Questões de Vestibular UNESP 2019 para Vestibular
Foram encontradas 90 questões
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
The future is largely urban
By 2030, there will be 5 billion people living in
urban areas (61% of the estimated world
population of 8.2 billion)
(http://esa.un.org. Adaptado.)
The chart shows that the approximate period of time when both urban and rural estimated populations were equal was
Analyse the following comic.
(http://iniscommunication.com)
The objective of the comic is to
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
A Odisseia choca-se com a questão do passado. Para perscrutar o futuro e o passado, recorre-se geralmente ao adivinho. Inspirado pela musa, o adivinho vê o antes e o além: circula entre os deuses e entre os homens, não todos os homens, mas os heróis, preferencialmente mortos gloriosamente em combate. Ao celebrar aqueles que passaram, ele forja o passado, mas um passado sem duração, acabado.
(François Hartog. Regimes de historicidade:
presentismo e experiências do tempo, 2015. Adaptado.)
O texto afirma que a obra de Homero
Observe a imagem.
A Catedral de Notre-Dame, em Paris, parcialmente destruída por um incêndio em abril de 2019, é um exemplo da arquitetura
[Leonardo da Vinci] viu que “a água corrente detém em si um número infinito de movimentos”.
Um “número infinito”? Para Leonardo, não se trata apenas de uma figura de linguagem. Ao falar da variedade infinita da natureza e sobretudo de fenômenos como as correntes de água, ele estava fazendo uma distinção baseada na preferência por sistemas analógicos sobre os digitais. Em um sistema analógico, há gradações infinitas, o que se aplica à maioria das coisas que fascinavam Leonardo: sombras de sfumato, cores, movimento, ondas, a passagem do tempo, a dinâmica dos fluidos.
(Walter Isaacson. Leonardo da Vinci, 2017.)
A partir da explicação do texto sobre Leonardo da Vinci, pode-se afirmar que
Nem existia Brasil no começo dessa história. Existiam o Peru e o México, no contexto pré-colombiano, mas Argentina, Brasil, Chile, Estados Unidos, Canadá, não. No que seria o Brasil, havia gente no Norte, no Rio, depois no Sul, mas toda essa gente tinha pouca relação entre si até meados do século XVIII. E há aí a questão da navegação marítima, torna-se importante aprender bem história marítima, que é ligada à geografia. [...] Essa compreensão me deu muita liberdade para ver as relações que Rio, Pernambuco e Bahia tinham com Luanda. Depois a Bahia tem muito mais relação com o antigo Daomé, hoje Benin, na Costa da Mina. Isso formava um todo, muito mais do que o Brasil ou a América portuguesa. [...]
Nunca os missionários entraram na briga para saber se o africano havia sido ilegalmente escravizado ou não, mas a escravidão indígena foi embargada pelos missionários desde o começo, e isso também é um pouco interesse dos negreiros, ou seja, que a escravidão africana predomine. [...] A escravização tem dois processos: o primeiro é a despersonalização, e o segundo é a dessocialização.
Nem existia Brasil no começo dessa história. Existiam o Peru e o México, no contexto pré-colombiano, mas Argentina, Brasil, Chile, Estados Unidos, Canadá, não. No que seria o Brasil, havia gente no Norte, no Rio, depois no Sul, mas toda essa gente tinha pouca relação entre si até meados do século XVIII. E há aí a questão da navegação marítima, torna-se importante aprender bem história marítima, que é ligada à geografia. [...] Essa compreensão me deu muita liberdade para ver as relações que Rio, Pernambuco e Bahia tinham com Luanda. Depois a Bahia tem muito mais relação com o antigo Daomé, hoje Benin, na Costa da Mina. Isso formava um todo, muito mais do que o Brasil ou a América portuguesa. [...]
Nunca os missionários entraram na briga para saber se o africano havia sido ilegalmente escravizado ou não, mas a escravidão indígena foi embargada pelos missionários desde o começo, e isso também é um pouco interesse dos negreiros, ou seja, que a escravidão africana predomine. [...] A escravização tem dois processos: o primeiro é a despersonalização, e o segundo é a dessocialização.
Cada um de nós põe em comum sua pessoa e todo o seu poder sob a direção suprema da vontade geral, e recebemos, enquanto corpo, cada membro como parte indivisível do todo. [...] um corpo moral e coletivo, composto de tantos membros quantos são os votos da assembleia [...]. Essa pessoa pública, que se forma, desse modo, pela união de todas as outras, tomava antigamente o nome de cidade e, hoje, o de república ou de corpo político, o qual é chamado por seus membros de Estado [...].
(Jean-Jacques Rousseau. Os pensadores, 1983.)
O texto, produzido no âmbito do Iluminismo francês, apresenta a doutrina política do
Na Europa, as forças reacionárias que compunham a Santa Aliança não viam com bons olhos a emancipação política das colônias ibéricas na América. […] Todavia, o novo Império do Brasil podia contar com a aliança da poderosa Inglaterra, representada por George Canning, primeiro-ministro do rei Jorge IV. […] Canning acabaria por convencer o governo português a aceitar a soberania do Brasil, em 1825. Uma atitude coerente com o apoio que o governo britânico dera aos EUA, no ano anterior, por ocasião do lançamento da Doutrina Monroe, que afirmava o princípio da não intervenção europeia na América.
(Ilmar Rohloff de Mattos e Luis Affonso Seigneur de Albuquerque.
Independência ou morte: a emancipação política do Brasil, 1991.)
O texto relaciona
Era esta uma das artérias principais da cidade e regurgitara de gente durante o dia todo. Mas, ao aproximar-se o anoitecer, a multidão engrossou e, quando as lâmpadas se acenderam, duas densas e contínuas ondas de passantes desfilavam [...].
Muitos dos passantes tinham um aspecto prazerosamente comercial e pareciam pensar apenas em abrir caminho através da turba. Traziam as sobrancelhas vincadas e seus olhos moviam-se rapidamente; quando davam algum encontrão em outro passante, não mostravam sinais de impaciência; recompunham-se e continuavam, apressados, seu caminho.
(Contos de Edgar Allan Poe, 1986.)
O conto, originalmente publicado em 1840, apresenta um
perfil das metrópoles do século XIX, destacando
Observe a gravura.
Produzida no início da década de 1910, a gravura representa a Revolução Mexicana como marcada
A construção de Brasília pode ser considerada a principal meta do Plano de Metas [...]. Para alguns analistas, a nova capital seria o elemento propulsor de um projeto de identidade nacional comprometido com a modernidade, cuja face mais visível seria a arquitetura modernista de Oscar Niemeyer e Lúcio Costa. Ao mesmo tempo, no entanto, a interiorização da capital faria parte de um antigo projeto de organização espacial do território brasileiro, que visava ampliar as fronteiras econômicas rumo ao Oeste e alavancar a expansão capitalista nacional.
(Marly Motta. “Um presidente bossa-nova”. In: Luciano Figueiredo (org.).
História do Brasil para ocupados, 2013.)
O texto expõe dois significados da construção de Brasília durante o governo de Juscelino Kubitschek. Esses dois significados relacionam-se, pois
Conheça nossos planos