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A respeito da Guerra do Paraguai, julgue (C ou E) o item a seguir.
O revés sofrido na Batalha de Curupaiti, que cobrou a vida
de numeroso contingente de soldados brasileiros e
argentinos, abalou a relação dos aliados, fazendo com que a
opinião pública argentina questionasse a pertinência da
continuidade do país na Tríplice Aliança.
A respeito da Guerra do Paraguai, julgue (C ou E) o item a seguir.
O agravamento das tensões na região platina e a
iminência da guerra levaram o gabinete liberal a enviar
José Maria Paranhos em missão ao Prata. Paranhos
obteve a garantia do presidente argentino Bartolomé
Mitre quanto à aplicação do Tratado de 1857, por meio
do qual os dois países se comprometeram a agir em
conjunto se o governo paraguaio atacasse um deles.
From Isaiah Berlin, The Roots of Romanticism. Princeton University Press:
Princeton, New Jersey, 1999, pps. 2-3.
From the information presented in the text, it is correct to infer that Plato was a relativist.
From Isaiah Berlin, The Roots of Romanticism. Princeton University Press:
Princeton, New Jersey, 1999, pps. 2-3.
From the information presented in the text, it is correct to infer that, thanks to their grasp of timeless geometrical and mathematical truths, Ancient Greeks generally understood the culture of the Bible.
From Isaiah Berlin, The Roots of Romanticism. Princeton University Press:
Princeton, New Jersey, 1999, pps. 2-3.
In line 37, the word “sprang” is synonymous with originated.
From Isaiah Berlin, The Roots of Romanticism. Princeton University Press:
Princeton, New Jersey, 1999, pps. 2-3.
In lines 29 and 30, the words “doubt” and “folly” have the same meaning.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
As far as vocabulary is concerned, mark the following item as right (C) or wrong (E).
The fragment “a homely idyll” (lines 47 and 48)
describes perfect domestic or marital bliss.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
As far as vocabulary is concerned, mark the following item as right (C) or wrong (E).
The word “novel”, in “novel character” (line 37),
means “fictional, not based on real life”.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
As far as vocabulary is concerned, mark the following item as right (C) or wrong (E).
The fragment “after his god” (line 34) means
“prostrated himself in front of the deity”.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
As far as vocabulary is concerned, mark the following item as right (C) or wrong (E).
The expression “fall into place” (lines 2 and 3) means
“to begin to make sense or to fit together”.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
Based on the text, mark the following item as right (C) or wrong (E).
For some of his subjects, Amenophis did not carry
himself in as kingly a fashion as he should.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
Based on the text, mark the following item as right (C) or wrong (E).
The author seems to suggest that some of Amenophis’
shortcomings are his physical appearance and mobility
impairment.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
Based on the text, mark the following item as right (C) or wrong (E).
The fragment “shook the iron bars of the Egyptian
style” (lines 26 and 27) means “to raise the required
artistic standards further”.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
Based on the text, mark the following item as right (C) or wrong (E).
In the fragment “no one asked him to be ‘original’”
(line 16), the underlined word is in inverted commas
because originality, as we know it today, did not exist
in Egyptian art.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
“Granted” (line 23) is a word used to acknowledge that something is true, before something about it is said.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
The two instances of “whom” in “whom he worshipped and whom he had represented” (lines 31 and 32) can, in an informal context, be replaced with who, but “whom” and “who” play very distinct grammar roles in a sentence.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
The two instances of “man” in the fragments “their mode of representing man” (line 24) and “Only one man ever shook” (line 26) refer to quite distinct concepts.
Gombrich, E. H. The Story of Art. Phaidon, 16th.
Ed. 1995. pp.65-6, with adaptations.
The fragments “which all creations of a people seem to obey.” (line 4) and which all creations of people seem to obey mean the same and can be used interchangeably.
Stanzel, V. New Realities in Foreign Affairs: Diplomacy in the 21st Century.
SWP Research Paper 2018, RP 11, November 2018,with adaptations.
The word “others” in line 9 refers to those in the general public.
Stanzel, V. New Realities in Foreign Affairs: Diplomacy in the 21st Century.
SWP Research Paper 2018, RP 11, November 2018,with adaptations.
The word “-isms” in line 9 is a term often used to represent political ideologies and artistic movements.
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