Instituição
1.933 questões de Universidade Estadual Paulista (UNESP), de 2010 a 2025. Cada uma tem página própria, com enunciado completo, alternativas e gabarito — e dá para responder na própria página.
Leia a tirinha de Alex Hallatt para responder à questão.
(www.alexhallatt.com. Adaptado.)
Examine o meme publicado pelo perfil @classicaldamn no Instagram em 16.04.2024.
O conteúdo explorado pelo meme relaciona-se diretamente com aquele explorado pela seguinte fábula de Esopo:
E se esse tal futuro
for pior do que o presente
E se for melhor parar
do que caminhar pra frente
E se o amor for dor
E se todo sonhador
não passar de um pobre louco
E se eu desanimar,
Se eu parar de sonhar
queda a queda, pouco a pouco.
(Bráulio Bessa. “Se”. In: Poesia que transforma, 2018.)
De acordo com o cartum,
Para responder à questão, leia o trecho da peça A mais-valia vai acabar, seu Edgar, de Oduvaldo Vianna Filho, o Vianinha. A peça foi encenada em 1960 na arena da Faculdade de Arquitetura da Universidade do Brasil e promoveu um amplo debate. A mobilização resultante desse debate desencadeou a criação do Centro Popular de Cultura (CPC).
Coro dos desgraçados: Trabalhamos noite e dia, dia e noite sem parar! Então de nada precisamos, se só precisamos trabalhar! Há mil anos sem parar! Fizemos as correntes que nos botaram nos pés, fizemos a Bastilha onde fomos morar, fizemos os canhões que vão nos apontar. Há mil anos sem parar! Não mandamos, não fugimos, não cheiramos, não matamos, não fingimos, não coçamos, não corremos, não deitamos, não sentamos: trabalhamos. Há mil anos sem parar! Ninguém sabe nosso nome, não conhecemos a espuma do mar, somos tristes e cansados. Há mil anos sem parar! Eu nunca ri — eu nunca ri — sempre trabalhei. Eu faço charutos e fumo bitucas, eu faço tecidos e ando pelado, eu faço vestido pra mulher, e nunca vi mulher desvestida. Há mil anos sem parar! Maria esqueceu de mim e foi morar com seu Joaquim. Há mil anos sem parar!
(Apito longo. Um cartaz aparece:
“Dois minutos de descanso e lamba as unhas.”
Todos vão tentar sentar.
Menos o Desgraçado 4 que fica de pé furioso.)
Desgraçado 1: Ajuda-me aqui, Dois. Eu quero me dá uma sentadinha.
(Desgraçado 2 ri de tudo.)
Desgraçado 3: Senta. (Desgraçado 1 vai pôr a cabeça no chão.) De assim, não. Acho que não é com a cabeça não.
Desgraçado 1: Eu esqueci.
Desgraçado 3: A bunda, põe ela no chão. A perna é que eu não sei.
Desgraçado 2: A perna tira.
(Desgraçado 3 e Desgraçado 2
desistem de descobrir. Se atiram no chão.)
Desgraçado 1: A perna dobra! (Senta. Satisfeito.)
Desgraçado 2: Quero ver levantar.
(Todos olham para Desgraçado 4,
fazem sinais para que ele se sente.)
Desgraçado 4: Não! Chega pra mim! Eu só trabalho, trabalho, trabalho… (Perde o fôlego.)
Desgraçado 3: Eu te ajudo: trabalho, trabalho, trabalho...
Desgraçado 4: E tenho dois minutos de descanso? Nunca vi o sol, não tomei leite condensado, não canto na rua, esqueci do sentar, quando chega a hora de descansar, fico pensando na hora de trabalhar! Chega!
Slide: Quem canta seus males espanta.
Desgraçado 1: (cantando) A paga vem depois que a gente morre! Você vira um anjo todo branco, rindo sempre da brancura, bebe leite em teta de nuvem, não tem mais fome, não tem saudade, pinta o céu de cor de felicidade!
(Peças do CPC, 2016. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
De acordo com o texto, a Tropicália