Questões de Concursos
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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 last verse of text 7A1-II, the author uses the present perfect tense to
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)
In the last two sentences of text 7A2-I, the word
Em relação ao ato de brincar, ao brinquedo, ao jogo e à ludicidade, julgue os próximos itens.
I O ato de brincar, o brinquedo e os jogos são elementos prejudiciais à aprendizagem de conceitos científicos.
II Brincar é um direito da criança e não requer mediação do professor em sala de aula.
III Ao implementarem atividades lúdicas em sala de aula, os docentes podem gerar um ambiente de aprendizagem prazeroso.
Assinale a opção correta.
Text 7A3-I
As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20th century, and now the 21st. As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward.
Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course.
Lynell George. The Visions of Octavia Butler. Internet: <www.nytimes.com> (adapted).
In text 7A3-I, the clause “when so many are looking for, if not hope, then a map for a way forward” (last sentence of the first paragraph) is an adverbial clause that indicates
Text 7A3-I
As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20th century, and now the 21st. As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward.
Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course.
Lynell George. The Visions of Octavia Butler. Internet: <www.nytimes.com> (adapted).
In text 7A3-I, the clause “as Butler often noted” (second sentence of the second paragraph) is an adverbial clause that indicates