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Available at: https://www.gocomics.com/calvinandhobbes/2024/03/11
Based on the conversation in the comic strip, what can be inferred about Calvin’s feelings towards school closure?
Read the poem to answer question.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
Read the poem to answer question.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
Read the poem to answer question.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
Read the poem to answer question.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
Read the poem to answer question.
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
- Robert Frost
STRICKLAND, Carol. Arte comentada: da pré-história ao pós-moderno – tradução Angela Lobo de Andrade. Rio de Janeiro: Ediouro, 2004.
A respeito do graffiti, segundo a autora, pode-se dizer que
CASCUDO, Luís da Câmara. Dicionário do folclore brasileiro. Rio de Janeiro. Ediouro, s.d.
O autor refere-se
CASCUDO, Luís da Câmara. Dicionário do folclore brasileiro. Rio de Janeiro. Ediouro, s.d.
O autor refere-se
ALBIN, Ricardo Cravo. https://dicionariompb.com.br/termo/choro/
O autor refere-se ao
CASCUDO, Luís da Câmara. Dicionário do folclore brasileiro. Rio de Janeiro. Ediouro, s.d.
A manifestação a que o autor se refere é
CASCUDO, Luís da Câmara. Dicionário do folclore brasileiro. Rio de Janeiro. Ediouro, s.d.
A manifestação cultural a que o autor se refere é
A respeito da ALTURA de uma nota, segundo o autor, pode-se dizer:
BOAL, Augusto. Teatro do oprimido. Rio de Janeiro: Civilização Brasileira, 1991.
Na perspectiva do autor, pode-se dizer que:
“O grafismo indígena pode ser observado na pintura corporal, na cestaria e também na cerâmica, sendo uma importante expressão cultural de diferentes povos originários. Quando aplicado ao corpo, combina valor simbólico e estético a possibilidades de comunicação, a partir de técnicas passadas de geração em geração. (...)”.
https://ims.com.br/eventos/grafismo-pintura-corporal-do-xingu-ims-paulista/
“(...) Os indígenas utilizam a pintura corporal como meio de expressão ligado aos diversos manifestos culturais de sua sociedade. Para cada evento há uma pintura específica: luta, caça, casamento, morte. Todo ritual indígena é retratado nos corpos dos mesmos na forma de pintura, é a expressão artística mais intensa dos índios. A tinta é feita de urucum, jenipapo ou babaçu na maioria das vezes. (...)”
https://www.infoescola.com/artes/pintura-corporal/
https://www.metroworldnews.com.br/estilo-vida/2023/08/22/colecionador-promete-pagar-ate-milreais-por-uma-unica-nota-de-cruzeiro-sera-que-voce-tem-uma/
https://combaterock.blogosfera.uol.com.br/2016/03/06/roots-o-album-do-sepultura-que-estremeceuo-heavy-metal-parte-1/
A respeito do grafismo e da pintura corporal pode-se afirmar corretamente que:
Relacione as imagens a seguir aos nomes e as descrições dos movimentos artísticos a que pertencem.
Sem Título (1958- 1960) Xilogravura de Lygia Pape.
a - Movimento ligado à estética não-figurativa e não-geométrica, manifestou-se em nosso país sobretudo nos trabalhos de alguns artistas japoneses que se radicaram no Brasil entre as décadas de 30 e 60.
b - Alguns artistas desse movimento não eram dogmáticos quanto à linguagem geométrica, pois não a consideravam um ponto de chegada mas sim um campo aberto à experiência e à indagação. Outros preocupavam-se mais rigidamente com os princípios matemáticos da arte e exploraram a possibilidade do movimento como efeito ótico de linhas e cores
I - Abstracionismo informal
II - Modernismo
III - Concretismo
IV - Minimalismo
Assinale a alternativa que apresenta a relação correta.
STRICKLAND, Carol. Arte comentada: da pré-história ao pós-moderno – tradução Angela Lobo de Andrade. Rio de Janeiro: Ediouro, 2004.
A autora refere-se à(ao)
STRICKLAND, Carol. Arte comentada: da pré-história ao pós-moderno – tradução Angela Lobo de Andrade. Rio de Janeiro: Ediouro, 2004.
Assinale a alternativa que preenche corretamente a lacuna.
STRICKLAND, Carol. Arte comentada: da pré-história ao pós-moderno – tradução Angela Lobo de Andrade. Rio de Janeiro: Ediouro, 2004.
Assinale a alternativa que preenche a lacuna corretamente.
STRICKLAND, Carol. Arte comentada: da pré-história ao pós-moderno – tradução Angela Lobo de Andrade. Rio de Janeiro: Ediouro, 2004.
Entre os deslocamentos a que a autora se refere estão:
Conheça nossos planos