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  • Linguagens

    Inglês

    Entre para guardar nos favoritos
    A brief survey of the short story part 47: Machado de Assis
    Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

    The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
    The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
    (...)
    Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
    (...)
    At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
    This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
    Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
    Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

    The noun ‘shift’ on the first paragraph was used by
    Escolha uma alternativa para a questão fea5aea2-e7
    Abrir questão de Inglês, prova de 2014
  • Ciências Humanas

    História

    Entre para guardar nos favoritos
    Em 1895, na Inglaterra, Charles Chaplin, sua mãe e seu irmão foram internados em um asilo público. Posteriormente, acerca dessa experiência, o artista escreveu:


    Claro que compreendíamos a vergonha que significava ir para o asilo, mas quando mamãe nos falou a respeito, Sydney e eu achamos que era uma grande asilo. Só então o desolado espanto da nova situação me atingiu; pois ali teríamos que nos separar, mamãe de um lado, para a seção de mulheres, e nós, para a seção das crianças.
    Fonte: CHAPLIN, Charles. Minha Vida. Rio de Janeiro: Editora José Olympio, 2005, p. 47 A


    pesar do extraordinário desenvolvimento econômico promovido pela Revolução Industrial, da qual era pioneira, a Inglaterra do século XIX convivia ainda com os graves problemas sociais do pauperismo, do desemprego e da inadaptação ao sistema de trabalho fabril. Para lidar com eles, foram criadas instituições públicas como a que recebeu o menino Charles Chaplin e sua família. O objetivo de tais instituições era
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    Abrir questão de História, prova de 2017
  • Linguagens

    Português

    Entre para guardar nos favoritos

    Em 01/09/2016, o portal UOL fez uma publicação sobre o afastamento definitivo de Dilma Rousseff da Presidência da República do Brasil, com o título: “Sem Dilma, país deve melhorar, mas analistas preveem desemprego e impostos”. Alguns dias depois, a página do Facebook “Caneta Desmanipuladora” publicou uma captura de tela da manchete, retirando palavras com o intuito de dar outra perspectiva ao que estava escrito:


    Imagem da questão de Português, UNESPAR 2018, Interpretação de Textos


    Em relação ao post adaptado da página do Facebook “Caneta Desmanipuladora”, é correto afirmar que a “desmanipulação” (exclusão da sequencia “... país deve melhorar, mas...”) mostra que:


    I. Há uma inversão da informação pela opinião, especialmente com o uso da frase “deve melhorar”, o que pode transmitir uma sensação de amadorismo na coleta e divulgação da informação, demonstrando não só a opinião dos especialistas econômicos, mas também a opinião da jornalista e do meio de comunicação;

    II. Não se pode confirmar nenhuma manipulação na manchete reproduzida, visto que os autores da “Caneta Desmanipuladora” inserem, ao lado, um comentário assumindo que “Essa não conseguimos nem explicar...”;

    III. A manchete original do Portal UOL pode ser tomada como exemplo de que durante o processo de criação e desenvolvimento de uma notícia são levados em consideração os chamados valores/notícia, que dizem respeito ao conteúdo, ao produto informativo, ao público e à concorrência. Em consequência disso, a organização do trabalho determina a chamada “linha editorial” de como deve ser noticiado um determinado acontecimento para o seu público, o que nunca é feito de forma isenta e completamente imparcial.


    Estão CORRETAS:

    Escolha uma alternativa para a questão fea8ad6f-1b
    Abrir questão de Português, UNESPAR 2018
  • Linguagens

    Inglês

    Entre para guardar nos favoritos
    A brief survey of the short story part 47: Machado de Assis
    Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

    The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
    The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
    (...)
    Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
    (...)
    At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
    This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
    Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
    Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

    Augusto Meyer, Jake Schmitt and Lorie Ishimatsu
    Escolha uma alternativa para a questão fea90aa1-e7
    Abrir questão de Inglês, prova de 2014
  • Ciências da Natureza

    Física

    Entre para guardar nos favoritos
    A figura mostra algumas gotas de água que atuam como lentes esféricas sobre uma folha.

                                     (https://es.dreamstime.com)

    Considere que se pretenda produzir uma imagem de um objeto real, com as mesmas características das produzidas por essas gotas, utilizando uma lente esférica de vidro de distância focal f e colocando o objeto a uma distância d do centro óptico da lente. Para isso, será necessário utilizar uma lente
    Escolha uma alternativa para a questão fea9fa22-d1
    Abrir questão de Física, UEA 2018
  • Ciências da Natureza

    Física

    Entre para guardar nos favoritos
    Um jogador de futebol chuta uma bola com massa igual a meio quilograma, dando a ela uma velocidade inicial que faz um ângulo de 30 graus com a horizontal. Desprezando a resistência do ar, qual o valor que melhor representa o módulo da velocidade inicial da bola para que ela atinja uma altura máxima de 5 metros em relação ao ponto que saiu?
    Considere que o módulo da aceleração da gravidade vale 10 metros por segundo ao quadrado.
    Escolha uma alternativa para a questão feaa0950-6d
    Abrir questão de Física, UFT 2010
  • Linguagens

    Inglês

    Entre para guardar nos favoritos

    Analise o cartum.


    Imagem da questão de Inglês, UNESP 2021, Interpretação de texto | Reading comprehension


    A fala do personagem

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    Abrir questão de Inglês, UNESP 2021
  • Linguagens

    Português

    Entre para guardar nos favoritos

    “D E C Ú B I T O: do latim decumbere, jazer. Uma linguagem jornalística anacrônica, encontrável sobretudo na crônica policial, insiste na substituição de termos mais simples por vocábulos de uso mais raro. Assim, mãe é genitora, hospital é nosocômio, e a vítima de acidente ou morte é encontrada em decúbito, e não deitada. Se estava de bruços, escrevem que estava em decúbito ventral; se estava deitada de lado, dizem que foi encontrada em decúbito lateral. Alguns, mais excêntricos, encontrando a suposta vítima em pé, dizem que a encontraram em posição ortostática. Uma das razões desta prática é o fato de historicamente o analfabetismo ser a maior reserva brasileira e o domínio da escrita servir não para esclarecer o público, mas para ostentar saber e confundir os leitores, em nome de uma suposta precisão de linguagem.”

    (Verbete retirado de SILVA, Deonísio da. A vida íntima das palavras: origens e curiosidades da língua portuguesa. São Paulo: Editora Arx, 2002, pg. 135)


    Em relação ao descrito no verbete acima, está INCORRETO afirmar que:

    Escolha uma alternativa para a questão feac0cff-1b
    Abrir questão de Português, UNESPAR 2018
  • Linguagens

    Inglês

    Entre para guardar nos favoritos
    A brief survey of the short story part 47: Machado de Assis
    Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

    The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
    The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
    (...)
    Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
    (...)
    At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
    This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
    Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
    Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

    On the post, the phenomenon described as to have been captured most memorably by Machado
    Escolha uma alternativa para a questão feacd1a0-e7
    Abrir questão de Inglês, prova de 2014
  • Ciências Humanas

    História

    Entre para guardar nos favoritos
    Ondas de povo e milhares e milhares de seres, com o sofrimento gravado nas fisionomias, precipitavam-se pelas ruas, invadindo a Praça Vermelha. Chegou uma banda militar. E o som da “Internacional” fez com que todos, espontaneamente, começassem a cantar. O canto ergueu-se da multidão, como uma vaga que se alteasse sobre a água, em tom solene, majestoso. Da muralha do Kremlin, pendiam até o solo gigantescas bandeiras vermelhas, com inscrições em letras douradas e brancas: “Aos primeiros mártires da Revolução Social Universal!” “Viva a fraternidade dos trabalhadores do mundo inteiro!”.
    Fonte: REED, John. 10 Dias que Abalaram o Mundo. Porto Alegre: L&PM, 2009, p.314


    Em outubro de 1917, a facção Bolchevique do Partido Operário Social-Democrata Russo derrubou o governo provisório de Alexander Kerensky e assumiu o poder, impondo um novo tipo de governo. Assinale a alternativa que justifica a importância histórica desse acontecimento:
    Escolha uma alternativa para a questão feaf8a3d-ef
    Abrir questão de História, prova de 2017
  • Linguagens

    Português

    Entre para guardar nos favoritos

    Imagem da questão de Português, UNESPAR 2018, Análise sintática


    No contexto deste post, o slogan de campanha de Donald Trump à presidência dos Estados Unidos (“Faça a América grande de novo!”) e a imagem destacando a etiqueta de procedência de uma peça de gravata de coleção assinada pelo mesmo Donald Trump (“Made in China”/”Hecho en China” = Feito na China) expressam uma relação de:

    Escolha uma alternativa para a questão feaf9a7f-1b
    Abrir questão de Português, UNESPAR 2018
  • Linguagens

    Inglês

    Entre para guardar nos favoritos
    Imagem da questão de Inglês, UNESP 2021, Interpretação de texto | Reading comprehension

    *TV and/or radio

         Three-quarters of the world’s children live in countries where classrooms are closed. As lockdowns ease, schools should be among the first places to reopen. Children seem to be less likely than adults to catch covid-19. And the costs of closure are staggering: in the lost productivity of home schooling parents; and, far more important, in the damage done to children by lost learning. The costs fall most heavily on the youngest, who among other things miss out on picking up social and emotional skills; and on the less welloff, who are less likely to attend online lessons and who may be missing meals as well as classes. West African children whose schools were closed during the Ebola epidemic in 2014 are still paying the price.

    (www.economist.com, 01.05.2020. Adaptado.)
    The chart shows that the average share of population connected to internet
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    Abrir questão de Inglês, UNESP 2021
  • Linguagens

    Português

    Entre para guardar nos favoritos

    TEXTO:

    Figura 1 de 2 da questão de Português, UNICENTRO 2010, Interpretação de Textos

    Figura 2 de 2 da questão de Português, UNICENTRO 2010, Interpretação de Textos

    MORIN, Edgar. Amor, poesia, sabedoria. São Paulo: Bertrand Brasil,

    2003, Prefácio. Adaptado. Não paginado.

    Do ponto de vista temático, o texto põe em destaque
    Escolha uma alternativa para a questão feb15126-b0
    Abrir questão de Português, UNICENTRO 2010
  • Linguagens

    Inglês

    Entre para guardar nos favoritos
    A brief survey of the short story part 47: Machado de Assis
    Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

    The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
    The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
    (...)
    Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
    (...)
    At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
    This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
    Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
    Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

    The references to other writers on the text were, for Chris Power,
    Escolha uma alternativa para a questão feb16bb3-e7
    Abrir questão de Inglês, prova de 2014
  • Linguagens

    Português

    Entre para guardar nos favoritos

    Imagem da questão de Português, UNESPAR 2018, Interpretação de Textos

    Em relação ao texto acima, é correto afirmar:


    I. Trata-se de notícia que relata resultados de uma pesquisa sobre acesso à internet e hábitos de navegação de empregadas domésticas mensalistas e diaristas da Grande São Paulo;

    II. “Auto censura” e “medo de pedir”, são apresentados como sinônimos dentre as principais razões apontadas pelas domésticas para não ter acesso à senha do Wi-Fi do local de trabalho;

    III. A pesquisa da InterLab mencionada na matéria constatou que a maioria das diaristas não adicionou os empregadores nas redes sociais.


    Estão CORRETAS:

    Escolha uma alternativa para a questão feb3b43b-1b
    Abrir questão de Português, UNESPAR 2018
  • Ciências da Natureza

    Física

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    A enguia elétrica é um peixe típico da região Norte do Brasil. Ela possui uma série de células chamadas mioeletroplacas que, no seu conjunto, podem gerar uma diferença de potencial capaz de produzir um fluxo de 3,125 × 1018 elétrons em um segundo. A tabela a seguir traz alguns efeitos fisiológicos no organismo humano causados pela corrente elétrica. 



    Imagem da questão de Física, UEA 2018, Cargas Elétricas e Eletrização

       

      (https://alunosonline.uol.com.br. Adaptado.)



    Considerando que a carga elétrica elementar seja 1,6 × 10– 19 C, de acordo com a tabela apresentada, a corrente elétrica gerada pela descarga de uma enguia elétrica produz, no organismo humano,

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  • Linguagens

    Inglês

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    Imagem da questão de Inglês, UNESP 2021, Interpretação de texto | Reading comprehension

    *TV and/or radio

         Three-quarters of the world’s children live in countries where classrooms are closed. As lockdowns ease, schools should be among the first places to reopen. Children seem to be less likely than adults to catch covid-19. And the costs of closure are staggering: in the lost productivity of home schooling parents; and, far more important, in the damage done to children by lost learning. The costs fall most heavily on the youngest, who among other things miss out on picking up social and emotional skills; and on the less welloff, who are less likely to attend online lessons and who may be missing meals as well as classes. West African children whose schools were closed during the Ebola epidemic in 2014 are still paying the price.

    (www.economist.com, 01.05.2020. Adaptado.)
    De acordo com o texto, o fechamento das escolas devido à pandemia de covid-19 prejudicou, principalmente,
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  • Linguagens

    Inglês

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    A brief survey of the short story part 47: Machado de Assis
    Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

    The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
    The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
    (...)
    Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
    (...)
    At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
    This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
    Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
    Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

    An attribute of Machado’s work seen on the post is:
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    Abrir questão de Inglês, prova de 2014
  • Linguagens

    Português

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    TEXTO:

    Figura 1 de 2 da questão de Português, UNICENTRO 2010, Interpretação de Textos

    Figura 2 de 2 da questão de Português, UNICENTRO 2010, Interpretação de Textos

    MORIN, Edgar. Amor, poesia, sabedoria. São Paulo: Bertrand Brasil,

    2003, Prefácio. Adaptado. Não paginado.

    Da leitura do texto, pode-se concluir que
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    Abrir questão de Português, UNICENTRO 2010
  • Linguagens

    Português

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    Imagem da questão de Português, UNESPAR 2018, Coesão e coerência

    Em relação aos elementos coesivos do texto acima, é INCORRETO afirmar:
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    Abrir questão de Português, UNESPAR 2018