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O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
In the context of the text, what does "looted" mean?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
What inference can be made about the author's view on the relationship between Valdivia figurines and national identity?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
Which sentence in the text contains a passive construction?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
What does the author imply about the market demand for Valdivia figurines over time based on the information provided?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
Which of the following best summarizes the author's attitude towards Valdivia figurines?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
Based on the text, what can be inferred about the author's opinion regarding the study of Valdivia figurines?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
What is the genre of the text "Valdivia Figurines and the appeal of 'the oldest'"?
O texto seguinte servirá de base para responder às questões de 1 a 9.
Valdivia Figurines and the appeal of 'the oldest'
(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.
(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.
(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.
(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.
(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.
(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.
https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a
nd-appeal-of-oldest.html
According to the passage, why are Valdivia figurines prominently featured on the Ministry of Culture website?
Associe a segunda coluna de acordo com a primeira, que relaciona conceitos do Treinamento Desportivo Geral:
[Disponível em: https://www.uniasselvi.com.br/ extranet/layout/request/trilha/materiais/livro/livro. php?codigo=22926. Acesso: 16/02/2024].
Primeira coluna
(1)Desenvolvimento físico multilateral.
(2)Aspectos psicológicos.
(3)Prevenção de lesões.
(4)Fatores técnicos.
Segunda coluna
(__)O atleta, independente da modalidade, vai precisar de um bom nível motivacional, força de vontade, confiança, perseverança e disciplina para o desenvolvimento das habilidades necessárias.
(__)Buscam-se desenvolver as habilidades necessárias do desporto, ou seja, o aprimoramento da melhor forma, aquela com melhor economia de movimento, o gesto motor mais eficiente e ideal para realização de determinada tarefa.
(__)Aumentar o nível de flexibilidade, proporcionar aumentos da força muscular, principalmente durante o treinamento com iniciantes são cuidados que auxiliarão ao atleta nesse objetivo (BOMPA, 2002). A realização de uma prática esportiva tomando todos os cuidados de segurança também é um ponto a se observar.
(__)Pensar no desenvolvimento do corpo como um todo,todas as habilidades necessárias para uma boa execução esportiva. É uma base para o treinamento físico geral. A ideia é aprimorar todas as qualidades físicas (por exemplo: resistência, força e velocidade) de uma maneira harmoniosa para o melhor desenvolvimento corporal.
Assinale a alternativa apresenta a correta associação entre as colunas:
Os Socorros de Urgência são ações preliminares que devem ser tomadas para que, em caso de acidentes, a vida possa ser preservada ou as consequências do acidente minimizados até que profissionais de saúde possam acessar o local e prestar socorro especializado. Sobre os procedimentos de Socorros de Urgência, assinale a alternativa INCORRETA.
Na Base Nacional Comum Curricular (BNCC) cada uma das práticas corporais tematizadas compõe uma das seis unidades temáticas abordadas ao longo do Ensino Fundamental. Cabe destacar que a categorização apresentada não tem pretensões de universalidade, pois se trata de um entendimento possível, entre outros, sobre as denominações das (e as fronteiras entre as) manifestações culturais tematizadas na Educação Física escolar. Esporte, como uma das unidades temáticas, apresenta sete categorias. De acordo com a BNCC, esportes como frisbee , futebol, futebol americano, hóquei sobre grama e rúgbi, fazem parte da categoria:
"As aulas de Educação Física na escola costumam ser muito esperadas pelos alunos, pois são uma oportunidade para eles saírem da sala e realizarem atividades mais dinâmicas e em grupo, rompendo a rotina das aulas teóricas, que costumam ser mais cansativas."
[Disponível em: https://sae.digital/educacao-fisica-naescola/#:~:text=A%20Educa%C3%A7%C3%A3o%20 F%C3%ADsica%20faz%20parte,a%20promo%C3% A7%C3%A3o%20do%20bem%2Destar. Acesso: 16/02/2024].
De acordo com um importante documento do Ministério da Educação, os Parâmetros Curriculares Nacionais, que determina as diretrizes para orientar os educadores em cada disciplina, os conteúdos trabalhados na Educação Física devem ser organizados em três blocos e desenvolvido em todo o ensino fundamental. São eles:
I.Jogos, ginásticas, esportes e lutas.
II.Atividades rítmicas e expressivas.
III.Conhecimento sobre o corpo.
É correto o que se afirma em:
Analise as assertivas a seguir acerca da metodologia para o ensino da Educação Física no ensino fundamental.
I.Segundo Coletivo de Autores (1992) a metodologia na perspectiva crítico-superadora implica um processo que acentue a intenção prática do aluno para apreender a realidade, entendendo a aula como um espaço intencionalmente organizado para possibilitar a direção da apreensão do conhecimento específico da Educação Física e dos diversos aspectos das suas práticas na realidade social.
II.A aula aproxima o aluno da percepção da totalidade das suas atividades, uma vez que lhe permite articular uma ação (o que sente), com o pensamento sobre ela (o que faz) e com o sentido que dela tem (o que pensa).
III.Os conteúdos selecionados, organizados e sistematizados devem promover uma concepção científica de mundo, a formação de interesses e a manifestação de possibilidades e aptidões para conhecer a natureza e a sociedade. Para isso, o método deve apontar o incremento da atividade criadora e de um sistema de relações sociais entre os homens.
É correto o que se afirma em:
O direito a educação é uma das prioridades contidas na Lei nº 8.069/90 − Estatuto da Criança e do Adolescente (ECRIAD). Segundo o ECRIAD, em seu Art. 53, a criança e o adolescente têm direito à educação, visando ao pleno desenvolvimento de sua pessoa, preparo para o exercício da cidadania e qualificação para o trabalho. A lei assegura, EXCETO:
"Na escola Melhor Infância, a instituição escolar é responsável por promover o conhecimento na sua forma mais desenvolvida, dando oportunidade para o aluno progredir em um todo. Sabemos da preocupação com esta etapa da vida dos seus filhos, por isso, não só pensamos no melhor material didático que satisfaça, mas nos valores que implicam na formação desta criança." O fragmento de texto acima foi extraído do site da Escola Melhor Infância, uma instituição particular que oferece berçário e educação infantil. A Lei nº 9.394/96 − Lei de Diretrizes e Base da Educação Nacional, contempla a modalidade de ensino supramencionada e traz a seguinte redação em seu Art. 7º - O ensino é livre à iniciativa privada, atendidas as seguintes condições:
I.Cumprimento das normas gerais da educação nacional e do respectivo sistema de ensino.
II.Autorização de funcionamento e avaliação de qualidade pelo Poder Público.
III.Baixar normas complementares para o seu sistema de ensino.
IV.Capacidade de autofinanciamento, ressalvado o previsto no art. 213 da Constituição Federal.
É correto o que se afirma em:
As Regras Oficiais do Voleibol 2021-2024, aprovado pelo 37° Congresso Mundial da Federação Internacional de Voleibol (FIVB) de 2021, afirmam sobre objetos proibidos nos jogos de Voleibol que:
I.É proibido o uso de objetos que possam causar lesões ou proporcionar qualquer vantagem ao jogador.
II.Os jogadores podem usar óculos ou lentes de contato por sua conta e risco.
III.Indumentárias de compressão (proteção auxiliar contra lesão) podem ser utilizadas para auxílio ou proteção.
É correto o que se afirma em:
"Tão eficaz na sua simplicidade, a prancha é um excelente exercício para fortalecer o core. No CrossFit são usados diferentes exercícios para aumentar a força do core, tais como overhead squats, deadlifts, hollow rocks e squats."
[Disponível em: https://planetacrossfit.com/. Acesso: 21/02/2024]
A prancha é um exercício que envolve a manutenção de uma posição, sem movimento, durante um período de tempo. Em Fisiologia do Esforço, esse tipo de exercício é caracterizado pelo tipo de contração muscular chamada de:
"Em um mundo cada vez mais conectado e automatizado, encontrar tempo para se movimentar pode ser desafiador. No entanto, especialistas em saúde reforçam a importância de incorporar a atividade física regular à rotina. Isso porque existem vários benefícios que vão muito além do condicionamento físico."
[Disponível em: https://portal.uniasselvi.com.br/noticias/ academico/ii-movimento-e-saude-e-realizado-pela-uniasselvi. Acesso: 16/02/2024].
São benefícios da atividade física regular, EXCETO:
Considere as alternativas relacionadas ao tema Educação Física na educação infantil e assinale correta. De acordo com a Lei nº 9.394/96 − Lei de Diretrizes e Base da Educação Nacional, em seu Art. 26, parágrafo 3º, a Educação Física, integrada à proposta pedagógica da escola, é componente curricular:
Acerca do conhecimento teórico-prático das modalidades esportivas, assinale a alternativa correta sobre o Badminton.
Conheça nossos planos