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Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812983
Biologia
Estudos recentes destacam a aplicação de fungos
micorrízicos e filamentosos na micorremediação, um processo
biotecnológico que utiliza esses organismos para a imobilização
e remoção de metais pesados em solos contaminados. Nesse
contexto, com base nas características do Reino Fungi, assinale a
afirmação verdadeira.
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812982
Biologia
Considere as cadeias alimentares representadas a seguir:
• cacto → gafanhoto → lagarto → jararaca → onça-pintada
• gramínea → preá → raposa
• ipê → besouro → galo-de-campina → gavião
Com base na organização dos níveis tróficos nessas cadeias, é correto afirmar que
• cacto → gafanhoto → lagarto → jararaca → onça-pintada
• gramínea → preá → raposa
• ipê → besouro → galo-de-campina → gavião
Com base na organização dos níveis tróficos nessas cadeias, é correto afirmar que
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812981
Biologia
Durante uma campanha de saúde, uma médica explicava à
população sobre diferentes categorias de doenças, ressaltando
que algumas doenças são contraídas ao longo da vida, outras
estão presentes desde o nascimento como as genéticas e as
congênitas. Com base nesse contexto, analise as afirmações a
seguir e assinale-as com V ou F conforme sejam verdadeiras ou
falsas.
( ) Doenças adquiridas, como infecções virais ou alterações causadas por hábitos de vida, ocorrem devido a influências ambientais e não estão presentes no genoma do indivíduo.
( ) Condições congênitas resultam de mutações genéticas herdadas dos pais, que se manifestam no nascimento.
( ) A expressão fenotípica de doenças genéticas pode sofrer influência de fatores ambientais, mesmo em casos de alterações hereditárias.
( ) As doenças congênitas são causadas por alterações no material genético do feto durante o desenvolvimento.
Está correta, de cima para baixo, a seguinte sequência:
( ) Doenças adquiridas, como infecções virais ou alterações causadas por hábitos de vida, ocorrem devido a influências ambientais e não estão presentes no genoma do indivíduo.
( ) Condições congênitas resultam de mutações genéticas herdadas dos pais, que se manifestam no nascimento.
( ) A expressão fenotípica de doenças genéticas pode sofrer influência de fatores ambientais, mesmo em casos de alterações hereditárias.
( ) As doenças congênitas são causadas por alterações no material genético do feto durante o desenvolvimento.
Está correta, de cima para baixo, a seguinte sequência:
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812980
Biologia
Nos animais, os tecidos podem ser classificados em
epitelial, conjuntivo, muscular e nervoso. Já nos vegetais,
destacam-se tecidos meristemáticos e tecidos permanentes
(fundamental, de proteção e vascular). Tomando por base a
histologia animal e a vegetal, assinale a afirmação verdadeira.
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812979
Biologia
Em uma floresta tropical úmida, foi constatado que a
biomassa da serapilheira (folhas, galhos e frutos em
decomposição) é rapidamente degradada por microrganismos,
liberando, em intervalos curtos, nutrientes que são prontamente
absorvidos pelas plantas. Contudo, apesar da alta taxa de
decomposição, o solo apresenta baixos níveis de nutrientes
disponíveis e a produtividade vegetal é sustentada, quase que
exclusivamente, pela ciclagem interna de nutrientes na biomassa
viva. Considerando esse cenário, assinale a opção que apresenta
a correta explicação para essa dinâmica ecológica.
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812978
Biologia
Em ervilhas, duas características são determinadas por genes independentes com dominância completa:
• o gene A controla a cor da semente: A (amarela, dominante) e a (verde, recessivo).
• o gene R controla a textura da semente: R (lisa, dominante)e r (rugosa, recessivo).
Um cruzamento é feito entre uma planta heterozigota para ambas as características e uma planta que é verde e lisa homozigota. Assim, é correto afirmar que as proporções fenotípicas esperadas na descendência são as seguintes:
• o gene A controla a cor da semente: A (amarela, dominante) e a (verde, recessivo).
• o gene R controla a textura da semente: R (lisa, dominante)e r (rugosa, recessivo).
Um cruzamento é feito entre uma planta heterozigota para ambas as características e uma planta que é verde e lisa homozigota. Assim, é correto afirmar que as proporções fenotípicas esperadas na descendência são as seguintes:
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812977
Biologia
Considere que uma população de insetos fitófagos que vive
na Caatinga apresenta variação na coloração corporal, indo do
verde-claro ao marrom-escuro. Durante longos períodos de seca,
a vegetação perde folhas e a coloração do ambiente torna-se
mais parda. Ao longo de várias gerações, os insetos fitófagos de
coloração mais escura se tornaram mais frequentes.
Paralelamente, ocorreu redução da variabilidade em alguns loci,
especialmente em populações pequenas e isoladas desses
insetos. Em outro conjunto de populações dos insetos fitófagos,
verificou-se a entrada de novos alelos associados à coloração
intermediária, trazidos por indivíduos provenientes de áreas
vizinhas.
Com base nos mecanismos evolutivos, é correto afirmar que a
Com base nos mecanismos evolutivos, é correto afirmar que a
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812976
Biologia
As plantas, por serem organismos fotossintetizantes, são
essenciais para o funcionamento dos ecossistemas, atuando
como produtoras nas cadeias e teias alimentares. Considerando esse contexto e os processos envolvidos na fisiologia vegetal,
assinale a afirmação verdadeira.
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812975
Biologia
Em uma pesquisa sobre os helmintos parasitas do lagarto
Colobosauroides cearensis, realizada em área de Caatinga, foi
identificado que lagartos de maior tamanho corporal
apresentaram maior riqueza e abundância parasitária, enquanto
não houve diferença significativa entre os sexos.
Fonte: https://doi.org/10.13128/Acta_Herpetol-21100
Considerando os dados apresentados e os aspectos biológicos relacionados, assinale as seguintes afirmações com V ou F conforme sejam verdadeiras ou falsas.
( ) As diferenças sexuais afetam a infecção parasitária, pois machos e fêmeas possuem características hormonais, fisiológicas e comportamentais distintas, resultando em variações na quantidade de helmintos.
( ) O aumento no tamanho corporal dos lagartos favorece o estabelecimento e a manutenção dos helmintos, porque proporciona maior espaço para colonização e mais recursos para desenvolvimento dos parasitas.
( ) A variação na resistência imunológica entre lagartos pode influenciar a riqueza e a abundância de helmintos, que também sofrem variação com o tamanho corporal do lagarto.
( ) A competição interespecífica entre lagartos adultos e jovens de Colobosauroides cearensis, explica a maior infestação dos adultos, pois indivíduos maiores são mais eficientes na exploração de recursos.
Está correta, de cima para baixo, a seguinte sequência:
Fonte: https://doi.org/10.13128/Acta_Herpetol-21100
Considerando os dados apresentados e os aspectos biológicos relacionados, assinale as seguintes afirmações com V ou F conforme sejam verdadeiras ou falsas.
( ) As diferenças sexuais afetam a infecção parasitária, pois machos e fêmeas possuem características hormonais, fisiológicas e comportamentais distintas, resultando em variações na quantidade de helmintos.
( ) O aumento no tamanho corporal dos lagartos favorece o estabelecimento e a manutenção dos helmintos, porque proporciona maior espaço para colonização e mais recursos para desenvolvimento dos parasitas.
( ) A variação na resistência imunológica entre lagartos pode influenciar a riqueza e a abundância de helmintos, que também sofrem variação com o tamanho corporal do lagarto.
( ) A competição interespecífica entre lagartos adultos e jovens de Colobosauroides cearensis, explica a maior infestação dos adultos, pois indivíduos maiores são mais eficientes na exploração de recursos.
Está correta, de cima para baixo, a seguinte sequência:
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Biologia - 2ª Fase - 1º Dia (1º Semestre de 2026) |
Q3812974
Biologia
“Por que as aves megacoloridas sumiram das cidades?”
Essa foi a pergunta norteadora de uma pesquisa que obteve,
dentre seus resultados, a constatação de que “no ambiente
urbanizado, há filtros que impedem o desenvolvimento e a
adaptação de aves mais coloridas. Isso pode ser determinado
pelas pressões ambientais”. Segundo o biólogo Nascimento, “O
ambiente urbano seleciona espécies onívoras e espécies grandes,
só que as espécies mais coloridas tendem a ser pequenas e com
dieta especialista”.
(https://jornal.usp.br/ciencias/por-que-as-aves-megacoloridas-sumiramdas-cidades/)
Sobre as aves megacoloridas, é correto afirmar que
(https://jornal.usp.br/ciencias/por-que-as-aves-megacoloridas-sumiramdas-cidades/)
Sobre as aves megacoloridas, é correto afirmar que
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811478
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
Because the author is a fan of physical media in the age of
streamings, he admits being considered
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811477
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
The author makes it clear that there was an attempt to elicit
a comment from Amazon, which
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811476
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
The author of the text looked for examples of practices in the
streaming platforms that were similar to what the mentioned
lawsuit labels as ‘deceptive practice’ and
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811475
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
In the circumstance of purchasing a film from a streaming
platform, in case the access to the product is interrupted,
according to the text, the customer is
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811474
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
The text explains what really happens when a person decides
to buy a film from a streaming platform, exemplifying with Amazon
Prime. In such a dealing, the person
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811473
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
According to the author, because of constraints related to
streamings as reported in the text, what seemed to be an
improbable thing is happening now: the revival of physical media.
Mentioned as an example is the opening of
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811472
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
It is mentioned in the text that, in the early days of
streaming, people were assured they would get access to all types
of materials of their choice the moment they wanted. That
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811471
Inglês
Texto associado
Think you actually own all those movies you’ve been buying
digitally? Think again
A possible class-action lawsuit against Amazon Prime, one
of the world’s biggest platforms for streaming film and television,
has raised an odd question: what does it mean to buy something?
The proposed lawsuit, which was filed last week in
federal court and first reported by the Hollywood Reporter, alleges
that Prime’s practice of offering users the chance to “buy” (as
opposed to “rent”) content is inherently deceptive. The suit argues
that buying something implies perpetual possession – but that
Amazon, like many other streaming services, is really just selling its
customers viewing licenses that can be revoked at any time, in
keeping with fine print that most customers do not read or
understand.
Regardless of whether the lawsuit is ultimately
successful, it speaks to a real problem in an age when people
access films, television series, music and video games through
fickle online platforms: impermanence. The advent of streaming
promised a world of digital riches in which we could access libraries
of our favorite content whenever we wanted. It hasn’t exactly
worked out that way.
Many movie fans are already familiar with a certain
scenario. Let’s say that you are seized, this Friday night, by an urge
to rewatch one of your favorite films, Double Indemnity. (You are a
popular and sociable person – charismatic, attractive, with many
friends – but feel under the weather this weekend.) If you are
especially prudent, you own the film on a physical format – such as
a Criterion Collection Blu-ray – but if not, you just type watch
double indemnity 1944 into a search engine and see what comes
up.
Given that beloved older films and television shows are
increasingly difficult to find on streaming platforms, you will be
relieved to see the film listed on any of the services you subscribe
to, such as Netflix, Hulu or HBO Max. When you click on the links,
however, there is a high chance that one of those dreaded landing
pages appears: “REMIND ME WHEN THIS IS AVAILABLE” or “THIS
TITLE IS NOT CURRENTLY AVAILABLE IN YOUR COUNTRY.”
There are ways to watch the film that don’t
involve paying, but let’s say that you’re a scrupulously honest
person. Fortunately, Amazon Prime has Double Indemnity available
on demand: you can rent the movie, for 48 hours of playback, for
$3.79 – or “buy” it for $14.99. The second option is more
expensive, but if it is truly one of your favorite movies you may
decide to buy it so you can watch it again whenever you want. And
in just a couple of clicks – faster than Barbara Stanwyck can light a
cigarette in the darkened living room of a California villa – the
Paramount logo is blooming on your television screen. Not bad,
right?
The problem is that you aren’t downloading the movie, to
own and watch forever; you’re just getting access to it on Amazon’s
servers – a right that only lasts as long as Amazon also has access to
the film, which depends on capricious licensing agreements that
vary from title to title. A month or five years from now, that license
may expire – and the movie will disappear from your Amazon
library. Yet the $14.99 you paid does not reappear in your pocket.
If you’re a film buff, like me, you may already have heard
of things like this happening. In 2018, users of iTunes who had
purchased titles for their digital libraries were unhappy to learn that the company had deleted some of them without telling them.
Last year, customers of Funimation, an anime streaming service
that was acquired by another company, discovered that the titles
they had purchased from Funimation would not be ported over to
the new platform. Video game and music fans have reported
similar frustrations.
If online chatter is any indication, a class-action lawsuit
against Prime would have some takers. Reacting to the news of the
suit, someone on Reddit described buying the director’s cut of
Aliens from Prime; after watching it for 10 years, “I went to my
purchased movies in the Amazon app and it is now gone. No
explanation and no recourse.”
“Happened to me,” another person wrote. “Bought the
original Battlestar Galactica series. Now it’s gone.”
(Amazon did not respond to my request for comment at
the time of publication.)
Disappointment with streaming’s limitations are a major
reason that many pop culture fans have, in recent years,
returned to a format long thought dying: physical media. Like vinyl
records, which have had an unexpected renaissance, film discs and
other seemingly old-school technologies have been embraced in
recent years by a small but passionate segment of film and TV
buffs. Earlier this year, the first new physical video store in many
years opened in New York.
In particular, movie fans have rediscovered Blu-rays,
which debuted in 2006 as a higher-definition successor to DVDs, as
well as their new and even higher-definition sibling, the 4K UHD,
which has become the gold-standard for “home cinema” enthusiasts. I’m one of those physical-media fans. I have about 400
movies on disc, mostly Blu-rays, hidden in a cabinet beneath my
TV. In the age of streaming, some of my friends think I’m deranged.
But the films look great, don’t need the internet to watch
and – most importantly – never disappear.
From: https://www.theguardian.com/2025/aug/27/
According to the text, a lawsuit against Amazon Prime has
brought into question the idea of ‘buying’ because the word
implicitly contains the notion of
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811470
Sociologia
A interseccionalidade nos estudos de gênero nas ciências sociais significa que, de forma geral, é preciso considerar fatores como os de raça, de classe social e de idade, por exemplo, na compreensão e explicação das diferenças entre homens, mulheres e pessoas de outras identidades de gênero. Em síntese, a lógica é a de que as mulheres negras e pobres não vivenciam, numa sociedade como a brasileira, as mesmas condicionalidades sociais que mulheres brancas de classe alta, por exemplo, e o mesmo vale para as pessoas LGBTQIAPN+ que se diferenciam umas das outras por variados fatores que se interseccionam.
Partindo desse enunciado, avalie as seguintes afirmações:
I. A perspectiva da interseccionalidade considera que as mulheres podem passar pelas mesmas experiências de violência, independente de classe social.
II. Os estudos de gênero nas ciências sociais demonstram que a interseccionalidade confirma as categorias “mulher” e “homem” como universais.
III. A noção de interseccionalidade aponta que as opressões que mulheres e pessoas trans sofrem se diferenciam por classe, raça e sexualidade.
IV. A análise das diferenças entre homens e mulheres é insuficiente quando não incluir as desigualdades entre brancos e negros e brancas e negras.
É correto o que se afirma em
Ano: 2025
Banca:
UECE-CEV
Órgão:
UECE
Prova:
UECE-CEV - 2025 - UECE - Prova de Conhecimentos Gerais - 1ª Fase (1º Semestre de 2026) |
Q3811469
Sociologia
O Estado-nação moderno é soberano quando estabelece
normas e condutas para pautar e organizar a vida coletiva de seus
cidadãos em nível interno bem como o seu comportamento
externo com o objetivo de promover o bem-estar destes e protegelos de ameaças internas ou externas. E para garantir a soberania, a
organização nacional do Estado não pode estar submetida aos
interesses particulares de grupos sociais intermediários internos
e/ou externos de vontades estrangeiras de outros Estados ou
entidades.
MODERNA PLUS – Sociologia em Movimento. 1ª ed. São Paulo: Moderna, 2024.
Considerando o exposto, assinale a afirmação verdadeira.
MODERNA PLUS – Sociologia em Movimento. 1ª ed. São Paulo: Moderna, 2024.
Considerando o exposto, assinale a afirmação verdadeira.
Conheça nossos planos