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De acordo com o Decreto nº 5.626, de dezembro de 2005, regulamenta a Lei nº 10.436, que dispõe sobre a Língua Brasileira de Sinais – Libras, é correto afimar:
Em 1967, o artista Hélio Oiticica apresenta “Esquema geral da Nova Objetividade” publicado no catálogo da mostra “Nova Objetividade Brasileira”, realizada no Museu de Arte Moderna do Rio de Janeiro: “A Nova Objetividade sendo um estado não é pois um movimento dogmático, esteticista (...), mas uma “chegada”, constituída de múltiplas tendências (...)”. A Nova Objetividade seria a formulação de um estado da arte brasileira de vanguarda cujas principais características são:
Em seu livro “O mundo da arte popular brasileira”, a autora Angela Mascelani (2002) destaca o universo da arte popular em um estado de permanente movimento que: “[...] atravessa todos os recantos da imaginação e em seu rastro revolve à tona antigas tradições quase esquecidas, inventa temas nunca antes pensados, colhe novidades no repertorio da vida cotidiana, transforma com frescor o patrimônio de muitas gerações.” (p.21) Sobre a tradição e criação na arte popular, assinale a afirmativa INCORRETA:
A autora Anamelia Bueno Buoro (2003), no livro “O olhar em construção: uma experiencia de ensino e aprendizagem da arte na escola”, compreende que o educando possui uma estrutura de pensamento e um repertório próprio, e, então, parte da premissa que o conhecimento a ser construído pelo aluno se processa a partir da movimentação entre o repertório imaginário individual e o repertório cultural grupal. Desta maneira, pode-se afirmar como um dos objetivos gerais do projeto pedagógico em arte na seguinte afirmativa:
De acordo com a Lei nº 10. 436, de abril de 2002, que dispõe sobre a Língua Brasileira de Sinais, é INCORRETO afirmar que:
A leitura de imagens no ensino da arte transforma a relação imagem e cognição, pois promove educação artística e estética que fornece informação histórica, compreensão de uma gramática visual e do fazer artístico como autoexpressão. Sobre a importância da imagem no ensino da arte, assinale a alternativa correta:
Ao entendermos a educação musical como linguagem com elementos próprios, pode-se considerar a importância do seu processo no contexto educativo formal ou informal, tendo em vista, a produção de leituras de mundos. É INCORRETO afirmar sobre a educação musical:
As autoras Taís Ferreira e Maria Fonseca Falkembach, em seu livro “Teatro e Dança nos anos iniciais”, realizam reflexões sobre ideias, pensares e práticas em teatro, dança e ludicidade. Sobre o teatro nos ambientes educacionais, formais ou informais, podemos afirmar que:
Os historiadores de arte Giulio Carlo Argan e Maurizio Fagiolo (1994), no livro “Guia de História da Arte”, estabelecem alguns critérios e fundamentos para os conceitos que buscam delimitar o campo da arte, afirmando que os estudos modernos de história da arte desenvolvem-se segundo diretivas metodológicas fundamentais. De acordo com a perspectiva dos autores, assinale a alternativa correta:
De acordo com o Estatuto da Pessoa com Deficiência, Lei nº 13.146, de julho de 2015, assinale a alternativa que corresponde a um princípio preconicado no artigo 3º, que se refere aos fins para aplicação da referida Lei:
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REFERS TO QUESTION
The Literary Influences of Superstar Musician David Bowie
BY JOHN O'CONNELL ON 10/31/19 AT 5:00 AM EDT
David Bowie was a pop star for most of his career from the 1960s until his death in 2016. He was known for his flamboyant style, songwriting and the ability to artistically turn on a dime. But Bowie, who died of cancer at 69, was more than a multi-platinum rock and roller. He was also one of the more literate composers in the business.
So much so, in fact, that in conjunction with a career retrospective in 2013 at the Victoria & Albert Museum in London, Bowie issued a list of the one hundred books he considered the most important and influential. British music columnist John O'Connell linked this list to Bowie's prolific music. The result? A book called Bowie's Bookshelf out this month from Gallery Books.
William S. Burroughs first made the link between Bowie's lyrics and T. S. Eliot's poetry. In a Rolling Stone interview, Burroughs asked if Hunky Dory's "Eight Line Poem" had been influenced by Eliot's "The Hollow Men." Bowie's reply: "Never read him." But Bowie was definitely exposed to Eliot's influence. "Goodnight Ladies" on Transformer, the album Bowie produced for Lou Reed in 1972, is a riff on the end of the second section, "A Game of Chess," from Eliot's poem "The Waste Land." Eliot, for his part, is deliberately quoting Ophelia's "Good night, sweet ladies" speech from Hamlet. Eliot's method established a new protocol for artistic theft—the modern poet in dialogue with his or her predecessors. Bowie, too, was candid about how much he took from other artists. "You can't steal from a thief," he said when LCD Soundsystem's James Murphy admitted to stealing from Bowie's songs.
Avaiable in : https://www.newsweek.com/2019/11/15, accessed on
February 20th, 2020. Adapted.
TEXT
REFERS TO QUESTION
The Literary Influences of Superstar Musician David Bowie
BY JOHN O'CONNELL ON 10/31/19 AT 5:00 AM EDT
David Bowie was a pop star for most of his career from the 1960s until his death in 2016. He was known for his flamboyant style, songwriting and the ability to artistically turn on a dime. But Bowie, who died of cancer at 69, was more than a multi-platinum rock and roller. He was also one of the more literate composers in the business.
So much so, in fact, that in conjunction with a career retrospective in 2013 at the Victoria & Albert Museum in London, Bowie issued a list of the one hundred books he considered the most important and influential. British music columnist John O'Connell linked this list to Bowie's prolific music. The result? A book called Bowie's Bookshelf out this month from Gallery Books.
William S. Burroughs first made the link between Bowie's lyrics and T. S. Eliot's poetry. In a Rolling Stone interview, Burroughs asked if Hunky Dory's "Eight Line Poem" had been influenced by Eliot's "The Hollow Men." Bowie's reply: "Never read him." But Bowie was definitely exposed to Eliot's influence. "Goodnight Ladies" on Transformer, the album Bowie produced for Lou Reed in 1972, is a riff on the end of the second section, "A Game of Chess," from Eliot's poem "The Waste Land." Eliot, for his part, is deliberately quoting Ophelia's "Good night, sweet ladies" speech from Hamlet. Eliot's method established a new protocol for artistic theft—the modern poet in dialogue with his or her predecessors. Bowie, too, was candid about how much he took from other artists. "You can't steal from a thief," he said when LCD Soundsystem's James Murphy admitted to stealing from Bowie's songs.
Avaiable in : https://www.newsweek.com/2019/11/15, accessed on
February 20th, 2020. Adapted.
The word closest in meaning to ABILITY as in
“the ability to artistically turn on a dime”
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REFERS TO QUESTION
The Literary Influences of Superstar Musician David Bowie
BY JOHN O'CONNELL ON 10/31/19 AT 5:00 AM EDT
David Bowie was a pop star for most of his career from the 1960s until his death in 2016. He was known for his flamboyant style, songwriting and the ability to artistically turn on a dime. But Bowie, who died of cancer at 69, was more than a multi-platinum rock and roller. He was also one of the more literate composers in the business.
So much so, in fact, that in conjunction with a career retrospective in 2013 at the Victoria & Albert Museum in London, Bowie issued a list of the one hundred books he considered the most important and influential. British music columnist John O'Connell linked this list to Bowie's prolific music. The result? A book called Bowie's Bookshelf out this month from Gallery Books.
William S. Burroughs first made the link between Bowie's lyrics and T. S. Eliot's poetry. In a Rolling Stone interview, Burroughs asked if Hunky Dory's "Eight Line Poem" had been influenced by Eliot's "The Hollow Men." Bowie's reply: "Never read him." But Bowie was definitely exposed to Eliot's influence. "Goodnight Ladies" on Transformer, the album Bowie produced for Lou Reed in 1972, is a riff on the end of the second section, "A Game of Chess," from Eliot's poem "The Waste Land." Eliot, for his part, is deliberately quoting Ophelia's "Good night, sweet ladies" speech from Hamlet. Eliot's method established a new protocol for artistic theft—the modern poet in dialogue with his or her predecessors. Bowie, too, was candid about how much he took from other artists. "You can't steal from a thief," he said when LCD Soundsystem's James Murphy admitted to stealing from Bowie's songs.
Avaiable in : https://www.newsweek.com/2019/11/15, accessed on
February 20th, 2020. Adapted.
According to the following passage, choose the correct option:
“In a Rolling Stone interview, Burroughs asked if Hunky Dory's "Eight Line Poem" had been influenced by Eliot's ‘The Hollow Men’."
TEXT
REFERS TO QUESTION
The Literary Influences of Superstar Musician David Bowie
BY JOHN O'CONNELL ON 10/31/19 AT 5:00 AM EDT
David Bowie was a pop star for most of his career from the 1960s until his death in 2016. He was known for his flamboyant style, songwriting and the ability to artistically turn on a dime. But Bowie, who died of cancer at 69, was more than a multi-platinum rock and roller. He was also one of the more literate composers in the business.
So much so, in fact, that in conjunction with a career retrospective in 2013 at the Victoria & Albert Museum in London, Bowie issued a list of the one hundred books he considered the most important and influential. British music columnist John O'Connell linked this list to Bowie's prolific music. The result? A book called Bowie's Bookshelf out this month from Gallery Books.
William S. Burroughs first made the link between Bowie's lyrics and T. S. Eliot's poetry. In a Rolling Stone interview, Burroughs asked if Hunky Dory's "Eight Line Poem" had been influenced by Eliot's "The Hollow Men." Bowie's reply: "Never read him." But Bowie was definitely exposed to Eliot's influence. "Goodnight Ladies" on Transformer, the album Bowie produced for Lou Reed in 1972, is a riff on the end of the second section, "A Game of Chess," from Eliot's poem "The Waste Land." Eliot, for his part, is deliberately quoting Ophelia's "Good night, sweet ladies" speech from Hamlet. Eliot's method established a new protocol for artistic theft—the modern poet in dialogue with his or her predecessors. Bowie, too, was candid about how much he took from other artists. "You can't steal from a thief," he said when LCD Soundsystem's James Murphy admitted to stealing from Bowie's songs.
Avaiable in : https://www.newsweek.com/2019/11/15, accessed on
February 20th, 2020. Adapted.
Which option has a tag question that completes the following sentence correctly?
“David Bowie was a pop star,________________”
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REFERS TO QUESTION
Available in: https://www.gocomics.com, accessed on February 18th,
2020. Garfield by Jim Davis
TEXT
REFERS TO QUESTION
Available in: https://www.gocomics.com, accessed on February 18th,
2020. Garfield by Jim Davis
TEXT
REFERS TO QUESTION
Available in: https://www.gocomics.com, accessed on February 18th,
2020. Garfield by Jim Davis
REFERS TO QUESTION
Lessons for Americans, From a Chines Classroom
Observing how Chinese 2- and 3-year-olds navigated a second language, I wondered whether I could have done this for my children.
SHANGHAI — We sat in toddler-size wooden chairs around an orderly circle of Chinese 2-year-olds, busy with circle time. As a parent of three children who collectively spent 15 years in American day care, I am very familiar with circle time.
But I was in this Shanghai classroom as a professor, with college students from many different countries in a class I’m teaching here on children and childhood.
We were observing in a private kindergarten, designed to provide young children — starting at age 2 — with a carefully structured, fully bilingual curriculum, especially important because English language skills are vital for educational success in China.
Visits to Chinese educational institutions allow the college students in my course to get a look at real children and the ways that they learn, while also thinking about Chinese society today. They get windows onto certain slices of this complex country: a high-end private bilingual program that starts with toddlers; a city high school for academically gifted students; a middle school created for the children of the rural migrants who have come by the millions from China’s poorer provinces to work in Shanghai, but whose rights to social benefits are severely limited in the city.
These visits offer the college students insights into many of the social issues facing China, and we spend time in class discussing questions like the huge role that the annual gaokao college entrance exam plays in determining a child’s educational destiny (English is one of the required subjects), the pressures on families that create a culture of cram schools, and the controversies over reserving spots in colleges for kids from rural areas.
But all of those questions have powerful resonances when you think about the issues of childhood education and child development, which have to be addressed in every country. As my college students discuss the different facets of childhood around the world, visiting the Chinese schools also helps them in remembering and thinking about what children look like at different ages, and how they play and interact and learn.
Available in : https://www.nytimes.com/2020/01/20/, accessed on
February 26th, 2020. Adapted
REFERS TO QUESTION
Lessons for Americans, From a Chines Classroom
Observing how Chinese 2- and 3-year-olds navigated a second language, I wondered whether I could have done this for my children.
SHANGHAI — We sat in toddler-size wooden chairs around an orderly circle of Chinese 2-year-olds, busy with circle time. As a parent of three children who collectively spent 15 years in American day care, I am very familiar with circle time.
But I was in this Shanghai classroom as a professor, with college students from many different countries in a class I’m teaching here on children and childhood.
We were observing in a private kindergarten, designed to provide young children — starting at age 2 — with a carefully structured, fully bilingual curriculum, especially important because English language skills are vital for educational success in China.
Visits to Chinese educational institutions allow the college students in my course to get a look at real children and the ways that they learn, while also thinking about Chinese society today. They get windows onto certain slices of this complex country: a high-end private bilingual program that starts with toddlers; a city high school for academically gifted students; a middle school created for the children of the rural migrants who have come by the millions from China’s poorer provinces to work in Shanghai, but whose rights to social benefits are severely limited in the city.
These visits offer the college students insights into many of the social issues facing China, and we spend time in class discussing questions like the huge role that the annual gaokao college entrance exam plays in determining a child’s educational destiny (English is one of the required subjects), the pressures on families that create a culture of cram schools, and the controversies over reserving spots in colleges for kids from rural areas.
But all of those questions have powerful resonances when you think about the issues of childhood education and child development, which have to be addressed in every country. As my college students discuss the different facets of childhood around the world, visiting the Chinese schools also helps them in remembering and thinking about what children look like at different ages, and how they play and interact and learn.
Available in : https://www.nytimes.com/2020/01/20/, accessed on
February 26th, 2020. Adapted
REFERS TO QUESTION
Lessons for Americans, From a Chines Classroom
Observing how Chinese 2- and 3-year-olds navigated a second language, I wondered whether I could have done this for my children.
SHANGHAI — We sat in toddler-size wooden chairs around an orderly circle of Chinese 2-year-olds, busy with circle time. As a parent of three children who collectively spent 15 years in American day care, I am very familiar with circle time.
But I was in this Shanghai classroom as a professor, with college students from many different countries in a class I’m teaching here on children and childhood.
We were observing in a private kindergarten, designed to provide young children — starting at age 2 — with a carefully structured, fully bilingual curriculum, especially important because English language skills are vital for educational success in China.
Visits to Chinese educational institutions allow the college students in my course to get a look at real children and the ways that they learn, while also thinking about Chinese society today. They get windows onto certain slices of this complex country: a high-end private bilingual program that starts with toddlers; a city high school for academically gifted students; a middle school created for the children of the rural migrants who have come by the millions from China’s poorer provinces to work in Shanghai, but whose rights to social benefits are severely limited in the city.
These visits offer the college students insights into many of the social issues facing China, and we spend time in class discussing questions like the huge role that the annual gaokao college entrance exam plays in determining a child’s educational destiny (English is one of the required subjects), the pressures on families that create a culture of cram schools, and the controversies over reserving spots in colleges for kids from rural areas.
But all of those questions have powerful resonances when you think about the issues of childhood education and child development, which have to be addressed in every country. As my college students discuss the different facets of childhood around the world, visiting the Chinese schools also helps them in remembering and thinking about what children look like at different ages, and how they play and interact and learn.
Available in : https://www.nytimes.com/2020/01/20/, accessed on
February 26th, 2020. Adapted
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