately scheduled to make possible more balanced coverage of all events, putting all athletes in the spotlight. They will also feature more women’s and mixed events, offering more opportunities for women to win medals. A recent survey found that 80 per cent of female Fortune 500 CEOs played sports in their formative years, emphasizing the impact of early exposure to sport on the development of young women. A 2023 Deloitte report also revealed that 85 per cent of surveyed women who played sports as children believed the skills they developed were crucial to their professional success. This rises to 91 per cent for women in leadership roles, and 93 per cent for those earning USD 100,000 or more. Additionally, 92 per cent of global audiences agree it is important for girls to play sports, with 61 per cent considering them “very important”. Despite the positive data, girls drop out of sports by age 14 at twice the rate of boys due to social expectations and lack of investment in quality programs which is worsened by other factors. For example, 21 per cent of female professional athletes have experienced sexual abuse at least once as children in sport, compared with 11 per cent of male athletes. Efforts to track and respond to such cases are increasing worldwide, but gaps in the magnitude and prevalence of violence in sports persist, being prevention efforts are often lacking.
(Available: https://www.unwomen.org/en/news-stories/explainer/2024/07/five-things-to-know-about-women-and-sport. Adapted.)
As to the featured words, it is compatible information that:
The game is changing. For the first time in history, the Paris 2024 Olympic and Paralympic Games will see an equal number of men and women competing. This 50:50 representation of athletes makes them the first to reach gender equality. Progress does not stop there. With an expected global audience of 3 billion, this year’s Games have been deliberately scheduled to make possible more balanced coverage of all events, putting all athletes in the spotlight. They will also feature more women’s and mixed events, offering more opportunities for women to win medals. A recent survey found that 80 per cent of female Fortune 500 CEOs played sports in their formative years, emphasizing the impact of early exposure to sport on the development of young women. A 2023 Deloitte report also revealed that 85 per cent of surveyed women who played sports as children believed the skills they developed were crucial to their professional success. This rises to 91 per cent for women in leadership roles, and 93 per cent for those earning USD 100,000 or more. Additionally, 92 per cent of global audiences agree it is important for girls to play sports, with 61 per cent considering them “very important”. Despite the positive data, girls drop out of sports by age 14 at twice the rate of boys due to social expectations and lack of investment in quality programs which is worsened by other factors. For example, 21 per cent of female professional athletes have experienced sexual abuse at least once as children in sport, compared with 11 per cent of male athletes. Efforts to track and respond to such cases are increasing worldwide, but gaps in the magnitude and prevalence of violence in sports persist, being prevention efforts are often lacking.
(Available: https://www.unwomen.org/en/news-stories/explainer/2024/07/five-things-to-know-about-women-and-sport. Adapted.)
As to the featured words, it is compatible information that:
Thomas Kuhn, em seu livro A Estrutura das Revoluções Científicas, afirma que “um paradigma é o que os membros de uma comunidade científica compartilham, e, inversamente, uma comunidade científica consiste em homens que compartilham um paradigma”.
(KUHN, Thomas S.; FOUCAULT, Michel. A Estrutura das Revoluções Científicas e Outros Ensaios. São Paulo: Editora Perspectiva, 2000, p. 176.)
Com base nessa definição, qual das alternativas a seguir melhor descreve o conceito de paradigma científico?
(KUHN, Thomas S.; FOUCAULT, Michel. A Estrutura das Revoluções Científicas e Outros Ensaios. São Paulo: Editora Perspectiva, 2000, p. 176.)
Com base nessa definição, qual das alternativas a seguir melhor descreve o conceito de paradigma científico?
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:
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:
• 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:
(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:
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
Consider the underlined term in the following sentence “[...] those pay-for streaming services have plateaued in reach, […]”
(35º§). It means that “those pay-for-streaming services” have:
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:
(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:
(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
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.
De acordo com Bertrand Russell, assinale a
alternativa que apresenta a principal diferença
entre filosofia e ciência.
Considerando a Lei de Diretrizes e Bases da Educação Nacional, Lei nº 9.394/1996) e suas emendas, a educação bilíngue de
surdos é entendida como: