Questões de Vestibular SÃO CAMILO 2019 para Processo Seletivo - 1º Semestre de 2020- Medicina Prova II

Foram encontradas 50 questões

Q1797657 História
Sob o ponto de vista militar, houve duas atividades: a abertura do exército aos “bárbaros” e a instalação de povos germanos no território romano. Uma outra política mostrou-se mais perigosa para a integridade do Império: a instalação de povos inteiros, organizados e não assimilados em território romano. Por meio de um contrato com Roma, os povos “bárbaros” ocupavam as terras romanas e, em troca, forneciam ao governo imperial um certo número de soldados.
(Maria Sonsoles Guerras. Os povos bárbaros, 1987. Adaptado.)
Apesar de “perigosa”, essa política do Império Romano apresentou, como vantagem,
Alternativas
Q1797658 Conhecimentos Gerais
Observe a fachada principal da Catedral de Notre Dame de Paris.

Imagem associada para resolução da questão
(nationalgeographicbrasil.com)
O estilo dessa construção está relacionado
Alternativas
Q1797659 História
Um aspecto importante do calvinismo é a valorização moral do trabalho e da poupança, que resulta numa situação de bem-estar social e econômico, o que poderia ser interpretado como sinal favorável de Deus à salvação do indivíduo.
(Fernando Seffner. Da Reforma à Contrarreforma, 1993.)
Da afirmação, depreende-se que o calvinismo
Alternativas
Q1797660 História
No plano socioeconômico, [os indígenas] foram cruciais na montagem do complexo açucareiro na Bahia quinhentista, e mesmo no avançar o século XVII, pois a escravidão de origem africana só tomou impulso após exaurirem-se gerações de indígenas pelo trabalho escravo, pela guerra e por doenças. No planalto paulista, a mão de obra indígena escravizada foi a base para o que se chamou, com certo exagero, de “celeiro do Brasil”, labutando na produção de trigo e, sobretudo, de milho.
(João Fragoso e Roberto Guedes. “Apresentação”. In: João Luís R. Fragoso e Maria de Fátima Gouvêa (org.). O Brasil Colonial, vol. 3, 2014. Adaptado.)
O excerto faz referência
Alternativas
Q1797661 História
O processo de independência do Brasil é, comumente, datado a partir de 1808, com a chegada da família real portuguesa ao Brasil. A verdade dessa proposição reside, em especial, na montagem pelo príncipe, e depois rei, João VI, de um aparelho governamental no Brasil. Ao mesmo tempo, são substituídos os institutos de caráter colonial.
(Hamilton de Mattos Monteiro. “Da independência à vitória da ordem”. In: Maria Yedda Linhares. História geral do Brasil, 2016.)
As afirmações do excerto podem ser exemplificadas pela
Alternativas
Q1797662 História
A conciliação dos anos 1850 mostrou ser uma estratégia eficiente de estabilização da monarquia e constituiu-se numa experiência clássica da vida política brasileira: os setores hegemônicos das elites equilibraram suas divergências internas e mantiveram o controle do Estado — sem conceder nenhuma grande mudança na ordem social e institucional.
(Francisco M. P. Teixeira. História concisa do Brasil, 1993. Adaptado.)
Os “setores hegemônicos das elites” mencionados pelo historiador eram
Alternativas
Q1797663 Conhecimentos Gerais
Discípulos de Hipócrates, defensores do ar puro, os médicos do século XIX acreditam nas virtudes do “ar livre”, nos danos do “ar mefítico”, viciado pelas grandes densidades populacionais. Atribuem à promiscuidade das multidões urbanas, aos amontoamentos dos cortiços (palavra dominante nos anos 1880) a propagação de doenças difundidas por contato, por “contágio”: epidemias, e logo a tuberculose.
(Michelle Perrot. Os excluídos da história: operários, mulheres e prisioneiros, 2017.)
Na Europa, essa “promiscuidade” e os “amontoamentos” decorreram
Alternativas
Q1797664 História
Leia o excerto para responder à questão.

     A Guerra Civil norte-americana (1861-1865) merece a atenção do estudante brasileiro por diversos motivos. Primeiro, foi uma guerra que marcou profundamente a evolução histórica dos Estados Unidos da América. [...] Em segundo lugar, esta guerra lembra vários aspectos da história do Brasil quando questões semelhantes surgiram.

(Peter L. Eisenberg. Guerra civil americana, 1984.)
Uma dessas “questões semelhantes” refere-se
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Q1797665 História
Leia o excerto para responder à questão.

     A Guerra Civil norte-americana (1861-1865) merece a atenção do estudante brasileiro por diversos motivos. Primeiro, foi uma guerra que marcou profundamente a evolução histórica dos Estados Unidos da América. [...] Em segundo lugar, esta guerra lembra vários aspectos da história do Brasil quando questões semelhantes surgiram.

(Peter L. Eisenberg. Guerra civil americana, 1984.)
Essa guerra marcou profundamente a história dos Estados Unidos porque
Alternativas
Q1797666 Conhecimentos Gerais
O surto de crescimento, que começou em 1968, lembra o do Plano de Metas de JK, que durou de 1957 a 1962, mas com uma importante diferença: no boom dos anos 50, a inflação subiu de 23,89% em 1957 para 55,04% em 1962, ao passo que no surto da década seguinte a inflação caiu de 23,63% em 1968 para 14,66% em 1973. Este fato fez com que se começasse a falar de “milagre econômico brasileiro”.
(Paul Singer. “O processo econômico”. In: Daniel Aarão Reis (coord.). Modernização, ditadura e democracia: 1964-2010, vol. 5, 2014. Adaptado.)
Um dos motivos para essa contenção inflacionária durante o “milagre” foi
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Q1797667 Inglês
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The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
According to the first paragraph, the author reveals that he first got interested in the literary fantasy genre
Alternativas
Q1797668 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “Yet while sheltering in a bookshop from the rain” (1° parágrafo), o termo sublinhado indica ideia de
Alternativas
Q1797669 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
According to the author, the “unprecedented fantasy boom” (2nd paragraph) is related to the fact that
Alternativas
Q1797670 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
O trecho sublinhado em “the genre is as broad as the imagination” (3° parágrafo) expressa uma
Alternativas
Q1797671 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
O sentido do trecho sublinhado em “fantasy books offer a chance to break out of mundane moments” (4° parágrafo) está mantido, em português, do seguinte modo:
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Q1797672 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “they come from a time when all stories were fantasy” (5° parágrafo), o termo sublinhado refere-se a
Alternativas
Q1797673 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
In the excerpt “that’s a special skill” (6th paragraph), the underlined word can be replaced, without changing the meaning of the sentence, by
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Q1797674 Inglês
Leia o texto para responder à questão.

The fantastic appeal of fantasy


The fantasy genre starts where science ends

     Few things can brighten up a dark morning in a Scottish seaside resort during an Atlantic storm. Yet while sheltering in a bookshop from the rain, I had a moment of sunny revelation. Stacked almost as high as my 11-year-old self were copies of The Lord of the Rings, with a cover illustration that promised mystery and magic. That chance discovery started a lifelong love of the fantasy genre1 , both as reader and writer. 
   The fantasy genre has had more and more success, but today we’re in the middle of an unprecedented fantasy boom. Sales continue to rise and it is now the biggest genre in publishing. The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction.
     Fantasy is not simply a case of swords2 and sorcery3 . Yes, there is that by the shelf. But the genre is as broad as the imagination. The genre starts where science ends.
    “In these modern times, where most of us sit at computers, fantasy books offer a chance to break out of mundane moments,” says Mark Newton, an editor with the genre. “People like to explore themes that go beyond the limited palette that literary fiction claims to offer.” 
     A search for the origins of fantasy will usually have academics muttering about Beowulf or Homer’s The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris, in the late 19th Century. But it was the early 20th Century where fantasy really started to gain status.
     Fantasy fiction has always been about visionary ideas. You can get artful words in plenty of literary fiction, but being able to see beyond the boundaries4 of the world around us — now that’s a special skill.
     I don’t write fantasy fiction simply to provide a trapdoor5 from the real world. For me, the genre is about the reality. But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society through allegory in story- -forms as old as humanity. It’s about turning off the mobile phone and the computer and remembering who we are in the deepest parts of ourselves.

(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)

1genre: gênero. Categoria distintiva de composição literária, como romance, poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “But instead of coming up against it, fantasy maps the unconscious aspirations of our modern society” (7° parágrafo), a expressão sublinhada tem sentido equivalente, em português, a
Alternativas
Q1797675 Inglês
Leia a tirinha para responder à questão.


(Stephan Pastis. “Pearls Before Swine”. www.gocomics.com, 22.04.2019.)
No diálogo entre as personagens Pig (porco) e Goat (cabrito), Pig
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Q1797676 Inglês
Leia a tirinha para responder à questão.


(Stephan Pastis. “Pearls Before Swine”. www.gocomics.com, 22.04.2019.)
In the last panel, “miserable” means the same as
Alternativas
Respostas
21: A
22: E
23: B
24: E
25: E
26: C
27: B
28: E
29: D
30: A
31: C
32: E
33: C
34: C
35: C
36: B
37: C
38: B
39: A
40: D