Questões de Vestibular UFTM 2013 para Vestibular - Prova 01
Foram encontradas 86 questões
Q382469
Geografia
Texto associado
Analise o mapa.
Sobre o comércio mundial de cocaína, é correto afirmar que:
Q382470
Geografia
Embora possam ser considerados processos aparentemente contraditórios, globalização e regionalização são fenômenos concomitantes e que se intensificam no atual estágio de desenvolvimento do sistema capitalista internacional. São medidas que representam, respectivamente, os fenômenos de regionalização e globalização da economia:
Q382472
Geografia
Texto associado
Tratase de um compartimento geográfico caracterizado pela especialização produtiva obediente a parâmetros externos (em geral internacionais) de qualidade e custos. Essas regiões, preferencialmente, são as que atraem os investimentos públicos e privados, transformando grandes porções do território em áreas de exclusão. [...] O território brasileiro possui inúmeros exemplos de regiões competitivas. Alguns dos casos mais con tundentes são as regiões produtoras de commodities agrícolas. A exportação de grande parcela da produção, a presença de firmas transnacionais, a implantação de sistemas técnicos especialmente concebidos para viabilizar a produção, a especiali zação funcional das cidades locais são características comuns presentes na maioria dessas regiões.
A instalação de modernos sistemas técnicos agrícolas e o desenvolvimento da produção de commodities em determinadas porções do território brasileiro trouxeram consigo impactos sociais e territoriais significativos, dentre os quais se podem mencionar.
Q382473
Geografia
Texto associado
Observe a charge.
Considerando o processo de urbanização e a vulnerabilidade da população brasileira aos desastres “naturais” nas grandes cidades (enchentes, deslizamento de encostas), é correto afirmar que:
Q382474
Geografia
Texto associado
Leia a notícia.
O Brasil reduziu a mortalidade infantil, mas ainda está em um patamar distante dos países desenvolvidos. Pelos dados das “Estatísticas do Registro Civil”, divulgadas pelo IBGE nesta segundafeira [17.12.2012], os chamados óbitos de neonatais (precoces [recém-nascidos mortos antes de completar 7 dias de vida] e tardios [recém-nascidos mortos depois de 7 dias comple- tos, mas antes de 28 dias completos de vida], somados), atingi ram, em 2011, 68,3% do total de mortes de menores de 1 ano. Em países desenvolvidos, 90% dos óbitos concentramse na faixa neonatal precoce. Em 2011, apenas 51,8% dos óbitos infantis registrados no Brasil foram neonatais precoces.
O Brasil reduziu a mortalidade infantil, mas ainda está em um patamar distante dos países desenvolvidos. Pelos dados das “Estatísticas do Registro Civil”, divulgadas pelo IBGE nesta segundafeira [17.12.2012], os chamados óbitos de neonatais (precoces [recém-nascidos mortos antes de completar 7 dias de vida] e tardios [recém-nascidos mortos depois de 7 dias comple- tos, mas antes de 28 dias completos de vida], somados), atingi ram, em 2011, 68,3% do total de mortes de menores de 1 ano. Em países desenvolvidos, 90% dos óbitos concentramse na faixa neonatal precoce. Em 2011, apenas 51,8% dos óbitos infantis registrados no Brasil foram neonatais precoces.
No Brasil, a mortalidade infantil, especialmente aquela classificada como tardia, está relacionada.
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q382475
História
É correto afirmar que a Guerra do Peloponeso, no século V a.C.,
Q382476
História
Jamais a Europa esteve tão unida quanto nos séculos XII e XIII, e essa unidade deviase ao fato de que os europeus daquele tempo tinham o sentimento de constituir um só povo [...].
O sentimento de unidade europeia mencionado no texto deri- vava, sobretudo,
O sentimento de unidade europeia mencionado no texto deri- vava, sobretudo,
Q382479
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.
A partir do texto, é correto afirmar que a Revolução Francesa de 1789.
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 |
Q382480
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 trans porte atuavam como meios de proteção.
Uma série de acontecimentos iria, contudo, reanimar as atividades industriais, no fim da década de sessenta.
Uma série de acontecimentos iria, contudo, reanimar as atividades industriais, no fim da década de sessenta.
O avanço industrial brasileiro nas três primeiras décadas do Segundo Reinado
Q382482
História
Para dizerem milho dizem mio
Para melhor dizem mió Para pior pió
Para telha dizem teia
Para telhado dizem teiado
E vão fazendo telhados
“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:
Para melhor dizem mió Para pior pió
Para telha dizem teia
Para telhado dizem teiado
E vão fazendo telhados
“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:
Q382484
História
Oficialmente, o mundo não acordou para a crise dos mís seis em Cuba até o anoitecer da segundafeira, 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 blo queio 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.
O texto se refere à chamada “crise dos mísseis de Cuba”,
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 |
Q382486
Inglês
Texto associado
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
O projeto Genesis
Q382490
Inglês
Texto associado
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
No trecho do quinto parágrafo – I would put it inside my clothes, my assistant would give me another one –, a palavra one refere- se, no texto, a
Q382491
Inglês
Texto associado
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
No trecho do sexto parágrafo – The airport XRay 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
Q382492
Inglês
Texto associado
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
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 69yearold 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 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime 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 300400 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 XRay 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.
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
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Na charge, para efeito de humor, faz-se um jogo de palavras
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Texto associado
Em nossos dias, o neoindianismo dos modernos de 1922 (precedido por meio século de etnografia sistemática) iria acen tuar aspectos autênticos da vida do índio, encarandoo, não como gentilhomem embrionário, mas como primitivo, cujo inte resse residia precisamente no que trouxesse de diferente, contra ditório em relação à nossa cultura europeia. O indianismo dos românticos, porém, preocupouse sobremaneira em equiparálo qualitativamente ao conquistador, realçando ou inventando aspectos do seu comportamento que pudessem fazêlo ombrear com este - no cavalheirismo, na generosidade, na poesia.
A altivez, o culto da vindita, a destreza bélica, a genero sidade, encontravam alguma ressonância nos costumes abo rígines, 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.
A altivez, o culto da vindita, a destreza bélica, a genero sidade, encontravam alguma ressonância nos costumes abo rígines, 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.
Considere as passagens do texto:
[...] encarandoo , não como gentilhomem embrionário [...]
[...] cujo interesse residia precisamente [...].
[...] como os descreveram cronistas [...].
Os substantivos retomados pelos pronomes sublinhados são, respectivamente,
[...] encarandoo , não como gentilhomem embrionário [...]
[...] cujo interesse residia precisamente [...].
[...] como os descreveram cronistas [...].
Os substantivos retomados pelos pronomes sublinhados são, respectivamente,
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Quem ama inventa
Quem ama inventa as coisas a que ama... Talvez chegaste quando eu te sonhava. Então de súbito acendeuse a chama! Era a brasa dormida que acordava... E era um revoo sobre a ruinaria, No ar atônito bimbalhavam sinos, Tangidos por uns anjos peregrinos Cujo dom é fazer ressurreições... Um ritmo divino? Oh! Simplesmente O palpitar de nossos corações Batendo juntos e festivamente, Ou sozinhos, num ritmo tristonho... Ó! meu pobre, meu grande amor distante, Nem sabes tu o bem que faz à gente Haver sonhado... e ter vivido o sonho!
Quem ama inventa as coisas a que ama... Talvez chegaste quando eu te sonhava. Então de súbito acendeuse a chama! Era a brasa dormida que acordava... E era um revoo sobre a ruinaria, No ar atônito bimbalhavam sinos, Tangidos por uns anjos peregrinos Cujo dom é fazer ressurreições... Um ritmo divino? Oh! Simplesmente O palpitar de nossos corações Batendo juntos e festivamente, Ou sozinhos, num ritmo tristonho... Ó! meu pobre, meu grande amor distante, Nem sabes tu o bem que faz à gente Haver sonhado... e ter vivido o sonho!
Ocorre objeto direto preposicionado quando, principalmente nos verbos que exprimem sentimentos ou manifestações de senti mento, se deseja encarecer a pessoa ou ser personificado a quem a ação verbal se dirige ou favorece.
A definição de Bechara é exemplificada com o seguinte verso do poema:
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Em relação aos dois parágrafos transcritos, o título do texto contém informação.
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Claudius tirou do bolso um papel amarelado e amarrotado: atirouo na mesa. Johann leu:
Não me odeies, mulher, se no passado Nódoa sombria desbotoume a vida: No vício ardente requeimando os lábios E de tudo descri com fronte erguida.
A máscara de Don Juan queimoume o rosto Na fria palidez do libertino: Desbotoume esse olhar - e os lábios frios Ousam de maldizer do meu destino. Sim! longas noites no fervor do jogo Esperdicei febril e macilento: E votei o porvir ao Deus do acaso E o amor profanei no esquecimento!
Murchei no escárnio as coroas do poeta Na ironia da glória e dos amores: Aos vapores do vinho, à noite insano Debruceime do jogo nos fervores!
A flor da mocidade profaneia Entre as águas lodosas do passado No crânio a febre, a palidez nas faces Só cria no sepulcro sossegado!
Não me odeies, mulher, se no passado Nódoa sombria desbotoume a vida: No vício ardente requeimando os lábios E de tudo descri com fronte erguida.
A máscara de Don Juan queimoume o rosto Na fria palidez do libertino: Desbotoume esse olhar - e os lábios frios Ousam de maldizer do meu destino. Sim! longas noites no fervor do jogo Esperdicei febril e macilento: E votei o porvir ao Deus do acaso E o amor profanei no esquecimento!
Murchei no escárnio as coroas do poeta Na ironia da glória e dos amores: Aos vapores do vinho, à noite insano Debruceime do jogo nos fervores!
A flor da mocidade profaneia Entre as águas lodosas do passado No crânio a febre, a palidez nas faces Só cria no sepulcro sossegado!
No contexto em que estão empregados, os termos nódoa, profa nei e escárnio significam, respectivamente,
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