Questões de Vestibular MACKENZIE 2010 para Vestibular
Foram encontradas 60 questões
Ano: 2010
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2010 - MACKENZIE - Vestibular |
Q1336272
Português
Texto associado
02 difícil é saber
03 onde começa o rio;
04 onde a lama
05 começa do rio;
06 onde a terra
07 começa da lama;
08 onde o homem,
09 onde a pele
10 começa da lama;
11 onde começa o homem
12 naquele homem.
Textos para a questão
Texto I
01 Na paisagem do rio02 difícil é saber
03 onde começa o rio;
04 onde a lama
05 começa do rio;
06 onde a terra
07 começa da lama;
08 onde o homem,
09 onde a pele
10 começa da lama;
11 onde começa o homem
12 naquele homem.
“O cão sem plumas”, João Cabral de Melo Neto
Texto II
Grande sertão: veredas, João Guimarães Rosa
Considere as seguintes assertivas relacionadas aos dois textos, levando em conta
a produção dos respectivos autores.
I. O caráter literário de I e de II resulta da beleza, concisão e clareza da linguagem utilizada pelos autores para registrar fidedignamente um universo típica e exclusivamente brasileiro.
II. O valor literário de I e II deve-se ao especial tratamento linguístico que confere às palavras sentidos múltiplos.
III. O efeito conotativo dos textos permite dizer que tanto o homem referido em I, quanto o sertão referido em II, transcendem os limites do regional para representarem valores universais.
Assinale:
I. O caráter literário de I e de II resulta da beleza, concisão e clareza da linguagem utilizada pelos autores para registrar fidedignamente um universo típica e exclusivamente brasileiro.
II. O valor literário de I e II deve-se ao especial tratamento linguístico que confere às palavras sentidos múltiplos.
III. O efeito conotativo dos textos permite dizer que tanto o homem referido em I, quanto o sertão referido em II, transcendem os limites do regional para representarem valores universais.
Assinale:
Ano: 2010
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2010 - MACKENZIE - Vestibular |
Q1336273
Inglês
Texto associado
Get into a comfortable, relaxed position. / Shut your eyes and turn your attention inwards. / Think about that assertive experience (real or imagined, yours or someone else’s) and really get into it. / Re-live it as though you are there all over again. / See everything there is to see, / the face of the other person or people / and how they’re responding to you. / Hear the sound of your own voice as you speak. / Hear the sound of any other voices. / Feel really good about the situation. / Feel confident and assertive / and enjoy the feeling. / And when you’re deeply involved in those feelings, capture them for a few seconds with your word, image or gesture. / Stay in the experience a while longer but take away the word, image or gesture. / And now come slowly and gently back to the room.
Get into a comfortable, relaxed position. / Shut your eyes and turn your attention inwards. / Think about that assertive experience (real or imagined, yours or someone else’s) and really get into it. / Re-live it as though you are there all over again. / See everything there is to see, / the face of the other person or people / and how they’re responding to you. / Hear the sound of your own voice as you speak. / Hear the sound of any other voices. / Feel really good about the situation. / Feel confident and assertive / and enjoy the feeling. / And when you’re deeply involved in those feelings, capture them for a few seconds with your word, image or gesture. / Stay in the experience a while longer but take away the word, image or gesture. / And now come slowly and gently back to the room.
Success Over Stress by Jane Revell
According to the text, choose the right alternative.
Ano: 2010
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2010 - MACKENZIE - Vestibular |
Q1336274
Inglês
Texto associado
Get into a comfortable, relaxed position. / Shut your eyes and turn your attention inwards. / Think about that assertive experience (real or imagined, yours or someone else’s) and really get into it. / Re-live it as though you are there all over again. / See everything there is to see, / the face of the other person or people / and how they’re responding to you. / Hear the sound of your own voice as you speak. / Hear the sound of any other voices. / Feel really good about the situation. / Feel confident and assertive / and enjoy the feeling. / And when you’re deeply involved in those feelings, capture them for a few seconds with your word, image or gesture. / Stay in the experience a while longer but take away the word, image or gesture. / And now come slowly and gently back to the room.
Get into a comfortable, relaxed position. / Shut your eyes and turn your attention inwards. / Think about that assertive experience (real or imagined, yours or someone else’s) and really get into it. / Re-live it as though you are there all over again. / See everything there is to see, / the face of the other person or people / and how they’re responding to you. / Hear the sound of your own voice as you speak. / Hear the sound of any other voices. / Feel really good about the situation. / Feel confident and assertive / and enjoy the feeling. / And when you’re deeply involved in those feelings, capture them for a few seconds with your word, image or gesture. / Stay in the experience a while longer but take away the word, image or gesture. / And now come slowly and gently back to the room.
Success Over Stress by Jane Revell
If a person is assertive,
Ano: 2010
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2010 - MACKENZIE - Vestibular |
Q1336275
Inglês
Texto associado
Brazil’s presidential biopic
Lula, sanitised
SÃO PAULO
A film for the campaign trail
ONCE upon a time it was
considered indecent to turn living
people into myths, or even into films,
with too much haste. The cycle
seems to be shorter now. Gandhi
had to wait until 34 years after
his death before he appeared on
cinema screens around the world.
George Bush junior, by contrast,
was the victim of an Oliver Stone
biopic during the last year of his
presidency. Now a Brazilian director,
Fábio Barreto, has done the same for Brazil’s president, Luiz Inácio Lula
da Silva, as he starts his final year of office.
“Lula, Son of Brazil” is the tale of a poor boy made good, his flaws
left on the cutting table and his virtues in close-up. Since Lula hopes to
secure the election of his chosen successor, Dilma Rousseff, in October,
it is controversial. The film “promotes the worship of a political myth,” said Eugênio Bucci, a critic and journalism professor. Before it was even
released Veja, a magazine, pointed out that many of the companies that
funded its production (the most expensive in the history of Brazilian
cinema) have either won or hope to win contracts from the government.
For all that, the film is very watchable. It opens in the poor north-east, where Lula was born into a landscape of bright red soil and cacti, and ends with his rise as a metalworkers’ union leader in the industrial belt of São Paulo in the 1970s. This is a candyfloss version of the story, however. Lula’s reverses are shown: the little finger lost to a lathe, the death of his first wife and child in childbirth. But he is too good to be true: a perfect student, perfect husband and political moderate who abhorred violence.
The book on which the film is based, by contrast, quotes Lula as approving of an incident in which a director of a factory that is on strike is thrown out of a window. In the film he runs from the factory appalled. That is a shame. A more nuanced telling would not detract from Lula’s remarkable life story and achievement.
The film is doing well at the box office. Its producers say it is running more strongly in the north-east than in the populous south-east, which means it mirrors Ms Rousseff’s fortunes in the polls. There are plans to show the film on mobile screens in places with no cinema. It may get an airing on television, though there is no such deal in place yet.
All this helps a process of mythmaking around Lula that is already well under way. Catching some of Lula’s stardust is Ms Rousseff’s best hope for capturing the presidency in October, and there are some signs that this is happening. The gap between her and José Serra, her main rival, halved between March and December last year and now stands at 14 points. Competing against a celluloid legend is not easy.
For all that, the film is very watchable. It opens in the poor north-east, where Lula was born into a landscape of bright red soil and cacti, and ends with his rise as a metalworkers’ union leader in the industrial belt of São Paulo in the 1970s. This is a candyfloss version of the story, however. Lula’s reverses are shown: the little finger lost to a lathe, the death of his first wife and child in childbirth. But he is too good to be true: a perfect student, perfect husband and political moderate who abhorred violence.
The book on which the film is based, by contrast, quotes Lula as approving of an incident in which a director of a factory that is on strike is thrown out of a window. In the film he runs from the factory appalled. That is a shame. A more nuanced telling would not detract from Lula’s remarkable life story and achievement.
The film is doing well at the box office. Its producers say it is running more strongly in the north-east than in the populous south-east, which means it mirrors Ms Rousseff’s fortunes in the polls. There are plans to show the film on mobile screens in places with no cinema. It may get an airing on television, though there is no such deal in place yet.
All this helps a process of mythmaking around Lula that is already well under way. Catching some of Lula’s stardust is Ms Rousseff’s best hope for capturing the presidency in October, and there are some signs that this is happening. The gap between her and José Serra, her main rival, halved between March and December last year and now stands at 14 points. Competing against a celluloid legend is not easy.
www.economist.com
According to the text, “Lula, Son of Brazil”
Ano: 2010
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2010 - MACKENZIE - Vestibular |
Q1336276
Inglês
Texto associado
Brazil’s presidential biopic
Lula, sanitised
SÃO PAULO
A film for the campaign trail
ONCE upon a time it was
considered indecent to turn living
people into myths, or even into films,
with too much haste. The cycle
seems to be shorter now. Gandhi
had to wait until 34 years after
his death before he appeared on
cinema screens around the world.
George Bush junior, by contrast,
was the victim of an Oliver Stone
biopic during the last year of his
presidency. Now a Brazilian director,
Fábio Barreto, has done the same for Brazil’s president, Luiz Inácio Lula
da Silva, as he starts his final year of office.
“Lula, Son of Brazil” is the tale of a poor boy made good, his flaws
left on the cutting table and his virtues in close-up. Since Lula hopes to
secure the election of his chosen successor, Dilma Rousseff, in October,
it is controversial. The film “promotes the worship of a political myth,” said Eugênio Bucci, a critic and journalism professor. Before it was even
released Veja, a magazine, pointed out that many of the companies that
funded its production (the most expensive in the history of Brazilian
cinema) have either won or hope to win contracts from the government.
For all that, the film is very watchable. It opens in the poor north-east, where Lula was born into a landscape of bright red soil and cacti, and ends with his rise as a metalworkers’ union leader in the industrial belt of São Paulo in the 1970s. This is a candyfloss version of the story, however. Lula’s reverses are shown: the little finger lost to a lathe, the death of his first wife and child in childbirth. But he is too good to be true: a perfect student, perfect husband and political moderate who abhorred violence.
The book on which the film is based, by contrast, quotes Lula as approving of an incident in which a director of a factory that is on strike is thrown out of a window. In the film he runs from the factory appalled. That is a shame. A more nuanced telling would not detract from Lula’s remarkable life story and achievement.
The film is doing well at the box office. Its producers say it is running more strongly in the north-east than in the populous south-east, which means it mirrors Ms Rousseff’s fortunes in the polls. There are plans to show the film on mobile screens in places with no cinema. It may get an airing on television, though there is no such deal in place yet.
All this helps a process of mythmaking around Lula that is already well under way. Catching some of Lula’s stardust is Ms Rousseff’s best hope for capturing the presidency in October, and there are some signs that this is happening. The gap between her and José Serra, her main rival, halved between March and December last year and now stands at 14 points. Competing against a celluloid legend is not easy.
For all that, the film is very watchable. It opens in the poor north-east, where Lula was born into a landscape of bright red soil and cacti, and ends with his rise as a metalworkers’ union leader in the industrial belt of São Paulo in the 1970s. This is a candyfloss version of the story, however. Lula’s reverses are shown: the little finger lost to a lathe, the death of his first wife and child in childbirth. But he is too good to be true: a perfect student, perfect husband and political moderate who abhorred violence.
The book on which the film is based, by contrast, quotes Lula as approving of an incident in which a director of a factory that is on strike is thrown out of a window. In the film he runs from the factory appalled. That is a shame. A more nuanced telling would not detract from Lula’s remarkable life story and achievement.
The film is doing well at the box office. Its producers say it is running more strongly in the north-east than in the populous south-east, which means it mirrors Ms Rousseff’s fortunes in the polls. There are plans to show the film on mobile screens in places with no cinema. It may get an airing on television, though there is no such deal in place yet.
All this helps a process of mythmaking around Lula that is already well under way. Catching some of Lula’s stardust is Ms Rousseff’s best hope for capturing the presidency in October, and there are some signs that this is happening. The gap between her and José Serra, her main rival, halved between March and December last year and now stands at 14 points. Competing against a celluloid legend is not easy.
www.economist.com
Read the following statements about the text and choose the appropriate
alternative.
I. Not only Fábio Barreto but also Oliver Stone have turned living politicians into myths. II. Dilma Rousseff will surely benefit from the release of the movie. III. An incident that took place in a factory is depicted differently from the way it really happened. IV. The film is about to be available for cell phones next year. V. Until now producers have had no idea of how well the film is doing in the movie theaters.
I. Not only Fábio Barreto but also Oliver Stone have turned living politicians into myths. II. Dilma Rousseff will surely benefit from the release of the movie. III. An incident that took place in a factory is depicted differently from the way it really happened. IV. The film is about to be available for cell phones next year. V. Until now producers have had no idea of how well the film is doing in the movie theaters.
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