Questões de Vestibular UFTM 2013 para Vestibular De Inverno
Foram encontradas 86 questões
Q1377305
História
Jamais a Europa esteve tão unida quanto nos séculos XII e
XIII, e essa unidade devia-se ao fato de que os europeus daquele
tempo tinham o sentimento de constituir um só povo [...].
(Georges Duby. Ano 1000, ano 2000. Na pista de nossos medos, 1998.)
O sentimento de unidade europeia mencionado no texto derivava, sobretudo,
(Georges Duby. Ano 1000, ano 2000. Na pista de nossos medos, 1998.)
O sentimento de unidade europeia mencionado no texto derivava, sobretudo,
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377306
História
Texto associado
No início dos Tempos Modernos, os reinos cristãos da Europa
deram início ao longo processo de expansão comercial e geográfica que resultou no estabelecimento de comunicações regulares
com populações e regiões do mundo até então desconhecidas
entre si. [...]
A vida dos habitantes do litoral do Atlântico Sul mudou
radicalmente com a chegada dos europeus. A vinda daqueles
homens barbados, pouco asseados e carregados de reluzentes e
estrondosas armas introduziu os tupis na idade do ferro – para
o bem e para o mal.
As ferramentas trazidas pelos europeus facilitaram o árduo
trabalho nas roças e nas florestas subtropicais. Por outro lado, o
contato dos habitantes americanos com os colonizadores resultou numa das maiores catástrofes demográficas da história da
humanidade.
(Adriana Lopez e Carlos Guilherme Mota. História do Brasil:
uma interpretação, 2008.)
A caracterização dos europeus, presente no segundo parágrafo,
sugere
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377307
História
Texto associado
No início dos Tempos Modernos, os reinos cristãos da Europa
deram início ao longo processo de expansão comercial e geográfica que resultou no estabelecimento de comunicações regulares
com populações e regiões do mundo até então desconhecidas
entre si. [...]
A vida dos habitantes do litoral do Atlântico Sul mudou
radicalmente com a chegada dos europeus. A vinda daqueles
homens barbados, pouco asseados e carregados de reluzentes e
estrondosas armas introduziu os tupis na idade do ferro – para
o bem e para o mal.
As ferramentas trazidas pelos europeus facilitaram o árduo
trabalho nas roças e nas florestas subtropicais. Por outro lado, o
contato dos habitantes americanos com os colonizadores resultou numa das maiores catástrofes demográficas da história da
humanidade.
(Adriana Lopez e Carlos Guilherme Mota. História do Brasil:
uma interpretação, 2008.)
A afirmação de que “o contato dos habitantes americanos com
os colonizadores resultou numa das maiores catástrofes demográficas da história da humanidade” é uma referência
Q1377308
História
Os franceses não possuíam um grande vocabulário político
antes de 1789, pois a política se passava em Versalhes, no mundo
distante da corte real. Quando as pessoas do povo começaram a
participar da política [...], precisaram encontrar palavras para o
que tinham visto e feito.
(Robert Darnton. O beijo de Lamourette, 1990.)
A partir do texto, é correto afirmar que a Revolução Francesa de 1789
(Robert Darnton. O beijo de Lamourette, 1990.)
A partir do texto, é correto afirmar que a Revolução Francesa de 1789
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377310
História
Texto associado
As poucas fábricas que subsistiram durante as décadas de
1840 a 1870 se mantiveram graças a privilégios de exploração,
de subvenções governamentais na forma de empréstimos e isenções de direitos de importação; em certas regiões, como o único
substituto possível à produção agrícola decadente, enquanto, em
outras, as dificuldades de comunicação e o alto custo do transporte atuavam como meios de proteção.
Uma série de acontecimentos iria, contudo, reanimar as atividades industriais, no fim da década de sessenta.
(Sérgio Buarque de Holanda. O Brasil monárquico.
Declínio e queda do Império, 1985. Adaptado.)
Em meio à “série de acontecimentos” que “iria reanimar as
atividades industriais” no Brasil do final da década de 1860,
podem-se citar
Q1377311
Conhecimentos Gerais
Para dizerem milho dizem mio
Para melhor dizem mió
Para pior pió
Para telha dizem teia
Para telhado dizem teiado
E vão fazendo telhados
(Oswald de Andrade. Vício na fala. Pau-Brasil, 1990.)
“Vício na fala”, de 1925, é um dos mais conhecidos registros poéticos do Modernismo. Entre as características do movimento que ele apresenta, podemos identificar a
(Oswald de Andrade. Vício na fala. Pau-Brasil, 1990.)
“Vício na fala”, de 1925, é um dos mais conhecidos registros poéticos do Modernismo. Entre as características do movimento que ele apresenta, podemos identificar a
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377312
História
Os combates entre Estados Unidos e Japão, durante a Segunda
Guerra Mundial,
Q1377313
História
Oficialmente, o mundo não acordou para a crise dos mísseis em Cuba até o anoitecer da segunda-feira, 22 de outubro
de 1962, quando o presidente [John] Kennedy falou pela primeira vez na televisão para anunciar a presença de mísseis
soviéticos em Cuba e declarar sua intenção de impor um bloqueio naval. [...]
Pela primeira vez desde que os Estados Unidos jogaram bombas atômicas em Hiroshima e Nagasaki em 1945, centenas de milhões de pessoas em todo o globo temeram que armas nucleares pudessem ser usadas outra vez.
(Richard Gott. Cuba: uma nova história, 2006.)
O texto se refere à chamada “crise dos mísseis de Cuba”,
Pela primeira vez desde que os Estados Unidos jogaram bombas atômicas em Hiroshima e Nagasaki em 1945, centenas de milhões de pessoas em todo o globo temeram que armas nucleares pudessem ser usadas outra vez.
(Richard Gott. Cuba: uma nova história, 2006.)
O texto se refere à chamada “crise dos mísseis de Cuba”,
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377314
História
Entre as principais características do regime militar brasileiro
(1964-1985), podemos citar
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377316
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Sebastião Salgado
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377317
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
One of the problems Salgado had when photographing Genesis
was
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377318
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
The Yamal peninsula
Q1377319
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do quinto parágrafo – I would put it inside my clothes,
my assistant would give me another one –, a palavra one referese, no texto, a
Q1377320
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do sexto parágrafo – The airport X-Ray scanners
degrade the quality of film, and so I decided to change to digital
and was quite surprised. –, a palavra so pode ser substituída, sem
alteração de sentido, por
Q1377321
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do sétimo parágrafo – the chief asked me whether I
was part of the white people clan that usually came from that
direction –, a palavra whether equivale, em português, a
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377322
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Segundo o texto, a tribo Zo’e
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377323
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
In the last paragraph, one can infer that the most important thing
for Sebastião Salgado is
Q1377324
Português
(Gazeta do Povo, 06.11.2012.)
Na charge, para efeito de humor, faz-se um jogo de palavras
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377325
Português
Texto associado
Em nossos dias, o neo-indianismo dos modernos de 1922
(precedido por meio século de etnografia sistemática) iria acentuar aspectos autênticos da vida do índio, encarando-o, não
como gentil-homem embrionário, mas como primitivo, cujo interesse residia precisamente no que trouxesse de diferente, contraditório em relação à nossa cultura europeia. O indianismo dos
românticos, porém, preocupou-se sobremaneira em equipará-lo
qualitativamente ao conquistador, realçando ou inventando
aspectos do seu comportamento que pudessem fazê-lo ombrear
com este – no cavalheirismo, na generosidade, na poesia.
A altivez, o culto da vindita, a destreza bélica, a generosidade, encontravam alguma ressonância nos costumes aborígines, como os descreveram cronistas nem sempre capazes
de observar fora dos padrões europeus e, sobretudo, como os
quiseram deliberadamente ver escritores animados do desejo
patriótico de chancelar a independência política do país com
o brilho de uma grandeza heroica especificamente brasileira.
(Antonio Candido. Formação da literatura brasileira, 2000. Adaptado.)
Em sua análise, o crítico Antonio Candido argumenta que
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377326
Português
Texto associado
Em nossos dias, o neo-indianismo dos modernos de 1922
(precedido por meio século de etnografia sistemática) iria acentuar aspectos autênticos da vida do índio, encarando-o, não
como gentil-homem embrionário, mas como primitivo, cujo interesse residia precisamente no que trouxesse de diferente, contraditório em relação à nossa cultura europeia. O indianismo dos
românticos, porém, preocupou-se sobremaneira em equipará-lo
qualitativamente ao conquistador, realçando ou inventando
aspectos do seu comportamento que pudessem fazê-lo ombrear
com este – no cavalheirismo, na generosidade, na poesia.
A altivez, o culto da vindita, a destreza bélica, a generosidade, encontravam alguma ressonância nos costumes aborígines, como os descreveram cronistas nem sempre capazes
de observar fora dos padrões europeus e, sobretudo, como os
quiseram deliberadamente ver escritores animados do desejo
patriótico de chancelar a independência política do país com
o brilho de uma grandeza heroica especificamente brasileira.
(Antonio Candido. Formação da literatura brasileira, 2000. Adaptado.)
De acordo com a argumentação de Antonio Candido e ainda
mobilizando outros conhecimentos sobre a literatura brasileira,
é correto afirmar que o indianismo romântico funcionou como
expressão
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