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Q3147557 Inglês
        We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

         Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted). 

Based on the previous text, its ideas and its linguistic aspects, judge the following item.


In the first paragraph, the author states that, in the past, no buildings were built without a practical purpose or reason.

Alternativas
Q3147556 Inglês
        We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

         Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted). 

Based on the previous text, its ideas and its linguistic aspects, judge the following item.


The author distinguishes between two different notions of art, one of which he points out to be a recent development.

Alternativas
Q3147555 Inglês
        We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

         Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted). 

Based on the previous text, its ideas and its linguistic aspects, judge the following item.


According to the author, works of art of the past were produced for purposes which went beyond being beautiful.

Alternativas
Q3147554 Inglês
        We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

         Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted). 

Based on the previous text, its ideas and its linguistic aspects, judge the following item.


The author of the text uses architecture as an example because he considers it the best form of art from the past.

Alternativas
Q3147553 Inglês
        We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

         Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted). 

Based on the previous text, its ideas and its linguistic aspects, judge the following item.


The information presented in the last sentence of the text means that, to the peoples mentioned by the author in the end of the second paragraph, art objects, like pictures and statues, have supernatural powers.

Alternativas
Q3147532 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


A prática de um ensino crítico e investigativo é vista pela pedagogia freireana como irrelevante para que o aluno se reconheça em seu contexto social.

Alternativas
Q3147531 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


O ponto de partida do diálogo na sala de aula deve ser estabelecido de forma unilateral, com o educador impondo suas ideias aos alunos.

Alternativas
Q3147530 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


O papel do educador é essencialmente isento de qualquer reflexão prévia sobre o conteúdo a ser abordado em sala de aula, devendo a interação singular com cada turma guiar a prática pedagógica do professor. 

Alternativas
Q3147529 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


O desenvolvimento cognitivo infantil ocorre de forma linear e previsível, conforme teorizado por Piaget, devendo o professor, portanto, utilizar o conhecimento prévio do aluno como base para propor novos ensinamentos.

Alternativas
Q3147528 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


A noção de regressões indefinidas, segundo a qual é possível sempre retroceder a bases anteriores que sustentam o conhecimento atual, indica que é possível descobrir uma única origem para todos os conceitos a serem ensinados ao aluno.

Alternativas
Q3147527 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


De acordo com Piaget, a apreensão de novos conceitos sempre se fundamenta em saberes preexistentes, portanto o aprendizado é cumulativo.

Alternativas
Q3147526 Pedagogia

No que se refere à valorização do conhecimento prévio e de mundo do aluno e à interação em sala de aula, julgue o item que se segue.


O estímulo ao diálogo no ambiente escolar é benéfico para o processo de aprendizagem na medida em que permite que os alunos exponham suas curiosidades e percepções. 

Alternativas
Q3147525 Pedagogia

Considerando a abordagem pedagógica de Paulo Freire, julgue o item a seguir, relativo à avaliação no processo de ensino-aprendizagem.


Segundo Paulo Freire, a avaliação da prática pedagógica é crucial para aumentar a eficácia do trabalho realizado.

Alternativas
Q3147524 Pedagogia

Considerando a abordagem pedagógica de Paulo Freire, julgue o item a seguir, relativo à avaliação no processo de ensino-aprendizagem.


Conforme a pedagogia crítica de Paulo Freire, o aluno deve cumprir papel de protagonismo no processo avaliativo, visando primordialmente ao aprimoramento de seu desempenho técnico e acadêmico.

Alternativas
Q3147523 Pedagogia

Considerando a abordagem pedagógica de Paulo Freire, julgue o item a seguir, relativo à avaliação no processo de ensino-aprendizagem.


Paulo Freire propôs que a avaliação da prática pedagógica fosse realizada apenas ao final de um processo, sem a necessidade de acompanhamento contínuo.  

Alternativas
Q3147522 Pedagogia

Considerando a abordagem pedagógica de Paulo Freire, julgue o item a seguir, relativo à avaliação no processo de ensino-aprendizagem.


A comparação entre os resultados alcançados e os objetivos estabelecidos, segundo Paulo Freire, é um elemento fundamental na avaliação da prática pedagógica, pois oferece uma compreensão sobre os acertos e erros na prática educacional.

Alternativas
Q3147521 Pedagogia

Acerca da avaliação no processo de ensino-aprendizagem, julgue o item a seguir.  


É recomendado o uso de procedimentos de avaliação formativa que levem em conta as particularidades relativas aos contextos e às condições de aprendizagem do aluno.  

Alternativas
Q3147520 Pedagogia

Acerca da avaliação no processo de ensino-aprendizagem, julgue o item a seguir.  


Na avaliação, deve-se considerar a diversidade cognitiva dos alunos, em detrimento de métodos avaliativos padronizados.

Alternativas
Q3147519 Pedagogia

Acerca da avaliação no processo de ensino-aprendizagem, julgue o item a seguir.  


No processo educativo, a reflexão crítica sobre a prática avaliativa é fundamental para que os alunos consigam reconhecer suas dificuldades e resistências.

Alternativas
Q3147518 Pedagogia

Acerca da avaliação no processo de ensino-aprendizagem, julgue o item a seguir.  


A avaliação deve ser vista como um objetivo final em si, já que a atribuição de notas é essencial para o funcionamento adequado do sistema educacional, conforme definido pelas legislações vigentes.  

Alternativas
Respostas
14401: E
14402: C
14403: C
14404: E
14405: C
14406: E
14407: E
14408: E
14409: E
14410: E
14411: C
14412: C
14413: C
14414: E
14415: E
14416: C
14417: C
14418: C
14419: C
14420: E