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Q3643743
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643743 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
The floodplain restoration project on Birge Street required large-scale excavations before construction. Why was this process particularly important for historical preservation?
Alternativas
Q3643742
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643742 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
The text highlights the role of waterways such as the Connecticut River and Whetstone Brook in the 18th and 19th centuries. Based on the passage, which of the following reflects the dual function of these waterways for settlers?
Alternativas
Q3643741
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643741 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
Considering the narrative about John Birge and the subsequent presence of the Leahy family, what does this sequence reveal about the social and economic transformations in Brattleboro during the 19th century?
Alternativas
Q3643739
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643739 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
The faunal remains studied at the site included cattle, pig, sheep, goat, and horse bones. What conclusion can be drawn from this evidence?
Alternativas
Q3643738
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643738 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
The Holden & Martin Milling Company is described as having a reputation for "investing in their employees." How should this statement be critically understood in the context of 19th-century labor relations?
Alternativas
Q3643737
Inglês Interpretação de texto | Reading comprehension , Vocabulário | Vocabulary ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de Belmonte - SC Prova: AMEOSC - 2025 - Prefeitura de Belmonte - SC - Professor de Inglês - Edital nº 14 |
Q3643737 Inglês
Brattleboro archeology project adds to historical narrative of mill workers

BRATTLEBORO — Archeology along the recently restored floodplain on Birge Street helps illustrate the rich industrial history of Brattleboro.

"This research conducted has proven to be a valuable dataset that contributes, in many ways, to shaping the historical narrative of mill workers in Vermont," said Danielle Duguid, project manager and principal investigator with Hartgen Archeological Associates. "Most importantly, it's added direct ties to the families who toiled and prospered living in the lumber yard of the Holden & Martin sawmill."

In a virtual event Thursday, Duguid presented information about her group's discoveries. Hartgen was hired for archeological work of the floodplain restoration project now known as Kikitta Ahki, with funding from the town, Vermont River Conservancy and Vermont Emergency Management. The Brattleboro Historical Society provided information.

Duguid said the archeological site was initially identified during test excavations in 2018 during archeological permitting for the floodplain restoration project.

"The plans for the larger project involve removing many feet of modern and historic fill across the 12 acres of the floodplain to allow natural flooding of the area and prevent catastrophic flooding from overflowing into the rest of downtown Brattleboro, which had occurred in 2011 following Hurricane Irene," she said. "Large scale archeological excavations and research are conducted to preserve as much of the information as possible before the site gets destroyed by the planned development or construction. The information and knowledge that's gained from this effort is then gathered into a large report, discussed with community and given to museums to preserve the history for future generations."

Duguid said indigenous peoples began to set up permanent settlements and built villages in the study area. Her group found a few small fragments of stone tools they used.

Brooks traveling the Connecticut River "provided ease of transportation and more importantly hydropower for the 18th and 19th century settlers along the Whetstone Brook," Duguid said.

"Dozens of saw mills, woolen factories, tanneries and other water powered industries began to pop up during the 18th and 19th century," she said. "Subsequent mill operations ran adjacent to the study area from the 1830s to the 1960s as well as in many more other locations."

John Birge, who the street was named for, constructed a woolen mill in 1838. It changed hands over the years.

In the 19th century, David and Catherine Leahy bought 8 acres of the meadow right next to a mill to build their home. The Irish immigrant couple ended up splitting up, and their land and house were sold to the up-and-coming Holden & Martin Milling Company in 1904. The home housed families employed at the mill.

"With a reputation of investing in their employees," Duguid said of Holden & Martin, "they applauded themselves on providing reasonable priced worker housing throughout Brattleboro, utilizing a rent-to-own model for any of their housing and never defaulting on a loan."

Duguid counted a total of 5,968 architectural artifacts found by her group during excavations. They included wooden beams, slate shingles, window glass, nails, hardware and bricks. These materials "vastly outnumbered the domestic and personal assemblages," Duguid said.

A total of 4,300 nails were catalogued. They're "actually particularly useful for historic archeologists as the shapes and sizes are diagnostic," Duguid said.

Slate discovered by her group was "definitely local to the area," Duguid said. They made the determination based off its color.

"Faunal remains were found throughout the site as well, helping archeologists understand what the families at the Leahy home were consuming," she said. "Through looking at the bones, researchers can determine the species and also examine cut marks and butcher marks for information about how animals were processed."

Duguid said bones from cattle, pig, sheep, goat and horse bones were identified in the approximately 300 final remains analyzed.

Personal items discovered included tobacco pipe stems, leather shoes, children's toys, burnt vinyl records and a rosary. Duguid suggested the large number of toys at the site may indicate they were used to distract families from the dangers of the nearby mill.


https://www.reformer.com/local-news/brattleboro-archeology-project-ad ds-to-historical-narrative-of-mill-workers/article_77f635b9-7b4b-4706-b9 85-66a79d767c62.html
In the passage, the word "site" appears in the description of archeological excavations. Considering that "site" may have multiple meanings in English, which option below correctly contextualizes its meaning in the text?
Alternativas
Q3628669
Inglês Interpretação de texto | Reading comprehension , Ensino da Língua Estrangeira Inglesa ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628669 Inglês

In developing critical reading skills, which approach most effectively combines textual analysis with cultural awareness and metacognitive strategies?

Alternativas
Q3628667
Inglês Interpretação de texto | Reading comprehension , Ensino da Língua Estrangeira Inglesa ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628667 Inglês

Match the integrated skills activities with their primary pedagogical focus:



Activities:



1. Digital storytelling with peer collaboration.


2. Debate preparation through research and rehearsal.


3. Literature circles with multimedia presentations.


4. Real-world problem-solving projects.



Pedagogical Focus:



I. Critical thinking and argumentation.


II. Multimodal literacy and social construction.


III. Authentic communication and civic engagement.


IV. Literary analysis and creative expression.



The correct matching is: 

Alternativas
Q3628666
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628666 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

Throughout history, Pompeii has served as a source of inspiration across artistic movements and disciplines, from classical music to modern rock. The site's tragic past and preserved ruins continue to influence how creators portray themes of time, loss, and rebirth. According to the text, what does the film's use of Pompeii primarily convey in terms of symbolic meaning? 

Alternativas
Q3628665
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628665 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

Consider the statement: "It was as far away from Woodstock as possible." This comparison technique helps readers understand that:

Alternativas
Q3628664
Inglês Interpretação de texto | Reading comprehension , Vocabulário | Vocabulary ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628664 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

The word "venue" appears multiple times throughout the text with contextual variations. Analyze the following uses:



I. "The amphitheatre of Pompeii has quite a history as a venue for spectacles."


II. "...resulting in a ten-year ban on gladiatorial contests at the venue."


III. "...the venue was closed to the public."



Which statement best explains how context shapes the meaning of "venue" in these instances?

Alternativas
Q3628663
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628663 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

Based on the context provided in the text, the phrase "it was getting stale" (paragraph about rethinking rock concert movies) likely means: 

Alternativas
Q3628662
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628662 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

The 1972 film Pink Floyd Live at Pompeii presents a unique articulation between music, visual imagery and historical location. Far from the typical concert films of the era, the production proposes a redefinition of how sound and space interact in audiovisual narratives. Based on the text, which element most strongly characterizes the distinctiveness of this film compared to its contemporaries?

Alternativas
Q3628661
Inglês Interpretação de texto | Reading comprehension , Ensino da Língua Estrangeira Inglesa ,
Ano: 2025 Banca: AMEOSC Órgão: Prefeitura de São José do Cedro - SC Prova: AMEOSC - 2025 - Prefeitura de São José do Cedro - SC - Professor de Inglês |
Q3628661 Inglês

O texto seguinte servirá de base para responder à questão.


When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii


The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.


The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.


The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.


The amphitheatre of Pompeii


The amphitheatre of Pompeii has quite a history as a venue for spectacles.


Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.


From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.


Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.


There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.


In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.


Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.


But how did Pink Floyd come to play at Pompeii in 1972?


Rethinking rock concert movies


It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.


As a concept, it was getting stale.


Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.


Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.


The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.


It was as far away from Woodstock as possible.


The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.


Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.


In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.


The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios. 


Marrying art and music


Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.


Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.


Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.


The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.



The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons


Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.


Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.


Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.


But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.


Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.


https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744

A student needs to write a descriptive essay about a cultural event that combines historical significance with contemporary relevance. Based on the Pink Floyd at Pompeii text structure, which organizational pattern would be pedagogically effective?

Alternativas
Q3628180
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: SELECON Órgão: Prefeitura de Nova Mutum - MT Prova: SELECON - 2025 - Prefeitura de Nova Mutum - MT - Professor Nível Superior - Inglês |
Q3628180 Inglês
Uma das habilidades abordada pela BNCC no estudo da língua inglesa é a leitura. Dentro desse eixo, encontram-se duas estratégias fundamentais para uma compreensão efi caz de um texto. São elas:
Alternativas
Q3628172
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: SELECON Órgão: Prefeitura de Nova Mutum - MT Prova: SELECON - 2025 - Prefeitura de Nova Mutum - MT - Professor Nível Superior - Inglês |
Q3628172 Inglês
Balanced diet

    Keeping a balanced diet is essential for maintaining good health and well-being. It means consuming a variety of foods that provide your body with the right nutrients it needs to function properly. So, what does a balanced diet look like?
    Fruits and Vegetables: Start by fi lling half your plate with fruits and vegetables. These foods are rich in vitamins, minerals, and fi ber. They help you stay healthy and provide essential nutrients.
    Proteins: Include lean proteins like chicken, fi sh, beans, and tofu in your diet. Proteins are important for building and repairing tissues in your body.
    Whole Grains: Opt for whole grains like brown rice, whole wheat bread, and oatmeal. They provide energy and fi ber, keeping you full and satisfi ed.
    Dairy or Alternatives: Dairy products like milk, yogurt, and cheese are excellent sources of calcium. If you’re lactose intolerant or prefer plant-based options, try fortifi ed non-dairy alternatives like almond milk. 
    Healthy Fats: Don’t be afraid of fats; just choose healthy ones like avocados, nuts, and olive oil. These fats are essential for brain and heart health. Limit Sugars and Salt: Try to reduce your intake of sugary drinks, sweets, and high-sodium foods. Too much of these can harm your health.
    Hydration: Drink plenty of water throughout the day. It helps with digestion, keeps you hydrated, and supports overall health.
    Portion Control: Pay attention to portion sizes. Eating the right amount of food helps maintain a healthy weight.
    Remember, a balanced diet isn’t about perfection; it’s about making good choices most of the time. So, try to incorporate a variety of foods into your meals, and don’t forget to enjoy your food. A balanced diet is not only good for your body but also for your taste buds! 

(https://www.maxhealthcare.in/blogs/what-is-abalanced-diet)
Acessadado em: 20 de agosto de 2025
Quanto à tipologia textual do texto acima, predomina o tipo:
Alternativas
Q3628171
Inglês Interpretação de texto | Reading comprehension , Vocabulário | Vocabulary ,
Ano: 2025 Banca: SELECON Órgão: Prefeitura de Nova Mutum - MT Prova: SELECON - 2025 - Prefeitura de Nova Mutum - MT - Professor Nível Superior - Inglês |
Q3628171 Inglês
Balanced diet

    Keeping a balanced diet is essential for maintaining good health and well-being. It means consuming a variety of foods that provide your body with the right nutrients it needs to function properly. So, what does a balanced diet look like?
    Fruits and Vegetables: Start by fi lling half your plate with fruits and vegetables. These foods are rich in vitamins, minerals, and fi ber. They help you stay healthy and provide essential nutrients.
    Proteins: Include lean proteins like chicken, fi sh, beans, and tofu in your diet. Proteins are important for building and repairing tissues in your body.
    Whole Grains: Opt for whole grains like brown rice, whole wheat bread, and oatmeal. They provide energy and fi ber, keeping you full and satisfi ed.
    Dairy or Alternatives: Dairy products like milk, yogurt, and cheese are excellent sources of calcium. If you’re lactose intolerant or prefer plant-based options, try fortifi ed non-dairy alternatives like almond milk. 
    Healthy Fats: Don’t be afraid of fats; just choose healthy ones like avocados, nuts, and olive oil. These fats are essential for brain and heart health. Limit Sugars and Salt: Try to reduce your intake of sugary drinks, sweets, and high-sodium foods. Too much of these can harm your health.
    Hydration: Drink plenty of water throughout the day. It helps with digestion, keeps you hydrated, and supports overall health.
    Portion Control: Pay attention to portion sizes. Eating the right amount of food helps maintain a healthy weight.
    Remember, a balanced diet isn’t about perfection; it’s about making good choices most of the time. So, try to incorporate a variety of foods into your meals, and don’t forget to enjoy your food. A balanced diet is not only good for your body but also for your taste buds! 

(https://www.maxhealthcare.in/blogs/what-is-abalanced-diet)
Acessadado em: 20 de agosto de 2025
A expressão que destoa do núcleo compreensível do texto é:
Alternativas
Q3626343
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: UNEB Órgão: SEC-BA Prova: UNEB - 2025 - SEC-BA - Professor - Inglês |
Q3626343 Inglês
In the field of sociolinguistics, researchers explore how language is not only a tool for communication but also a reflection of the cultural and social environments in which it is used. Considering this perspective, which of the following statements best illustrates the dynamic relationship between language, culture, and society?
Alternativas
Q3626342
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: UNEB Órgão: SEC-BA Prova: UNEB - 2025 - SEC-BA - Professor - Inglês |
Q3626342 Inglês
Consider the dialogue below:

Emma: Hey, did you figure out the homework yet?
Jake: Not really, I'm still working on it.
Emma: Want me to look over your answers later?
Jake: That would be great! I might have messed up a few problems.
Emma: No worries. We'll go through them together.
Jake: Thanks! I knew I could count on you.

Which of the following best describes their exchange?
Alternativas
Q3626331
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2025 Banca: UNEB Órgão: SEC-BA Prova: UNEB - 2025 - SEC-BA - Professor - Inglês |
Q3626331 Inglês

O texto seguinte servirá de base para responder à questão.


LOVE BOMB


Do you fall in love hard and fast? Three signs you're an emophiliac − & five ways to break the destructive lust cycle


 If this happens often, you may have emophilia, AKA a tendency to fall in love quickly and with just about anyone.


And experts warn it can have a negative impact on mental health, leaving people vulnerable and trapped in toxic relationships, or see them darting from one relationship to the next, constantly chasing the thrill of early attraction or that feeling of falling in love.


"When you first fall for someone, you get that rush of the feel-good hormone, serotonin," says Sarah Louise Ryan, dating and relationship expert, matchmaker and psychotherapist.


"This phase of romantic love is really the rose-tinted glasses phase. You are falling for the newness of these just-discovered feelings, just as much as you're falling for the actual person. This is because new and different people bring out different parts of us." 


There's nothing wrong with these emotions, though they do simmer down as we build a relationship.


"In reality, when that spark fades, that is when the real relationship begins," says Sarah.


"But those with emophilia don't ever want that feeling to fizzle out, which can lead them into a volatile position romantically. They either never fully commit and move on to the next partner, or they date multiple people to discover who they have the biggest spark with, all in search of the rush."


The emotional fallout from this pattern can be huge.


The good news is it's possible to stop and change your thinking and actions.


Love At First Sight?


But whatever happened to "love at first sight", you might wonder?


Genuine love at first sight is an instant attraction to someone you might share common values with, find intriguing and are physically attracted to.


It can be with someone who feels safe and calm.


But emophilia is falling in love with the feeling of lust, attention, validation and connection, rather than the person.


"That need for attachment can be intoxicating, but it's important to get to know the person you've fallen for on a deeper level," Sarah says.


"You will feel anxiety when you're not getting that serotonin burst, but if you follow these steps before becoming emotionally attached so quickly, you'll feel better."


When Emophilia Becomes a Problem


 At a time when the dating world feels dire and "true love" is hard to find, is it really all that bad if someone is so open to connection?


The issue is that when emophiliacs fall, they tend not to question the relationship's long-term goals, values or red flags.


This can make them either more likely to jump ship or get stuck in a relationship that was doomed from the start.


"Falling for risky partners may seem appealing, but it can be dangerous when their aim is manipulation and destruction," explains Sarah.


"People with emophilia can be attracted to narcissists, who may lovebomb a new partner by showing excessive amounts of affection and attention. This would be ideal for a person with emophilia. Because they think they're in love, emophiliacs are likely to overlook warnings or advice, even from trusted family and friends. However, when red flags aren't addressed, over time they can become more problematic."


Why Do you Fall so Hard?


Though the exact cause of emophilia is unknown, there are several possible theories.


"It is thought that low serotonin levels in the brain may contribute," says Sarah.


Serotonin is also implicated in conditions including depression and obsessive compulsive disorder (OCD).


Some people may also be hypersensitive to oxytocin," adds Sarah.


Also known as the love hormone, oxytocin creates feelings of trust and a desire to care.


Falling in love quickly is also a shared experience of people with ADHD, which may be linked with the disorder's symptoms of impulsivity.


But it may just be a personality trait.


For some, there is excitement to be found in the chaos, and boredom in the monotony.


FIVE WAYS TO BREAK UP WITH EMOPHILIA


Overcoming the need to chase the rush of falling for someone isn't easy, as many of our relationship desires are ingrained.


"I would ask an emophiliac: 'Is it working for you?'", Sarah says.


"If the answer is yes, and you're happy flitting from one relationship to another, keep doing what you are doing. If the answer is no, I'd recommend these tips."


1. Go Cold Turkey


If you are a serial dater, go cold turkey − including no sex or romantic relations − to focus on yourself.


Discover the qualities you like in yourself and note the ways in which you are capable without having a significant other.


Then, pick up conscious dating when the time is right.


"When you find the confidence to make the right choices, you will no longer let your drive for a feeling choose for you," says Sarah.


"It will be hard work, but worth it."


2. Spot The Red Flags


Some red flags are universal.


For example, a lack of respect or signs of attempting to control another person.


However, others will be more specific to you.


For example, how do you feel about their financial situation, living arrangements, family set-up or beliefs?


It's easy for a friend to say: "That's a red flag", but ask yourself if it really is for you.


Write down your deal-breakers, then ensure when connecting with someone that you ask the questions that will unveil these warning signs.


3. Note What Hasn't Worked


Sit back and really think about the patterns you have fallen into with each romantic partner.


What happened? Where did it go wrong? Self-awareness is important in the decision-making process.


If necessary, write out an action plan for the next time someone catches your attention.


4. Listen To Friends


You may get so caught up in the rush of a new partner that you forget the concerns of those closest to you.


Take time to speak to a family member or friend who knows you well and has historically given you honest advice.


Run through any worries or ask for feedback on new partners.


Your friends don't have to love or even like your partner, but if they have concerns about them, it's worth hearing them.


This can be a failing for people with emophilia, who can only see the positives of a new crush.


5. Consult A Therapist


Therapists or counsellors can help you to understand and manage emophilia.


"Therapists help bring you into the here and now and find internal validation, rather than seeking external validation from others," says Sarah.


"That means that those with emophilia can consciously connect with themselves and with others when dating."



https://www.thesun.co.uk/health/35847187/love-marriage-relationshipscouples-emophiliac-lust-cycle

The article presents Sarah Louise Ryan's therapeutic approach for addressing emophilia through a five-step intervention strategy. When analyzing this comprehensive methodology, which statement most accurately captures the core philosophical foundation and primary therapeutic objective underlying her recommended treatment?
Alternativas
Respostas
1541: D
1542: C
1543: A
1544: C
1545: C
1546: B
1547: B
1548: A
1549: A
1550: C
1551: B
1552: C
1553: B
1554: B
1555: C
1556: A
1557: C
1558: A
1559: C
1560: B
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