Questões de Concurso Público Prefeitura de Novo Mundo - MT 2024 para Professor de Língua Portuguesa - Letras
Foram encontradas 40 questões
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071290
Português
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
A principal intenção da equipe criativa liderada por
Thomas Jolly ao planejar a cerimônia de abertura das
Olimpíadas de Paris era:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071291
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Segundo o texto, a cerimônia de abertura das
Olimpíadas de Paris teve em comum com a
cerimônia de abertura da Copa do Mundo de Rugby
de 2023, o fato de:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071292
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
De acordo com o texto, uma das críticas feitas à
cerimônia de abertura das Olimpíadas de Paris foi:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071293
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Assinale a alternativa que apresenta uma frase na
voz passiva:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071294
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Assinale a alternativa que apresenta um exemplo de
discurso direto:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071295
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Na frase "A floating piano was set on fire,"o termo
destacado é sintaticamente classificado como:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071296
Inglês
Texto associado
What the Paris Olympics opening ceremony really
meant
The opening ceremony of the Olympic
Games traditionally offers the host city the
opportunity to celebrate sporting excellence and
international unity while also presenting to the world
a flattering portrait of its own nation, informed by its
own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show
garnered mixed reviews in the French press. It was
described variously as magical or catastrophic, as an
astonishing apotheosis or a distressing accumulation
of kitsch. Lady Gaga performed up and down a flight
of stairs, dressed in feathers. The French singer
Philippe Katerine, covered in blue body paint and
dressed up as Bacchus, reclined in a platter of fruit.
A threesome blossomed in the Bibliothèque
Nationale. Decapitated figures of Marie-Antoinette
holding their singing heads appeared at the windows
of the Conciergerie. A floating piano was set on fire.
The ceremony was conceived over two years by a
committee made up of historian Patrick Boucheron
(a member of the prestigious research institute, the
Collège de France), the scriptwriter Fanny Herrero
(creator of the Netflix series 10 Pour Cent/Call My
Agent), the novelist Leïla Slimani (winner of the
Goncourt literary prize for her novel Chanson
douce/Lullaby), and the dramatist Damien Gabriac,
who were all assembled in 2022 by the event’s
master of ceremonies, theatre director Thomas Jolly.
to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and
politician Philippe de Villiers. Although de Villiers
briefly served as Secretary of State for Culture under
Socialist President François Mitterand, he is
currently a member of French nationalist party
Reconquête!, whose leader is the far-right firebrand
Eric Zemmour. De Villiers is a Christian traditionalist
who has expressed hostility towards Islam and has
maintained that during the French Revolution a
political ‘genocide’ was perpetrated against the
Royalist people of Vendée.
It was therefore important for Jolly and his team
firmly to distance their own project from Le Puy du
Fou and to offer instead, as Jolly said: ‘the opposite
of a virile, heroic and providential history’, of ‘an ode
to grandeur’ or to the ‘manifestation of force’.
Besides de Villiers’ theme park, another anti-model
may have been the opening ceremony of the 2023
Rugby World Cup. Hosted by the popular actor Jean
Dujardin and featuring a playful celebration of
traditional French life, it was criticised for portraying
a nostalgic and ‘rancid’ version of France. To be sure,
at a time when France is politically and culturally
riven, it would have seemed important to tell a
national story that would unite rather than divide. In
contrast, Jolly aimed for a celebration of ‘planetary
multi-ethnicity’. But was it not in hindsight a mistake,
a missed opportunity, to throw out, for fear that it
might be politically toxic, anything that might be
perceived as a celebration of French history, or the
shared heritage that binds all French people
together?
Patrick Boucheron, the historian in Jolly’s team, has
declared his ‘resistance’ to the idea of a ‘roman
national’, the strengthening story a nation
collectively weaves about itself – the word roman
meaning in this instance at once a narrative and a
romance. Boucheron favours instead a decentring of
national consciousness and a deconstruction of
national history. There was always a danger in
rejecting historical greatness for ideological reasons.
Louis XIV and Napoleon Bonaparte – both absent
from the celebration – really do belong to all French;
including them in the narrative would not have made
it reactionary. Meanwhile Jolly’s desire
systematically to foreground pop culture in order not
to appear elitist often felt parochial. What is the
long-term cultural significance of Nicky Doll, Paloma
and Piche, stars of the reality show Drag Race
France? Was the performance of John Lennon’s song
Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’
because of its nature as a ‘political and cultural
allegory’?
Wasn’t it also a pity not to celebrate France’s
contemporary achievements, especially the
rebuilding of Notre-Dame after its devastation by
fire, and the Grand Paris Express transport network
being developed for better integration of central
Paris and its banlieues?
But above all, what was missing from the show, with
rare exceptions – such as the sight of the Olympic
cauldron rising into the sky tethered to a gigantic hot
air balloon – was beauty. This signalled a lack of
cultural confidence on the part of the ceremony’s
storytellers. It was telling, for example, that Marcel
Proust, one of France’s most exceptional writers,
was featured as a caricatured carnival head,
alongside Little Red Riding Hood and Marcel
Marceau. Nor was placing the ceremony under the
auspices of ‘Ça ira’, a 1790 anthem of the French
Revolution as familiar to the French as the
Marseillaise, an expression of intellectual
confidence. Like the Marseillaise, ‘Ça ira’ is a call to
violence – an ode to the systematic hanging of
aristocrats from lamp-posts – and insisting, as Jolly
did, that it can be reframed as a message of hope and
of ‘union and unity within diversity’ is meaningless.
Ultimately, whether any of this landed with its
audience remains doubtful. In spite of the driving
rain, the French enjoyed the show’s wackiness, the
party atmosphere, the excitement and anticipation
of the Games. And the Games themselves were a
wonderful success. But a message was sent
nevertheless. And now that the Olympic truce is
over, Emmanuel Macron must once again face up to
a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-openingceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
O adjetivo utilizado no texto para descrever a
cerimônia é:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071297
Inglês
Um exemplo de primeira condicional (first
conditional), ocorre em:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071298
Inglês
Na frase “"After several attempts to fix the car, he
decided to give up", o phrasal verb utilizado, pode
ser substituído, mantendo o sentido da construção,
por:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071299
Inglês
As palavras a seguir são derivadas do mesmo
substantivo, exceto:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071300
Programação
Das seguintes linguagens de marcação, qual é
fundamental para a estrutura básica de um site?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071301
Noções de Informática
Indique qual característica é mais importante ao se
projetar um site educativo para crianças do ensino
fundamental:
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071302
Noções de Informática
Sobre a ferramenta ou plataforma é mais indicada
para a criação de um site simples e gratuito para
apresentar um projeto escolar?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071303
Noções de Informática
Marque assertiva correta sobre qual tipo de malware
se propaga automaticamente por redes, explorando
vulnerabilidades nos sistemas?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071304
Noções de Informática
Das seguintes ações qual é a mais eficaz para se
proteger de um ataque de phishing?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071305
Noções de Informática
O que é engenharia social?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071306
Redes de Computadores
Ao configurar um dispositivo para acesso a uma rede
Wi-Fi, qual informação é essencial para estabelecer
a conexão?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071307
Pedagogia
Das seguintes opções qual representa uma
vantagem do uso de hardware livre em projetos de
robótica educacional?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071308
Pedagogia
Qual a principal vantagem da colaboração online na
educação?
Ano: 2024
Banca:
Gama Consult
Órgão:
Prefeitura de Novo Mundo - MT
Prova:
Gama Consult - 2024 - Prefeitura de Novo Mundo - MT - Professor de Língua Portuguesa - Letras |
Q3071309
Pedagogia
Marque assertiva correta sobre qual competição
estimula o desenvolvimento de projetos de robótica
entre estudantes?
Conheça nossos planos