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Página 79 de 80

  • Linguagens

    Inglês

    T E X T


    The word ‘viral’ has lost its meaning



          The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.


            All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?


           “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”


          “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.


            A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.


             Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.


           Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.


          Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.


           “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.


           A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”


         Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.


         This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.


    Adapted from: https://www.washingtonpost.com/ 2024/03/09/

          

    After platforms themselves started to realize the power of virality,
    Escolha uma alternativa para a questão c87329fc-03
  • Linguagens

    Inglês

    T E X T


    The word ‘viral’ has lost its meaning



          The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.


            All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?


           “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”


          “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.


            A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.


             Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.


           Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.


          Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.


           “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.


           A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”


         Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.


         This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.


    Adapted from: https://www.washingtonpost.com/ 2024/03/09/

          

    According to the text, a specific group of people that is consuming a high amount of content online from all types of media and social platforms is
    Escolha uma alternativa para a questão c8764e33-03
  • Linguagens

    Inglês

    T E X T


    The word ‘viral’ has lost its meaning



          The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.


            All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?


           “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”


          “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.


            A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.


             Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.


           Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.


          Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.


           “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.


           A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”


         Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.


         This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.


    Adapted from: https://www.washingtonpost.com/ 2024/03/09/

          

    A financial aspect that is behind "viral inflation" is the fact that viral content
    Escolha uma alternativa para a questão c878cefb-03
  • Linguagens

    Inglês

    T E X T


    The word ‘viral’ has lost its meaning



          The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.


            All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?


           “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”


          “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.


            A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.


             Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.


           Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.


          Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.


           “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.


           A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”


         Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.


         This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.


    Adapted from: https://www.washingtonpost.com/ 2024/03/09/

          

    The condition which is called "viralflation" refers to
    Escolha uma alternativa para a questão c87b6de1-03
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Interpretação de Textos
     Figura 2 de 2 da questão de Português, UECE 2026, Interpretação de Textos
    O texto I aborda os profetas da chuva, que são guardiões de saberes ancestrais. Assinale a opção que apresenta corretamente o objetivo do texto. 
    Escolha uma alternativa para a questão c179b04f-6f
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Interpretação de Textos
     Figura 2 de 2 da questão de Português, UECE 2026, Interpretação de Textos
    De acordo com o texto, a expectativa dos profetas da chuva sobre a qualidade das chuvas é possível de ser entendida 
    Escolha uma alternativa para a questão c17cb597-6f
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Interpretação de Textos
     Figura 2 de 2 da questão de Português, UECE 2026, Interpretação de Textos
    Ao discutir os saberes dos profetas da chuva, o texto I adota procedimentos discursivos diversos. Entre eles, 
    Escolha uma alternativa para a questão c17f7179-6f
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Orações coordenadas sindéticas: Aditivas, Adversativas, Alternativas, Conclusivas...
     Figura 2 de 2 da questão de Português, UECE 2026, Orações coordenadas sindéticas: Aditivas, Adversativas, Alternativas, Conclusivas...
    Assinale a opção em que as conjunções destacadas apresentam mesmo valor semântico, bem como estão corretamente classificadas. 
    Escolha uma alternativa para a questão c1824105-6f
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Pontuação
     Figura 2 de 2 da questão de Português, UECE 2026, Pontuação
    No trecho: “[...] uma coisa é certa: o sertanejo sempre olha para o céu na esperança de ver as nuvens carregadas de boas chuvas [...]” (linhas 82-84), a substituição dos dois-pontos ocorre, sem prejuízo semântico, em
    Escolha uma alternativa para a questão c184e52e-6f
  • Linguagens

    Português

    TEXTO I

    Profetas da Chuva: a sabedoria da natureza e a fé


    Figura 1 de 2 da questão de Português, UECE 2026, Coesão e coerência
     Figura 2 de 2 da questão de Português, UECE 2026, Coesão e coerência
    No trecho: “Esse fenômeno marca o fim do verão e a transição para o outono no Hemisfério Sul.” (linhas 42-43), o termo destacado refere-se, no texto,
    Escolha uma alternativa para a questão c18865d7-6f
  • Linguagens

    Português

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Português, UECE 2026, Interpretação de Textos
    Figura 2 de 2 da questão de Português, UECE 2026, Interpretação de Textos

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    Considerando o conteúdo do texto, é correto afirmar que seu objetivo é
    Escolha uma alternativa para a questão c18ac266-6f
  • Linguagens

    Literatura

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Literatura, UECE 2026, Escolas Literárias
    Figura 2 de 2 da questão de Literatura, UECE 2026, Escolas Literárias

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    Analise as assertivas a seguir com base na obra Os Sertões.


    I. Há, na obra, uma representação da violenta intervenção do Estado que resulta na total dizimação da comunidade de Canudos.

    II. Os sertões é uma obra fortemente influenciada pelo Determinismo, uma vez que o comportamento humano resulta da influência de fatores ligados ao meio, à raça e ao momento histórico.

    III. Explica a capacidade de racionalização dos indivíduos ali retratados em contraponto à exposição das condições sociais e ambientais constitutivas dos povos e da história do Brasil.

    IV. Descreve cientificamente os personagens retratados, aproximando a postura metafísica da concepção realista observada.


    Estão corretas as assertivas
    Escolha uma alternativa para a questão c18d3cb4-6f
  • Linguagens

    Literatura

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Literatura, UECE 2026, Escolas Literárias
    Figura 2 de 2 da questão de Literatura, UECE 2026, Escolas Literárias

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    Os sertões, de Euclides da Cunha, é a obra que inaugura o Pré-modernismo brasileiro (1902-1922). Esse período da literatura é caracterizado 
    Escolha uma alternativa para a questão c18fce23-6f
  • Linguagens

    Português

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Português, UECE 2026, Denotação e Conotação
    Figura 2 de 2 da questão de Português, UECE 2026, Denotação e Conotação

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    O trecho “Volvia ao turbilhão da vida sem decomposição repugnante, numa exaustão imperceptível.” (linhas 121-122) apresenta o sentido correspondente
    Escolha uma alternativa para a questão c1926ea9-6f
  • Linguagens

    Português

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Português, UECE 2026, Interpretação de Textos
    Figura 2 de 2 da questão de Português, UECE 2026, Interpretação de Textos

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    Considerando a construção estrutural e discursiva do texto II, o tipo textual predominante é
    Escolha uma alternativa para a questão c194f9e5-6f
  • Linguagens

    Português

    O texto, a seguir, é parte da obra Os sertões, de Euclides da Cunha, publicado em 1902, intitulada “A terra”. A obra é resultado da cobertura jornalística da Guerra de Canudos, realizada entre agosto e outubro de 1897, para o jornal O Estado de S.Paulo.


    TEXTO II

    A terra

    Figura 1 de 2 da questão de Português, UECE 2026, Figuras de Linguagem
    Figura 2 de 2 da questão de Português, UECE 2026, Figuras de Linguagem

    CUNHA, Euclides da. Os Sertões. Rio de Janeiro: Ediouro, 2003.
    No trecho: “Era um aparelho revelando de modo absoluto, mas sugestivo, a secura extrema dos ares” (linhas 123-124), a figura de linguagem construída pela expressão destacada é
    Escolha uma alternativa para a questão c197a5f7-6f
  • Linguagens

    Português

    Conforme Kupper (2023), os movimentos sociais contemporâneos possuem, de modo geral, uma tendência de reivindicar autonomia em relação ao Estado, e sua dinâmica política não é dada mais apenas pelas questões de classe, mas assumem “um caráter cultural por meio do controle da informação” e são contrários às classificações do mundo social pelos dominantes. Os atuais movimentos sociais, ainda, constroem-se em torno de disputas simbólicas sobre como as sociedades contemporâneas devem ser, centrando na inserção de diversas formas e estilos de vida.


    KUPPPER, Agnaldo. Sociologia Ensino Médio: Poder e Política. 1ª ed. Maceió-AL: Editora Café com Sociologia, 2023.


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  • Linguagens

    Português

    De acordo com pesquisa do Observatório da Mulher contra a Violência do Senado Federal, no ano de 2025, 29% das mulheres participantes relataram ter sofrido algum tipo de violência, física, moral, patrimonial, sexual ou psicológica. No mesmo ano, segundo dados do Fórum Brasileiro de Segurança Pública, foram registradas 1.568 vítimas de feminicídio, que é o homicídio cometido contra mulheres em situação de violência doméstica ou de discriminação de gênero, o que representou um crescimento de 4,7% em relação ao ano de 2024. Ainda, segundo os dados desse fórum, 8 a cada 10 dessas mulheres mortas em 2025 foram vitimadas por parceiros ou ex-companheiros. Combater este tipo de violência é uma obrigação de todas as pessoas no Brasil atual, e a Sociologia, junto de outras matérias da educação básica, busca através de debates e do desenvolvimento de competências e habilidades, aderir a esse combate.


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  • Linguagens

    Inglês

    Hamnet – Paul Mescal and Jessie Buckley beguile and captivate in audacious Shakespearean tragedy



    Figura 1 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension

      Figura 2 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension

      Figura 3 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension 

    Figura 4 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension



    From https://www.theguardian.com/film/2026/jan/06/hamnet-review

    The article states that Chloé Zhao’s movie, based on Maggie O’Farrell’s novel, is successful because it
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  • Linguagens

    Inglês

    Hamnet – Paul Mescal and Jessie Buckley beguile and captivate in audacious Shakespearean tragedy



    Figura 1 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension

      Figura 2 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension

      Figura 3 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension 

    Figura 4 de 4 da questão de Inglês, UECE 2026, Interpretação de texto | Reading comprehension



    From https://www.theguardian.com/film/2026/jan/06/hamnet-review

    In her movie, Zhao does a great job at showing
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