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Durante uma atividade prática de modelagem geométrica, os estudantes de uma turma construíram maquetes de dois sólidos, uma pirâmide de base quadrada e um prisma reto de base quadrada, ambos com a mesma altura e a mesma área de base, feitos com o mesmo tipo de papel. Após a conclusão da atividade, um supervisor pedagógico solicitou que os estudantes comparassem os volumes dos dois sólidos.
Com base nessa situação hipotética, é correto afirmar que
Text 7A2-I
If we believe that our own information age is defined by the digital structures of electronic communication, we must take early modern culture as inextricably bound to the medium of print. Printed text and image arose within a few years of each other in the mid-fifteenth century, credited to the German goldsmith Johannes Gutenberg, who seemingly drew together a series of extant yet disparate technologies into a new machine that could print several thousand sheets a day. The ancient oil or wine press, the goldsmith’s craft in fine metal carving, the late-medieval development of plentiful rag paper, and the recent formulation of more stable oil-based inks enabled Gutenberg’s ‘revolution’.
Similarly, early photography developed from a coming together of two otherwise disparate technologies: on the one hand, the pinhole camera through which capture a refected view of the world as an image, and on the other the chemical means to fix the effects of light exposure on paper. In both cases, these technologies shared aesthetic resources with other media available at the time, while also producing forms of representation that were uniquely theirs, and which offered access to new ways of seeing, and enabled new forms of subjectivity. The greatly expanded flow of visual information facilitated by these technological breakthroughs worked to quicken the circulation of knowledge, and the foundations of thought itself.
Genevieve Warwick and Richard Taws. After Prometheus:
Art and Technology in Early Modern Europe. In:
Art History – Journal of the Association of Art Historians.
Special Edition: Art and Technology in Early Modern Europe. p. 201 (adapted)
The words “inextricably” (first sentence of text 7A2-I) and “goldsmith” (second sentence of text 7A2-I) are respectively formed by the word formation processes known as
No que se refere à psicogênese da língua escrita e ao construtivismo de Jean Piaget, julgue os itens a seguir.
I A psicogênese da língua escrita é uma teoria desenvolvida por Emília Ferreiro e Ana Teberosky nos anos 80 do século XX e aprofundada por Esther Grossi na década seguinte.
II Na psicogênese da língua escrita, identifica-se forte influência dos pressupostos de Jean Piaget no que se refere à constituição da abordagem construtivista para a aquisição da leitura e da escrita, na medida em que se defende que o conhecimento é construído, e não transmitido de fora para dentro.
III O referencial teórico da psicogênese da língua escrita conduz ao entendimento de que a escrita é uma reconstrução real e inteligente, realizada a partir de um sistema de representação historicamente construído pela humanidade e que passa a ser inteligível para a criança quando ela se alfabetiza.
IV O construtivismo concebido por Jean Piaget incorpora ao fenômeno da aprendizagem aspectos biológicos, mas principalmente valoriza os aspectos sociais e culturais dos sujeitos.
Assinale a opção correta.
Text 7A1-II
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Robert Frost. The Road Not Taken. 1916 (adapted).
In the 4th verse of text 7A1-II, the fragment “looked down” is classified as a