Questões de Concurso Para prefeitura de pará de minas - mg

Foram encontradas 904 questões

Resolva questões gratuitamente!

Junte-se a mais de 4 milhões de concurseiros!

www.qconcursos.com
Q1118361
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - Inglês |
Q1118361 Inglês
INSTRUCTIONS: This test comprises fifteen questions taken from the text below. Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

The whole affair began so very quietly. When I wrote, that summer, and asked my friend Louise if she would come with me on a car trip to Provence, I had no idea that I might be issuing an invitation to danger. And when we arrived one afternoon, after a hot but leisurely journey, at the enchanting little walled city of Avignon, we felt in that mood of pleasant weariness mingled with anticipation which marks, I believe, the beginning of every normal holiday.

I even sang to myself as I put the car away, and when I found they had given me a room with a balcony. And when, later on, the cat jumped on to my balcony, there was still nothing to indicate that this was the beginning of the whole strange, uneasy, tangled business. Or rather, not the beginning, but my own cue, the point where I came in. And, though the part I was to play in the tragedy was to break and re-form the pattern of my whole life, yet it was a very minor part, little more than a walk on in the last act. For most of the play had been played already; there had been love and lust and revenge and fear and murder – all the blood-tragedy – and now the killer, with blood enough on his hands, was waiting in the wings for the lights to go up again, on the last kill that would bring the final curtain down.

Louise is tall and fair and plump, with long legs, a pleasant voice, and beautiful hands. She is an artist, has no temperament to speak of, and is unutterably and incurably lazy. Before my marriage to Johnny Selbourne, I had taught at the Alice Private School for Girls in the West Midlands. Louise was still Art Mistress there, and owed her continued health and sanity to the habit of removing herself out of the trouble zone. 

When Louise had gone to her own room, I washed, changed into a white frock with a wide blue belt, and did my face and hair very slowly. It was still hot, and the late sun’s rays fell obliquely across the balcony, through the half-opened shutter, in a shaft of copper-gold. Motionless, the shadows of the thin leaves traced a pattern across it as delicate and precise as a Chinese painting on silk, the image of the tree, brushed in like that by the sun, had a grace that the tree itself gave no hint of, for it was merely one of the nameless spindly affairs, parched and dustladen, that struggled up towards the sky from their pots in the hotel out below. 

The courtyard was empty: people were still resting, or changing, or, if they were the mad English, walking out in the afternoon sun. A white-painted trellis wall separated the court on one side from the street, and beyond it people, mules, cars, occasionally even buses, moved about their business up and down the narrow thoroughfare. But inside the vine-covered trellis it was very still and peaceful.

Then fate took a hand. The first cue I had of it was the violent shaking of the shadows on the balcony. Then the ginger cat shot on to my balcony and sent down on her assailant the look to end all looks, and sat calmly down to wash. From below a rush and a volley of barking explained everything.

Then came a crash, and the sound of running feet.

The courtyard, formerly so empty and peaceful, seemed all of a sudden remarkably full of a boy and a large, nondescript dog. The latter, with his earnest gaze still on the balcony, was leaping futilely up and down, pouring out rage, hatred and excitement, while the boy tried with one hand to catch and quell him and with the other to lift one of the tables which had been knocked on to its side. It was, luckily, not one of those which had been set for dinner.

The boy looked up and saw me. He straightened, pushed his hair back from his forehead, and grinned.

“My French isn’t terribly good,” I said. “Do you speak English?”

He looked immensely pleased.

“Well, as a matter of fact, I am English,” he admitted. ”My name’s David,” he said. “David Shelley.”

Well, I was into the play.

I judged him to be about thirteen – who was lucky enough to be enjoying a holiday in the South of France.

Before I could speak again we were interrupted by a woman who came in through the vine-trellis, from the street. She was, I guessed, thirty-five. She was also blonde, tall, and quite the most beautiful woman I had ever seen. The simple cream dress she wore must have been one of Dior’s favourite dreams, and the bill for it her husband’s nightmare.

She did not see me at all, which again was perfectly natural. She paused a moment when she saw the boy and the dog, then came forward with a kind of eyecompelling glance which would have turned heads in Piccadilly on a wet Monday morning.

She paused and spoke. Her voice was pleasant, her English perfect, but her accent was that of a Frenchwoman.

              “David.”
No reply.
      “Mon fils... “

Her son? He did not glance up. “Don’t you know what time it is? Hurry up and change. It’s nearly dinner time.”

Without a word the boy went into the hotel, trailing a somewhat subdued dog after him on the end of a string. His mother stared after him for a moment, with an expression half puzzled, half exasperated. Then she gave a smiling little shrug of the shoulders and went into the hotel after the boy.

I picked my bag up and went downstairs for a drink.

STEWART, Mary. Madam, will you talk?. Hodder and
Stoughton: Coronet Books, 1977, p. 5-14 (Edited).

All adjectives below apply to the narrator’s friend Louise, EXCEPT:
Alternativas
Q1118360
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - Inglês |
Q1118360 Inglês
INSTRUCTIONS: This test comprises fifteen questions taken from the text below. Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

The whole affair began so very quietly. When I wrote, that summer, and asked my friend Louise if she would come with me on a car trip to Provence, I had no idea that I might be issuing an invitation to danger. And when we arrived one afternoon, after a hot but leisurely journey, at the enchanting little walled city of Avignon, we felt in that mood of pleasant weariness mingled with anticipation which marks, I believe, the beginning of every normal holiday.

I even sang to myself as I put the car away, and when I found they had given me a room with a balcony. And when, later on, the cat jumped on to my balcony, there was still nothing to indicate that this was the beginning of the whole strange, uneasy, tangled business. Or rather, not the beginning, but my own cue, the point where I came in. And, though the part I was to play in the tragedy was to break and re-form the pattern of my whole life, yet it was a very minor part, little more than a walk on in the last act. For most of the play had been played already; there had been love and lust and revenge and fear and murder – all the blood-tragedy – and now the killer, with blood enough on his hands, was waiting in the wings for the lights to go up again, on the last kill that would bring the final curtain down.

Louise is tall and fair and plump, with long legs, a pleasant voice, and beautiful hands. She is an artist, has no temperament to speak of, and is unutterably and incurably lazy. Before my marriage to Johnny Selbourne, I had taught at the Alice Private School for Girls in the West Midlands. Louise was still Art Mistress there, and owed her continued health and sanity to the habit of removing herself out of the trouble zone. 

When Louise had gone to her own room, I washed, changed into a white frock with a wide blue belt, and did my face and hair very slowly. It was still hot, and the late sun’s rays fell obliquely across the balcony, through the half-opened shutter, in a shaft of copper-gold. Motionless, the shadows of the thin leaves traced a pattern across it as delicate and precise as a Chinese painting on silk, the image of the tree, brushed in like that by the sun, had a grace that the tree itself gave no hint of, for it was merely one of the nameless spindly affairs, parched and dustladen, that struggled up towards the sky from their pots in the hotel out below. 

The courtyard was empty: people were still resting, or changing, or, if they were the mad English, walking out in the afternoon sun. A white-painted trellis wall separated the court on one side from the street, and beyond it people, mules, cars, occasionally even buses, moved about their business up and down the narrow thoroughfare. But inside the vine-covered trellis it was very still and peaceful.

Then fate took a hand. The first cue I had of it was the violent shaking of the shadows on the balcony. Then the ginger cat shot on to my balcony and sent down on her assailant the look to end all looks, and sat calmly down to wash. From below a rush and a volley of barking explained everything.

Then came a crash, and the sound of running feet.

The courtyard, formerly so empty and peaceful, seemed all of a sudden remarkably full of a boy and a large, nondescript dog. The latter, with his earnest gaze still on the balcony, was leaping futilely up and down, pouring out rage, hatred and excitement, while the boy tried with one hand to catch and quell him and with the other to lift one of the tables which had been knocked on to its side. It was, luckily, not one of those which had been set for dinner.

The boy looked up and saw me. He straightened, pushed his hair back from his forehead, and grinned.

“My French isn’t terribly good,” I said. “Do you speak English?”

He looked immensely pleased.

“Well, as a matter of fact, I am English,” he admitted. ”My name’s David,” he said. “David Shelley.”

Well, I was into the play.

I judged him to be about thirteen – who was lucky enough to be enjoying a holiday in the South of France.

Before I could speak again we were interrupted by a woman who came in through the vine-trellis, from the street. She was, I guessed, thirty-five. She was also blonde, tall, and quite the most beautiful woman I had ever seen. The simple cream dress she wore must have been one of Dior’s favourite dreams, and the bill for it her husband’s nightmare.

She did not see me at all, which again was perfectly natural. She paused a moment when she saw the boy and the dog, then came forward with a kind of eyecompelling glance which would have turned heads in Piccadilly on a wet Monday morning.

She paused and spoke. Her voice was pleasant, her English perfect, but her accent was that of a Frenchwoman.

              “David.”
No reply.
      “Mon fils... “

Her son? He did not glance up. “Don’t you know what time it is? Hurry up and change. It’s nearly dinner time.”

Without a word the boy went into the hotel, trailing a somewhat subdued dog after him on the end of a string. His mother stared after him for a moment, with an expression half puzzled, half exasperated. Then she gave a smiling little shrug of the shoulders and went into the hotel after the boy.

I picked my bag up and went downstairs for a drink.

STEWART, Mary. Madam, will you talk?. Hodder and
Stoughton: Coronet Books, 1977, p. 5-14 (Edited).

The narrative shows that the narrator was expecting to:
Alternativas
Q1118359
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - Inglês |
Q1118359 Inglês
INSTRUCTIONS: This test comprises fifteen questions taken from the text below. Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

The whole affair began so very quietly. When I wrote, that summer, and asked my friend Louise if she would come with me on a car trip to Provence, I had no idea that I might be issuing an invitation to danger. And when we arrived one afternoon, after a hot but leisurely journey, at the enchanting little walled city of Avignon, we felt in that mood of pleasant weariness mingled with anticipation which marks, I believe, the beginning of every normal holiday.

I even sang to myself as I put the car away, and when I found they had given me a room with a balcony. And when, later on, the cat jumped on to my balcony, there was still nothing to indicate that this was the beginning of the whole strange, uneasy, tangled business. Or rather, not the beginning, but my own cue, the point where I came in. And, though the part I was to play in the tragedy was to break and re-form the pattern of my whole life, yet it was a very minor part, little more than a walk on in the last act. For most of the play had been played already; there had been love and lust and revenge and fear and murder – all the blood-tragedy – and now the killer, with blood enough on his hands, was waiting in the wings for the lights to go up again, on the last kill that would bring the final curtain down.

Louise is tall and fair and plump, with long legs, a pleasant voice, and beautiful hands. She is an artist, has no temperament to speak of, and is unutterably and incurably lazy. Before my marriage to Johnny Selbourne, I had taught at the Alice Private School for Girls in the West Midlands. Louise was still Art Mistress there, and owed her continued health and sanity to the habit of removing herself out of the trouble zone. 

When Louise had gone to her own room, I washed, changed into a white frock with a wide blue belt, and did my face and hair very slowly. It was still hot, and the late sun’s rays fell obliquely across the balcony, through the half-opened shutter, in a shaft of copper-gold. Motionless, the shadows of the thin leaves traced a pattern across it as delicate and precise as a Chinese painting on silk, the image of the tree, brushed in like that by the sun, had a grace that the tree itself gave no hint of, for it was merely one of the nameless spindly affairs, parched and dustladen, that struggled up towards the sky from their pots in the hotel out below. 

The courtyard was empty: people were still resting, or changing, or, if they were the mad English, walking out in the afternoon sun. A white-painted trellis wall separated the court on one side from the street, and beyond it people, mules, cars, occasionally even buses, moved about their business up and down the narrow thoroughfare. But inside the vine-covered trellis it was very still and peaceful.

Then fate took a hand. The first cue I had of it was the violent shaking of the shadows on the balcony. Then the ginger cat shot on to my balcony and sent down on her assailant the look to end all looks, and sat calmly down to wash. From below a rush and a volley of barking explained everything.

Then came a crash, and the sound of running feet.

The courtyard, formerly so empty and peaceful, seemed all of a sudden remarkably full of a boy and a large, nondescript dog. The latter, with his earnest gaze still on the balcony, was leaping futilely up and down, pouring out rage, hatred and excitement, while the boy tried with one hand to catch and quell him and with the other to lift one of the tables which had been knocked on to its side. It was, luckily, not one of those which had been set for dinner.

The boy looked up and saw me. He straightened, pushed his hair back from his forehead, and grinned.

“My French isn’t terribly good,” I said. “Do you speak English?”

He looked immensely pleased.

“Well, as a matter of fact, I am English,” he admitted. ”My name’s David,” he said. “David Shelley.”

Well, I was into the play.

I judged him to be about thirteen – who was lucky enough to be enjoying a holiday in the South of France.

Before I could speak again we were interrupted by a woman who came in through the vine-trellis, from the street. She was, I guessed, thirty-five. She was also blonde, tall, and quite the most beautiful woman I had ever seen. The simple cream dress she wore must have been one of Dior’s favourite dreams, and the bill for it her husband’s nightmare.

She did not see me at all, which again was perfectly natural. She paused a moment when she saw the boy and the dog, then came forward with a kind of eyecompelling glance which would have turned heads in Piccadilly on a wet Monday morning.

She paused and spoke. Her voice was pleasant, her English perfect, but her accent was that of a Frenchwoman.

              “David.”
No reply.
      “Mon fils... “

Her son? He did not glance up. “Don’t you know what time it is? Hurry up and change. It’s nearly dinner time.”

Without a word the boy went into the hotel, trailing a somewhat subdued dog after him on the end of a string. His mother stared after him for a moment, with an expression half puzzled, half exasperated. Then she gave a smiling little shrug of the shoulders and went into the hotel after the boy.

I picked my bag up and went downstairs for a drink.

STEWART, Mary. Madam, will you talk?. Hodder and
Stoughton: Coronet Books, 1977, p. 5-14 (Edited).

We, readers of the text, know that the narrator is a woman because:
Alternativas
Q1118358
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - Inglês |
Q1118358 Inglês
INSTRUCTIONS: This test comprises fifteen questions taken from the text below. Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

The whole affair began so very quietly. When I wrote, that summer, and asked my friend Louise if she would come with me on a car trip to Provence, I had no idea that I might be issuing an invitation to danger. And when we arrived one afternoon, after a hot but leisurely journey, at the enchanting little walled city of Avignon, we felt in that mood of pleasant weariness mingled with anticipation which marks, I believe, the beginning of every normal holiday.

I even sang to myself as I put the car away, and when I found they had given me a room with a balcony. And when, later on, the cat jumped on to my balcony, there was still nothing to indicate that this was the beginning of the whole strange, uneasy, tangled business. Or rather, not the beginning, but my own cue, the point where I came in. And, though the part I was to play in the tragedy was to break and re-form the pattern of my whole life, yet it was a very minor part, little more than a walk on in the last act. For most of the play had been played already; there had been love and lust and revenge and fear and murder – all the blood-tragedy – and now the killer, with blood enough on his hands, was waiting in the wings for the lights to go up again, on the last kill that would bring the final curtain down.

Louise is tall and fair and plump, with long legs, a pleasant voice, and beautiful hands. She is an artist, has no temperament to speak of, and is unutterably and incurably lazy. Before my marriage to Johnny Selbourne, I had taught at the Alice Private School for Girls in the West Midlands. Louise was still Art Mistress there, and owed her continued health and sanity to the habit of removing herself out of the trouble zone. 

When Louise had gone to her own room, I washed, changed into a white frock with a wide blue belt, and did my face and hair very slowly. It was still hot, and the late sun’s rays fell obliquely across the balcony, through the half-opened shutter, in a shaft of copper-gold. Motionless, the shadows of the thin leaves traced a pattern across it as delicate and precise as a Chinese painting on silk, the image of the tree, brushed in like that by the sun, had a grace that the tree itself gave no hint of, for it was merely one of the nameless spindly affairs, parched and dustladen, that struggled up towards the sky from their pots in the hotel out below. 

The courtyard was empty: people were still resting, or changing, or, if they were the mad English, walking out in the afternoon sun. A white-painted trellis wall separated the court on one side from the street, and beyond it people, mules, cars, occasionally even buses, moved about their business up and down the narrow thoroughfare. But inside the vine-covered trellis it was very still and peaceful.

Then fate took a hand. The first cue I had of it was the violent shaking of the shadows on the balcony. Then the ginger cat shot on to my balcony and sent down on her assailant the look to end all looks, and sat calmly down to wash. From below a rush and a volley of barking explained everything.

Then came a crash, and the sound of running feet.

The courtyard, formerly so empty and peaceful, seemed all of a sudden remarkably full of a boy and a large, nondescript dog. The latter, with his earnest gaze still on the balcony, was leaping futilely up and down, pouring out rage, hatred and excitement, while the boy tried with one hand to catch and quell him and with the other to lift one of the tables which had been knocked on to its side. It was, luckily, not one of those which had been set for dinner.

The boy looked up and saw me. He straightened, pushed his hair back from his forehead, and grinned.

“My French isn’t terribly good,” I said. “Do you speak English?”

He looked immensely pleased.

“Well, as a matter of fact, I am English,” he admitted. ”My name’s David,” he said. “David Shelley.”

Well, I was into the play.

I judged him to be about thirteen – who was lucky enough to be enjoying a holiday in the South of France.

Before I could speak again we were interrupted by a woman who came in through the vine-trellis, from the street. She was, I guessed, thirty-five. She was also blonde, tall, and quite the most beautiful woman I had ever seen. The simple cream dress she wore must have been one of Dior’s favourite dreams, and the bill for it her husband’s nightmare.

She did not see me at all, which again was perfectly natural. She paused a moment when she saw the boy and the dog, then came forward with a kind of eyecompelling glance which would have turned heads in Piccadilly on a wet Monday morning.

She paused and spoke. Her voice was pleasant, her English perfect, but her accent was that of a Frenchwoman.

              “David.”
No reply.
      “Mon fils... “

Her son? He did not glance up. “Don’t you know what time it is? Hurry up and change. It’s nearly dinner time.”

Without a word the boy went into the hotel, trailing a somewhat subdued dog after him on the end of a string. His mother stared after him for a moment, with an expression half puzzled, half exasperated. Then she gave a smiling little shrug of the shoulders and went into the hotel after the boy.

I picked my bag up and went downstairs for a drink.

STEWART, Mary. Madam, will you talk?. Hodder and
Stoughton: Coronet Books, 1977, p. 5-14 (Edited).

The narrator is comparing the story she is about to tell to:
Alternativas
Q1118357
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - Inglês |
Q1118357 Inglês
INSTRUCTIONS: This test comprises fifteen questions taken from the text below. Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

The whole affair began so very quietly. When I wrote, that summer, and asked my friend Louise if she would come with me on a car trip to Provence, I had no idea that I might be issuing an invitation to danger. And when we arrived one afternoon, after a hot but leisurely journey, at the enchanting little walled city of Avignon, we felt in that mood of pleasant weariness mingled with anticipation which marks, I believe, the beginning of every normal holiday.

I even sang to myself as I put the car away, and when I found they had given me a room with a balcony. And when, later on, the cat jumped on to my balcony, there was still nothing to indicate that this was the beginning of the whole strange, uneasy, tangled business. Or rather, not the beginning, but my own cue, the point where I came in. And, though the part I was to play in the tragedy was to break and re-form the pattern of my whole life, yet it was a very minor part, little more than a walk on in the last act. For most of the play had been played already; there had been love and lust and revenge and fear and murder – all the blood-tragedy – and now the killer, with blood enough on his hands, was waiting in the wings for the lights to go up again, on the last kill that would bring the final curtain down.

Louise is tall and fair and plump, with long legs, a pleasant voice, and beautiful hands. She is an artist, has no temperament to speak of, and is unutterably and incurably lazy. Before my marriage to Johnny Selbourne, I had taught at the Alice Private School for Girls in the West Midlands. Louise was still Art Mistress there, and owed her continued health and sanity to the habit of removing herself out of the trouble zone. 

When Louise had gone to her own room, I washed, changed into a white frock with a wide blue belt, and did my face and hair very slowly. It was still hot, and the late sun’s rays fell obliquely across the balcony, through the half-opened shutter, in a shaft of copper-gold. Motionless, the shadows of the thin leaves traced a pattern across it as delicate and precise as a Chinese painting on silk, the image of the tree, brushed in like that by the sun, had a grace that the tree itself gave no hint of, for it was merely one of the nameless spindly affairs, parched and dustladen, that struggled up towards the sky from their pots in the hotel out below. 

The courtyard was empty: people were still resting, or changing, or, if they were the mad English, walking out in the afternoon sun. A white-painted trellis wall separated the court on one side from the street, and beyond it people, mules, cars, occasionally even buses, moved about their business up and down the narrow thoroughfare. But inside the vine-covered trellis it was very still and peaceful.

Then fate took a hand. The first cue I had of it was the violent shaking of the shadows on the balcony. Then the ginger cat shot on to my balcony and sent down on her assailant the look to end all looks, and sat calmly down to wash. From below a rush and a volley of barking explained everything.

Then came a crash, and the sound of running feet.

The courtyard, formerly so empty and peaceful, seemed all of a sudden remarkably full of a boy and a large, nondescript dog. The latter, with his earnest gaze still on the balcony, was leaping futilely up and down, pouring out rage, hatred and excitement, while the boy tried with one hand to catch and quell him and with the other to lift one of the tables which had been knocked on to its side. It was, luckily, not one of those which had been set for dinner.

The boy looked up and saw me. He straightened, pushed his hair back from his forehead, and grinned.

“My French isn’t terribly good,” I said. “Do you speak English?”

He looked immensely pleased.

“Well, as a matter of fact, I am English,” he admitted. ”My name’s David,” he said. “David Shelley.”

Well, I was into the play.

I judged him to be about thirteen – who was lucky enough to be enjoying a holiday in the South of France.

Before I could speak again we were interrupted by a woman who came in through the vine-trellis, from the street. She was, I guessed, thirty-five. She was also blonde, tall, and quite the most beautiful woman I had ever seen. The simple cream dress she wore must have been one of Dior’s favourite dreams, and the bill for it her husband’s nightmare.

She did not see me at all, which again was perfectly natural. She paused a moment when she saw the boy and the dog, then came forward with a kind of eyecompelling glance which would have turned heads in Piccadilly on a wet Monday morning.

She paused and spoke. Her voice was pleasant, her English perfect, but her accent was that of a Frenchwoman.

              “David.”
No reply.
      “Mon fils... “

Her son? He did not glance up. “Don’t you know what time it is? Hurry up and change. It’s nearly dinner time.”

Without a word the boy went into the hotel, trailing a somewhat subdued dog after him on the end of a string. His mother stared after him for a moment, with an expression half puzzled, half exasperated. Then she gave a smiling little shrug of the shoulders and went into the hotel after the boy.

I picked my bag up and went downstairs for a drink.

STEWART, Mary. Madam, will you talk?. Hodder and
Stoughton: Coronet Books, 1977, p. 5-14 (Edited).

The story is supposed to be about:
Alternativas
Q1118356
Conhecimentos Gerais Questões Sociais , Trabalho, Transporte, Previdência e outras Questões Sociais ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118356 Conhecimentos Gerais

“A Constituição declarava o direito universal não só à saúde, mas também a um sistema integrado de seguridade e assistência social. Dessa forma, todos os trabalhadores, dos setores público e privado, eram contemplados pelo mesmo sistema, cujo financiamento provinha de uma base tributária mais sólida, e o valor das aposentadorias foi atrelado à inflação. [...] O novo compromisso com o direito universal à aposentadoria para os trabalhadores rurais teve um efeito extremamente importante na redução da indigência e pobreza da população. Embora essas aposentadorias rurais a princípio fossem bastante pequenas [...] na Constituição de 1988, o piso da aposentadoria para rurais foi elevado para o salário mínimo. Avalia-se que essas aposentadorias diminuíram não só a pobreza da população, mas também as diferenças sociais no meio rural. Aliás, o Brasil está entre os países em desenvolvimento mais avançados em iniciativas para reduzir a pobreza da população rural. Dessa forma, pela primeira vez no país ser idoso e morar no campo não significava correlação automática com a miséria.”

KLEIN, Herbert; LUNA, Francisco Vidal. População e Sociedade. In REIS, Daniel Aarão (Coord.). História do Brasil Nação. Modernização, Ditadura e Democracia, 1964-2010. v. 5. Rio de Janeiro: Fundación Mapfre e Editora Objetiva, 2014. p. 62-63.


De acordo com o texto, o sistema de aposentadoria consagrado na Constituição de 1988 foi um dos responsáveis por colocar o Brasil entre os países mais avançados em iniciativas para a redução da pobreza da população rural.

Isso deve ser atribuído:

Alternativas
Q1118355
Conhecimentos Gerais Conhecimentos Gerais Sobre Arte e Cultura ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118355 Conhecimentos Gerais

“Procissão, de Gilberto Gil, virou sucesso [...] ‘Olha lá vai passando a procissão/ Se arrastando que nem cobra pelo chão/As pessoas que nela vão passando/Acreditam nas coisas lá do céu/ [...] Entra ano, sai ano, e nada vem/ Meu sertão continua ao Deus-dará/ Mas se existe Jesus no firmamento/ Cá na terra isso tem que se acabar.’ [...] a regravação de Procissão, em 1968, incorporou guitarras e o som estridente do rock pioneiro de Os Mutantes, sob a regência de Rogério Duprat, maestro de origem erudita. O importante não era apenas o protesto contra o latifúndio presente na letra da canção que, na gravação de 1965, apresentava uma sonoridade mais tradicional. A nova interpretação impunha também uma forma perturbadora da ordem musical estabelecida. Embaralhavam-se as fronteiras entre popular, erudito, tradicional, vanguarda, pop, regional nordestino, nacional, internacional, a arte e o convencional, a revolução e o mercado.”

RIDENTI, Marcelo. Cultura. In REIS, Daniel Aarão (Coord.). História do Brasil Nação. Modernização, Ditadura e Democracia, 1964-2010. v. 5. Rio de Janeiro: Fundación Mapfre e Editora Objetiva, 2014. p. 254.


A segunda gravação de Procissão de Gilberto Gil foi realizada bem ao estilo do movimento tropicalista, cujo período de maior visibilidade na música popular foi entre 1967 e 1968.

Este movimento, analisado pela descrição, colocou-se como vanguarda nesse período porque:

Alternativas
Q1118354
História História do Brasil , Era Vargas – 1930-1954 ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118354 História

“A movimentação de trabalhadores do campo na cena pública reivindicando terra e direitos é anterior ao governo de Juscelino – começou nos anos 1940. [...] A primeira experiência de organização de camponeses num tipo de associação civil – as Ligas Camponesas – fora realizada pelo Partido Comunista, entre 1945 e 1947, com o objetivo de mobilizar os trabalhadores do campo, levantar suas reivindicações e congregá-los numa aliança com os setores operários nas cidades. [...]”

SCHWARCZ, Lilia M.; STARLING, Heloisa M. Brasil: Uma Biografia. São Paulo: Companhia das Letras, 2015. p 424-425.

Francisco Julião deu início a uma nova estratégia de luta em torno da questão fundiária na segunda metade dos anos 1950, levando as Ligas Camponesas a se expandirem pelos principais estados do Nordeste e para outras regiões do país.

A estratégia de sucesso adotada pelas Ligas no período foi:

Alternativas
Q1118353
História História Geral , Primeira Guerra Mundial ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118353 História

“O Brasil foi o único país sul-americano a participar da Primeira Guerra Mundial. A participação se restringiu ao envio de 13 aviadores à Grã-Bretanha, que fizeram parte da Royal Air Force; uma missão médica à França, que instalou um hospital em Paris; de observadores do Exército e uma frota de seis navios para patrulhar o Mediterrâneo, a Divisão Naval em Operações de Guerra. Esta não chegou a tomar parte das hostilidades, pois navegando do Brasil para o Mediterrâneo, imobilizou-se em Dacar ao ser atingida pela gripe espanhola, que matou mais de cem marinheiros.”

DORATIOTO, Francisco. O Brasil no mundo / Idealismos, novos paradigmas e voluntarismo. In SCHWARCZ, Lilia Moritz. (Coord.). História do Brasil Nação. A Abertura para o Mundo. 1889-1930. v. 3. Rio de Janeiro: Fundación Mapfre e Editora Objetiva, 2012. p. 163.


Essa participação do Brasil na Primeira Guerra Mundial, embora simbólica, permitiu ao país importantes ganhos no cenário internacional, como:

Alternativas
Q1118352
História História do Brasil , Brasil Monárquico – Segundo Reinado 1831- 1889 ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118352 História

De acordo com Sidney Chalhoub, no texto População e Sociedade (apud CARVALHO, José Murilo (Coord.). História do Brasil Nação. A Construção Nacional. 1830- 1889. v. 2. Rio de Janeiro: Fundación Mapfre e Editora Objetiva, 2014. p. 37-81.), a Lei de 28 de setembro de 1871, “de emancipação gradual da escravidão”, provocou queixas dos proprietários de escravos e seus representantes junto ao parlamento imperial, pois consideravam que ela permitia muitas interferências do poder público (do Estado) no direito privado dos senhores. Isso acontecia sobretudo na regulamentação de alguns direitos tidos por costumeiros, portanto como parte do repertório dos escravizados no Brasil, e agora de obrigação legal.


Entre esses direitos costumeiros que agora se tornavam legais, estão:

Alternativas
Q1118351
História História do Brasil , Período Colonial: produção de riqueza e escravismo ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118351 História

“As esmeraldas de Minas matavam os homens ‘de esperança e febre/ e nunca se achavam/ e quando se achavam/ eram verde engano’, como afirmou mais de dois séculos depois o poeta Carlos Drummond de Andrade, ao recordar a aventura de Fernão Dias; a localização da refulgente montanha de pura prata continuava incerta, e sua empresa não rendera sequer uma peça de ouro à Coroa em Lisboa. [...]”

SCHWARCZ, Lilia M.; STARLING, Heloisa M. Brasil: uma Biografia. São Paulo: Companhia das Letras, 2015. p. 113.


Sobre a expedição de Fernão Dias Paes, é correto afirmar:

Alternativas
Q1118350
História História do Brasil , Período Colonial: produção de riqueza e escravismo ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118350 História

“[...] Em 1548, D. João III decidiu estabelecer um novo controle régio, nomeando um governador-geral e outros representantes da Coroa que viriam residir na colônia. [...] Salvador virou a sede do novo governo, da Suprema Corte e dos principais agentes fiscais do rei. [...] No entanto, a despeito das tentativas da metrópole de controlar a colônia, a descentralização era evidente. [...]”

SCHWARCZ, Lilia M.; STARLING, Heloisa M. Brasil: uma Biografia. São Paulo: Companhia das Letras, 2015. p. 67.


Segundo as autoras do trecho destacado, as tentativas de centralizar as atividades de controle da colônia tomadas pela Coroa portuguesa, resultaram em insucesso porque:

Alternativas
Q1118349
Pedagogia Legislação da Educação , Lei nº 10.639 de 2003 - Obrigatoriedade da Temática “História e Cultura Afro-Brasileira" ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118349 Pedagogia

Edson Silva, no texto O ensino de história indígena: possibilidades, exigências e desafios com base na Lei Nº 11.645/2008 2012, afirma, especificamente em torno das questões relativas à promulgação da referida Lei, que ela poderia contribuir para muitos debates necessários à percepção da invisibilidade dos povos indígenas e também para a superação de uma visão comumente exótica desses povos e habitantes do Brasil.


Com relação às ideias indicadas pelo autor, assinale a alternativa INCORRETA.

Alternativas
Q1118348
Pedagogia História da Educação Brasileira , A Educação como Processo de Construção Histórica ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118348 Pedagogia

A história do ensino de História, segundo Thaís Nívea de Lima e Fonseca “pode esclarecer muito mais do que se imagina sobre as questões que envolvem o trabalho de historiadores e professores, questões que vêm se acumulando nos cantos das salas de aula [...]” (2011, p. 7). Assim, perceber as características que marcaram e que ainda marcam esse campo do saber se torna imperativo para que se possa entender as permanências e as mudanças no ensino de História. Thaís Fonseca afirma que no século XIX ocorreram discussões e mudanças nos programas para as escolas elementares, secundárias e profissionais, e que os objetivos para o ensino de História foram sendo definidos com maior nitidez.


Sendo assim, sobre a história do ensino de História no século XIX, é correto afirmar:

Alternativas
Q1118347
Pedagogia Legislação da Educação , Lei nº 10.639 de 2003 - Obrigatoriedade da Temática “História e Cultura Afro-Brasileira" ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118347 Pedagogia

Em seu texto Algumas impressões e sugestões sobre o ensino de história da África, Marina de Mello e Souza, 2012, apresenta algumas ações que podem, especialmente na educação básica, contribuir para superação das visões estereotipadas em relação ao continente africano, e, em consequência, contra seus habitantes e também contra os afrodescendentes.


Sendo assim, sobre as indicações da autora para superação dessas visões distorcidas, é correto afirmar que:

I. seria necessário considerar o ensino de temas africanos, considerando não apenas os seus aspectos negativos, largamente divulgados pela imprensa e pelas mídias oficiais, mas também pelo que se pode chamar de aspectos positivos, ou seja, as características culturais e formas de organização social, políticas próprias, os processos históricos tanto internos quanto pertinentes à sua relação com outros continentes.

II. o uso dos materiais didáticos e paradidáticos disponíveis seria de enorme valor e agregaria ao trabalho em sala de aula no ensino de História outras possibilidades, pois vêm sendo produzidos em larga escala, distribuídos pelas escolas do país e superaram há um certo tempo os problemas que apresentavam incialmente, a saber: os estereótipos, o conhecimento precário e os erros grosseiros.

III. seria importante, no caso específico da História, descartar a ideia de que somente os documentos escritos são imprescindíveis para o conhecimento histórico. Essa postura permitiria que fosse aceita a possiblidade de fazer história de populações que não deixaram registros escritos e cuja importância não é medida pelo impacto de suas ações na história da humanidade como um todo.


Conforme as informações e reflexões da autora sobre a temática da História da África e seus assuntos correlatos, estão corretas as afirmativas:

Alternativas
Q1118346
Pedagogia Temas Educacionais Pedagógicos , Teorias e Práticas para o Ensino de História ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118346 Pedagogia

“Se considerarmos plausível a assertiva de que o museu é uma morada de dispersões temporais, corporais e simbólicas, compreenderemos que o objeto cultural recebe nele nova e diversa hospitalidade. Como na vida social, o museu é compreendido pela pluralização movente de sentidos, conferidos e subvertidos a cada visita, posto que o campo da recepção é, também ele, diverso e criativo.”

PEREIRA, Júnia Sales; CARVALHO, Marcus Vinicius Corrêa. Sentidos dos tempos na relação museu / escola. Cad. Cedes. Campinas. v. 30. Nº. 82. p. 384, set.-dez. 2010. Disponível em:<http://www.scielo.br/pdf/ccedes/v30n82/08.pdf> .


Nesse sentido, para Pereira e Carvalho (2010), o museu é um:

Alternativas
Q1118345
Pedagogia Temas Educacionais Pedagógicos , Teorias e Práticas para o Ensino de História ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118345 Pedagogia

Nos últimos anos, o ensino de História vem passando por mudanças, ampliação de temáticas, propostas de novas metodologias de trabalho e muitas outras questões. Uma inegável presença nesse contexto, especialmente a partir dos anos 1980/1990, é o uso de documentos históricos não escritos em sala de aula.


Nesse contexto, um dos documentos não escritos fortemente presentes em nossa sociedade, especialmente, a partir do século XX, é a fotografia.


Em relação à fotografia, Circe Bittencourt (2004) nos alerta que, para que essa fonte documental possa se tornar um recurso didático, ela precisa e deve ser considerada pelos docentes como uma fonte:

Alternativas
Q1118344
Pedagogia Legislação da Educação , Lei nº 10.639 de 2003 - Obrigatoriedade da Temática “História e Cultura Afro-Brasileira" ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118344 Pedagogia

Muito tempo antes da promulgação da Lei Nº 11.645/2008, Circe Bittencourt, em texto de 1994 (O ensino de História para populações indígenas), já anunciava que “o problema do ensino de História para populações indígenas é um desafio de proporções imensuráveis”. Frente a isso, a autora buscou apresentar, em seu texto, reflexões que, já naquele momento, pudessem oferecer subsídios para se pensar essa temática.


Dentro dessa perspectiva, a autora enumerou alguns procedimentos metodológicos, práticos e curriculares que poderiam, à guisa de procedimentos introdutórios, estar presentes no ensino de História indígena no Brasil.


São algumas dessas reflexões e indicações, EXCETO:

Alternativas
Q1118343
Pedagogia Temas Educacionais Pedagógicos , Teorias e Práticas para o Ensino de História ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118343 Pedagogia

Segundo Ricardo de Aguiar Pacheco, no texto O museu na sala de aula: propostas para o planejamento de visitas aos museus, 2012, “para a maioria dos professores, conduzir uma turma de escola ao museu é uma aventura. Uma operação que demanda esforço de organização e uma disposição para encontrar soluções que já demoveu muitos.”


Dentro da perspectiva abordada por esse autor, pensar em práticas educativas no ensino de História com o museu pressupõe dos educadores a: 

Alternativas
Q1118342
Pedagogia Temas Educacionais Pedagógicos , A Didática e o Processo de Ensino e Aprendizagem , Teorias e Práticas para o Ensino de História ,
Ano: 2018 Banca: FUNDEP (Gestão de Concursos) Órgão: Prefeitura de Pará de Minas - MG Prova: FUNDEP (Gestão de Concursos) - 2018 - Prefeitura de Pará de Minas - MG - Professor - História |
Q1118342 Pedagogia

Analisando os livros didáticos no Brasil, utilizados do 6º ao 9º ano, em perspectiva histórica, Selva Guimarães, no livro Didática e Prática de Ensino de História, de 2012, em conexão com vários estudiosos, apresentou algumas das mudanças desse material tão polêmico em nossa tradição escolar, tomando por referência a década de 1990.


Sobre a estrutura organizativa dos livros didáticos de História a partir dos anos 1990, analise as afirmativas a seguir.


I. Introduziram novos temas ligados à história das mentalidades e à do cotidiano.

II. Deixaram de organizar os conteúdos de História do Brasil, História da América e História Geral isoladamente, e passaram a articulá-los ao longo das quatro séries (do 6º ao 9º ano).

III. Apresentaram significativas mudanças no padrão gráfico, na linguagem, na forma de apresentação, além de incluir documentos contemplando diversos gêneros textuais e fontes iconográficas.

IV. Trouxeram exercícios e questionários que, para sua execução, faziam pouca recorrência à variedade de documentos apresentados, como as imagens, por exemplo.


Estão de acordo com as proposições da autora as afirmativas:

Alternativas
Respostas
221: C
222: C
223: C
224: B
225: C
226: D
227: B
228: D
229: A
230: B
231: B
232: B
233: A
234: B
235: B
236: C
237: D
238: D
239: A
240: D
www.qconcursos.com