Prova de 2018: Universidade Federal do Mato Grosso do Sul (UFMS) — questões com gabarito

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Read the text below.

The methodological suggestions presented by the official documents about education in Brazil, the National Curriculum Parameters, point to a socio-interactionist practice regarding the language teaching. To produce texts, therefore, is to act symbolically for the world, producing meanings for the other. In this production, the man, as a social being, acts in an ordered and organized manner in relation to the other. It is, thus, established what is called social interaction about which Marcuschi claims not to be "a chaotic activity, neither random or mechanical, but directed, coordinated and intentional." Social interaction is one of the most important devices for the social construction of reality, because the participants of the interaction are social constructors who use language as a facilitator way in this relationship to reach their various purposes and objectives. In this social practice, considering the different forms of language manifestation, one can not deny the undoubted presence of technology, which advances in the relations of interaction, especially among young people, through the social networks at the Internet. PRIETO, Sandra. A importância dos gêneros digitais na escola. Colégio Visconde de Porto Seguro. São Paulo, São Paulo, 05658-080, Brasil. (adaptado, tradução nossa). Disponível em: .http://www.iiisci.org/journal/CV$/risci/pdfs/CB844PO14.pdf.

According to this text, consider the following statements.

I - Technology, especially with the arise of the Internet, redefined an immense virtual social network, that connects the most diverse individuals by the most diversified forms at an astonishing speed.

II - The new scenery of digital technology relativized the need for physical presence at human beings’ relations and at their social life. This gives a new notion of social interaction, which can be achieved in digital media, through, among other, social media. In addition to this new format of social interaction, it brings to reflection a new way of using as the language in writing as an interactive practice.

III - The spaces of learning in the digital age are integrated not only between the social spaces (home, family, friends, leisure, physical community in general), but also with all virtual space and, so that one can live better into the society of knowledge, information and communication, it isn’t necessary to develop specific skills for the written interaction that allows the individual to pass through, occupy and interact, efficiently all these social contexts.

IV - There are the need and the importance of the school's role in relation to these new textual supports that emerge new digital genres, which should be incorporated into the academic context for a formation for the whole life.

It is correct what is stated on:

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    Over the 19th century, since the rupture of the colonial statute and the beginning of the construction of the national state in Brazil, put the need of developing a literary historiography, able not only to justify the existence of a Brazilian literature, how to think and point out their characters and specificities. From Ferdinand Denis to Ferdinand Wolf, from Gonçalves Magalhães to Joaquim Norberto, passing by Santiago Nunes Ribeiro and Francisco Adolfo de Varnhagen with the collaboration of many other, a historical-literary tradition was conceived with an important ideological role in the national construction. Collective construct, this operation involved many intellectuals and a decisive action of the state for a few decades.

   This critical collection was re-elaborated in the last decades of the 19th century and in the beginning of the 20th century, by several other intellectuals, in their studies about the history of Brazilian literature, among them, Sílvio Romero, Araripe Júnior and José Veríssimo. Absorbing conceptions of the positivism, the naturalism and the evolutionism - especially by Auguste Comte, Herbert Spencer and Hippolyte Taine -, their formulations are impregnated with notions of race, language and culture. Notwithstanding the determinism of analysis and elaboration, these Brazilian authors become a basic or even paradigmatic reference for literary histories, until at least, the middle of the twentieth century.

   It was only in the fifties of that century, that these references were to be reworked and surpassed by Antonio Candido, in the book Formation of Brazilian Literature, in 1959. In this study, the author, starting from the previous historical-critical heritage and incorporating many of its elements, rethought the chronological and cultural frame of the emergence of literature in Brazil, that is, its decisive moments – 18th century (Arcadism) and XIX (Romanticism) - together with the establishment of a literary system.

   Fifty years after the publication of the important study by Antonio Candido, it is opportune and necessary to rediscuss and redefine the historical limits of the creation or formation of the national or Brazilian literature, through a various reading about the process of the State and nation organization in Brazil. LEONEL, M. C.; SEGATTO, J. A. Organização do Estado e formação da literatura – Fev. 2009. Disponível em: . Adaptado. Versão nossa.

Choose the alternative that represents the correct time-frame from the Brazilian Literary Schools.

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It is important to emphasize that it isn’t a question of changing an ethnocentric focus wellmarked from European root by an African, but rather of broadening the focus on the school curricula to the Brazilian cultural, racial, social, and economic diversity. For this, it is necessary to be sure that Art. 26-A added to Law n. 9.394/ 1996 provokes much more than an inclusion of new contents, it requires rethinking about ethnic-racial, social, pedagogical relations, teaching procedures, conditions offered for learning, tacit and explicit goals of the education offered by schools (BRASIL, 2014). 

The multiculturalism in art teaching implies a broad conception of art, capable of encompassing multiple and differentiated artistic manifestations, and the same is placed on a specific field of musical education. A broad conception of music is, on the one hand, a necessary condition for that musical education can respond to the multicultural perspective. On the other hand, the conception of multiculturality contributes to the expansion of the conception of music that guides our educational position. In its origins, the multicultural movement is basically linked to ethnic issues, but little by little it "gives space to other aspects of cultural domination" (GONÇALVES; SILVA, 2000, p. 28). 

PENNA, Maura. Poéticas musicais e práticas sociais: reflexões sobre a educação musical diante da diversidade. Revista da ABEM, Porto Alegre, V. 13, 7-16, set. 2005. Adaptado. Versão nossa.

Considering the presented text, evaluate the following statements and the relation proposed between them.

I - The multiculturalist posture must embrace the diversity of artistic and musical productions, linked to different social groups that produce or adopt certain musical poetics such as theirs, whether these groups are marked by particularities of class, region or generation, for example. As a consequence of this position, the references to pedagogical practices in music education can’t be restricted to classical music, which is rooted in European culture. It is essential to embrace the diversity of musical manifestations, including the popular ones and those of the media. 

                                                             BECAUSE

II- The music, as well, in the play of its configurations, presents modes of engenderment that are typical from the poetic function of language, namely projections of similarity, in their most diverse possibilities of updating, on the axis of contiguity. [...] Poetry and music are constructions of forms, games of structuring, echoes and reverberations, progressions and retrogradations, overlaps, inversions, in short, poets and musicians are visual designers of the language (SANTAELLA, 2002, p. 46-47, versão nossa). 

Regarding these statements, mark the correct alternative:

Leia o poema a seguir para responder à questão:

Índia Velha 

Índia Velha índia velha

se lembra do cheiro verde

na fonte limpa

onde se matava a sede

água boa de beber

índia velha

se lembra

do teu tempo de criança

tinha festa e tinha dança

pra chover.

índia velha

se lembra

do primeiro

do segundo

do terceiro branco

que chegou

se lembra?

se lembra

Quando tu andavas nua

olha a cor de teu vestido

encardido

quando andas pela rua.

se lembra!

se lembra de teus colares

teus amores a lua cheia

lençóis de flores na aldeia

se lembra?

índia velha

se lembra

dos pés pisando no mato

olha a cor de teu sapato

pisando asfalto e areia.

índia velha

se lembra

tantos brancos que

chegaram

tantos

que até perdestes as contas

e as contas de teus colares

hoje andas tonta nos bares

e é tão grande a dor que

sentes e que o amor de tua gente

foi junto ao rio

foi junto ao rio

por onde os brancos chegaram

se lembra?

se lembra?

(MARINHO, Emmanuel. Cantos de terra. Campo Grande: Letra Livre, 2016. A primeira edição foi publicada em 1981 [2]).

A questão refere ao seguinte fragmento de texto:

Em termos muito simples, podemos dizer que o amor é um horizonte de compreensão que tem em vista a real dimensão do outro, que não o inventa em uma projeção, que permanece aberto ao seu mistério. Se o amor é aberto ao outro, o ódio é fechado a ele. Tendemos a não querer ver o ódio que nos fecha porque ele nos diminui. “Não querer ver” é uma armadilha, pois todos somos afetados pelo ódio e contribuímos com a nossa parte para a sua persistência (TIBURI, Marcia. Odiar, verbo intransitivo. Revista Cult, n. 20, ano 18, p. 59, set. 2015. Fragmento).

A alternativa correta com relação à estrutura sintática e de significação dos enunciados é:

A questão refere ao seguinte fragmento de texto:

Em termos muito simples, podemos dizer que o amor é um horizonte de compreensão que tem em vista a real dimensão do outro, que não o inventa em uma projeção, que permanece aberto ao seu mistério. Se o amor é aberto ao outro, o ódio é fechado a ele. Tendemos a não querer ver o ódio que nos fecha porque ele nos diminui. “Não querer ver” é uma armadilha, pois todos somos afetados pelo ódio e contribuímos com a nossa parte para a sua persistência (TIBURI, Marcia. Odiar, verbo intransitivo. Revista Cult, n. 20, ano 18, p. 59, set. 2015. Fragmento).

Assinale a alternativa correta sobre as relações de coesão estabelecidas no texto.

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Read the text below.

Taking the news into account, consider the following statements.

I - Jennifer Rocca, a high school librarian in Brookfield, Connecticut, was among several supporters who urged lawmakers to pass the legislation.

II - Jennifer Rocca’s digital literacy course, a requirement for freshmen, challenges students to evaluate the credibility of online sources so they can spot falsehoods and biased information. She requires students to cite their sources when conducting research and explain why each would have the authority to be credible.

III - The Lawmakers have pushed schools to incorporate media literacy — including the ability to evaluate and analyze sources of information.

IV - Studies show many children spend hours every day online but struggle to comprehend the content that comes at them.

It is correct what is stated on: