Foram encontradas 210 questões.
Jaz situada esta freguesia entre os dois Rios Vaza-barris e o de Sergipe, que faz barra na Cotinguiba. […] Todo o distrito da Cidade de Sergipe lhe pertencia, hoje pertence a Cotinguiba a paróquia de Nossa Senhora do Socorro, com quem pelo Norte parte a sobredita freguesia de Nossa Senhora da Vitória. Numera pessoas sete mil seiscentos e setenta e seis. Homens mil e seiscentos. Mulheres mil e oitocentos e cinquenta e seis. Criados vinte. Escravos quatro mil e duzentos.
FRANCA, 1724 apud MENEZES, W. História da capitania de Sergipe através de textos e documentos. Aracaju: Secretaria de Estado de Educação, do Esporte e da Cultura, 2021. p. 115. Adaptado.
A descrição feita por Gonçalo Soares da Franca aponta aspectos de uma sociedade
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A probabilidade de que o seguro não seja acionado nem por P e nem por Q é de
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Existe uma série de métricas que são acompanhadas pelos bancos na gestão de suas carteiras de crédito: taxa de inadimplência, tempo médio de atraso, dentre outras. Monitorar essas métricas e suas evoluções ao longo do tempo é importante, pois é através dessas métricas que o banco pode avaliar se sua carteira de crédito está saudável. Um banco fez um levantamento do número de clientes em atraso e chegou à seguinte Tabela:
|
Dias em atraso |
Número de Clientes |
| 1 | 10 |
| 2 | 25 |
| 3 | 35 |
| 4 | 20 |
| 5 | 10 |
A amplitude interquartil dos dias em atraso é de
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Ŷ = 50 + 0,5 X
Ele verificou que o modelo atende a todas as premissas do modelo de regressão linear.
A pontuação esperada de um funcionário que dedicou 60 horas a treinamento no último semestre é
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Os analistas sabem que:
• Apenas 1% de todas as transações são fraudulentas.
• Quando uma transação é fraudulenta, o sistema a classifica como “suspeita” em 95% dos casos (taxa de acerto).
• Quando uma transação não é fraudulenta, o sistema ainda a classifica como “suspeita” em 5% dos casos (falso positivo).
Se o sistema classificou uma transação como suspeita, a probabilidade de ela realmente ser fraudulenta é de, aproximadamente,
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- FundamentosAnálise de Tabelas e GráficosGráfico de Colunas ou Barras Justapostas
- Estatística Descritiva
Um banco, comprometido em oferecer agilidade e eficiência aos seus clientes, realizou um estudo interno para analisar o tempo médio de aprovação de diferentes tipos de crédito.
Durante o levantamento, os dados mostraram o seguinte:
|
Tipo de Crédito |
Tempo médio de aprovação (dias úteis) |
|
Empréstimo Pessoal |
3 |
|
Financiamento de Veículos |
5 |
|
Financiamento Imobiliário |
20 |
|
Crédito Educacional |
7 |
|
Crédito para Viagens |
5 |
|
Crédito Rural |
3 |
W, o gerente de operações, se espantou ao descobrir que a aprovação de financiamentos imobiliários era tão demorada. Ele sugeriu que esses dados fossem apresentados de forma visual, para discussão em uma reunião estratégica. Ele queria que os líderes das áreas envolvidas tivessem clareza sobre as diferenças no tempo de aprovação e pudessem propor ações específicas para reduzir o prazo dos financiamentos imobiliários. A melhor forma de W representar graficamente os dados que constam na Tabela apresentada é através de um
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Art and Banking: from the House of Medici to Deutsche Bank
An example in coexistence – that is how we might define the intersection between the banking sector and the art world since the Middle Ages. These two disparate fields gradually evolved a number of points of contact, many of which have persisted for centuries. In 2020, faced with the spread of Covid-19, people’s interest in illiquid art investments has diminished, but, given the long history of interactions between bankers and people of art, we may conclude that the historical trend is bound to spring back.
The first examples of cross-pollination between banking and art can be traced back to the 13th century, when wealthy financiers would acquire or commission masterpieces as a means of penitence for their sins and as a marker of social status. By the 16th century, as religious influences receded, bankers were motivated by the luxury of becoming patrons of the arts, mythologizing their individual power through art and architecture. The most well-known example of this trend was the Medici family, which sponsored the artistic development and posterity of Renaissance virtuosos such as Donatello, Michelangelo, Sandro Botticelli and Leonardo da Vinci. In the 17th century, art became a consumer commodity, and would often be used as currency; artists were also known to use their work as collateral for loans. In the 18th and 19th centuries, banks would provide immeasurable support to the founders of the earliest art academies and national museums.
The turning point in this journey for art and banking came in the 1940s, when the art world’s centre of gravity suddenly shifted straight across the Atlantic, from Paris to Manhattan. In light of this tectonic shift, Chase Manhattan Bank president David Rockefeller launched the bank’s art collection programme, which would define the future vision of nearly every finance institution globally. It became one of the first few commercial art collections, as we know them today.
Currently, one of the largest commercial collections of artworks is owned by Deutsche Bank. From humble beginnings with the acquisition of the first few paintings, sculptures, photographs and graphics in 1979, it now reaches an estimated value of 500 million U.S. dollars – perhaps a diminutive figure in the grand scheme of things, but Deutsche Bank prefers to feature young, promising artists. The most valuable pieces in the Deutsche Bank collection had been acquired well before their respective authors became household names. Thus, the bank purchased Abstraktes Bild (Faust), Gerhard Richter’s 1981 triptych, for 12 million dollars; in February 2020, it was sold for triple the amount to an anonymous buyer.
Over time, but we may observe how the relationship between artists and bankers has grown increasingly transactional since the Medici era. Today, art is still a hallmark of socioeconomic status, even though most bankers also treat art both as a financial investment and interior decoration that shapes the organisational climate and inspires personnel. Art collecting is often included under the umbrella of a marketing strategy, as a peculiar language of broadcasting organisational values. Where the common journey of banking and art may lead in later decades or centuries is difficult to predict, but one thing remains clear: art will remain a point of interest for bankers.
Available at: https://signetbank.com/en/news/art-and-banking- -from-the-house-of-medici-to-deutsche-bank/. Retrieved on: March, 8th, 2025. Adapted.
In the fragment in the fifth paragraph of the text “Today, art is still a hallmark of socioeconomic status, even though most bankers also treat art”, the words in bold are associated with the idea of
Provas
Art and Banking: from the House of Medici to Deutsche Bank
An example in coexistence – that is how we might define the intersection between the banking sector and the art world since the Middle Ages. These two disparate fields gradually evolved a number of points of contact, many of which have persisted for centuries. In 2020, faced with the spread of Covid-19, people’s interest in illiquid art investments has diminished, but, given the long history of interactions between bankers and people of art, we may conclude that the historical trend is bound to spring back.
The first examples of cross-pollination between banking and art can be traced back to the 13th century, when wealthy financiers would acquire or commission masterpieces as a means of penitence for their sins and as a marker of social status. By the 16th century, as religious influences receded, bankers were motivated by the luxury of becoming patrons of the arts, mythologizing their individual power through art and architecture. The most well-known example of this trend was the Medici family, which sponsored the artistic development and posterity of Renaissance virtuosos such as Donatello, Michelangelo, Sandro Botticelli and Leonardo da Vinci. In the 17th century, art became a consumer commodity, and would often be used as currency; artists were also known to use their work as collateral for loans. In the 18th and 19th centuries, banks would provide immeasurable support to the founders of the earliest art academies and national museums.
The turning point in this journey for art and banking came in the 1940s, when the art world’s centre of gravity suddenly shifted straight across the Atlantic, from Paris to Manhattan. In light of this tectonic shift, Chase Manhattan Bank president David Rockefeller launched the bank’s art collection programme, which would define the future vision of nearly every finance institution globally. It became one of the first few commercial art collections, as we know them today.
Currently, one of the largest commercial collections of artworks is owned by Deutsche Bank. From humble beginnings with the acquisition of the first few paintings, sculptures, photographs and graphics in 1979, it now reaches an estimated value of 500 million U.S. dollars – perhaps a diminutive figure in the grand scheme of things, but Deutsche Bank prefers to feature young, promising artists. The most valuable pieces in the Deutsche Bank collection had been acquired well before their respective authors became household names. Thus, the bank purchased Abstraktes Bild (Faust), Gerhard Richter’s 1981 triptych, for 12 million dollars; in February 2020, it was sold for triple the amount to an anonymous buyer.
Over time, but we may observe how the relationship between artists and bankers has grown increasingly transactional since the Medici era. Today, art is still a hallmark of socioeconomic status, even though most bankers also treat art both as a financial investment and interior decoration that shapes the organisational climate and inspires personnel. Art collecting is often included under the umbrella of a marketing strategy, as a peculiar language of broadcasting organisational values. Where the common journey of banking and art may lead in later decades or centuries is difficult to predict, but one thing remains clear: art will remain a point of interest for bankers.
Available at: https://signetbank.com/en/news/art-and-banking- -from-the-house-of-medici-to-deutsche-bank/. Retrieved on: March, 8th, 2025. Adapted.
According to the text author, in paragraph 4, one can conclude that the art work Abstraktes Bild (Faust) was sold in 2020 for
Provas
Art and Banking: from the House of Medici to Deutsche Bank
An example in coexistence – that is how we might define the intersection between the banking sector and the art world since the Middle Ages. These two disparate fields gradually evolved a number of points of contact, many of which have persisted for centuries. In 2020, faced with the spread of Covid-19, people’s interest in illiquid art investments has diminished, but, given the long history of interactions between bankers and people of art, we may conclude that the historical trend is bound to spring back.
The first examples of cross-pollination between banking and art can be traced back to the 13th century, when wealthy financiers would acquire or commission masterpieces as a means of penitence for their sins and as a marker of social status. By the 16th century, as religious influences receded, bankers were motivated by the luxury of becoming patrons of the arts, mythologizing their individual power through art and architecture. The most well-known example of this trend was the Medici family, which sponsored the artistic development and posterity of Renaissance virtuosos such as Donatello, Michelangelo, Sandro Botticelli and Leonardo da Vinci. In the 17th century, art became a consumer commodity, and would often be used as currency; artists were also known to use their work as collateral for loans. In the 18th and 19th centuries, banks would provide immeasurable support to the founders of the earliest art academies and national museums.
The turning point in this journey for art and banking came in the 1940s, when the art world’s centre of gravity suddenly shifted straight across the Atlantic, from Paris to Manhattan. In light of this tectonic shift, Chase Manhattan Bank president David Rockefeller launched the bank’s art collection programme, which would define the future vision of nearly every finance institution globally. It became one of the first few commercial art collections, as we know them today.
Currently, one of the largest commercial collections of artworks is owned by Deutsche Bank. From humble beginnings with the acquisition of the first few paintings, sculptures, photographs and graphics in 1979, it now reaches an estimated value of 500 million U.S. dollars – perhaps a diminutive figure in the grand scheme of things, but Deutsche Bank prefers to feature young, promising artists. The most valuable pieces in the Deutsche Bank collection had been acquired well before their respective authors became household names. Thus, the bank purchased Abstraktes Bild (Faust), Gerhard Richter’s 1981 triptych, for 12 million dollars; in February 2020, it was sold for triple the amount to an anonymous buyer.
Over time, but we may observe how the relationship between artists and bankers has grown increasingly transactional since the Medici era. Today, art is still a hallmark of socioeconomic status, even though most bankers also treat art both as a financial investment and interior decoration that shapes the organisational climate and inspires personnel. Art collecting is often included under the umbrella of a marketing strategy, as a peculiar language of broadcasting organisational values. Where the common journey of banking and art may lead in later decades or centuries is difficult to predict, but one thing remains clear: art will remain a point of interest for bankers.
Available at: https://signetbank.com/en/news/art-and-banking- -from-the-house-of-medici-to-deutsche-bank/. Retrieved on: March, 8th, 2025. Adapted.
In the fragment in the third paragraph of the text “David Rockefeller launched the bank’s art collection programme, which would define the future vision of nearly every finance institution globally”, the expression in bold refers to
Provas
Art and Banking: from the House of Medici to Deutsche Bank
An example in coexistence – that is how we might define the intersection between the banking sector and the art world since the Middle Ages. These two disparate fields gradually evolved a number of points of contact, many of which have persisted for centuries. In 2020, faced with the spread of Covid-19, people’s interest in illiquid art investments has diminished, but, given the long history of interactions between bankers and people of art, we may conclude that the historical trend is bound to spring back.
The first examples of cross-pollination between banking and art can be traced back to the 13th century, when wealthy financiers would acquire or commission masterpieces as a means of penitence for their sins and as a marker of social status. By the 16th century, as religious influences receded, bankers were motivated by the luxury of becoming patrons of the arts, mythologizing their individual power through art and architecture. The most well-known example of this trend was the Medici family, which sponsored the artistic development and posterity of Renaissance virtuosos such as Donatello, Michelangelo, Sandro Botticelli and Leonardo da Vinci. In the 17th century, art became a consumer commodity, and would often be used as currency; artists were also known to use their work as collateral for loans. In the 18th and 19th centuries, banks would provide immeasurable support to the founders of the earliest art academies and national museums.
The turning point in this journey for art and banking came in the 1940s, when the art world’s centre of gravity suddenly shifted straight across the Atlantic, from Paris to Manhattan. In light of this tectonic shift, Chase Manhattan Bank president David Rockefeller launched the bank’s art collection programme, which would define the future vision of nearly every finance institution globally. It became one of the first few commercial art collections, as we know them today.
Currently, one of the largest commercial collections of artworks is owned by Deutsche Bank. From humble beginnings with the acquisition of the first few paintings, sculptures, photographs and graphics in 1979, it now reaches an estimated value of 500 million U.S. dollars – perhaps a diminutive figure in the grand scheme of things, but Deutsche Bank prefers to feature young, promising artists. The most valuable pieces in the Deutsche Bank collection had been acquired well before their respective authors became household names. Thus, the bank purchased Abstraktes Bild (Faust), Gerhard Richter’s 1981 triptych, for 12 million dollars; in February 2020, it was sold for triple the amount to an anonymous buyer.
Over time, but we may observe how the relationship between artists and bankers has grown increasingly transactional since the Medici era. Today, art is still a hallmark of socioeconomic status, even though most bankers also treat art both as a financial investment and interior decoration that shapes the organisational climate and inspires personnel. Art collecting is often included under the umbrella of a marketing strategy, as a peculiar language of broadcasting organisational values. Where the common journey of banking and art may lead in later decades or centuries is difficult to predict, but one thing remains clear: art will remain a point of interest for bankers.
Available at: https://signetbank.com/en/news/art-and-banking- -from-the-house-of-medici-to-deutsche-bank/. Retrieved on: March, 8th, 2025. Adapted.
From the fragment in the first paragraph of the text “In 2020, faced with the spread of Covid-19, people’s interest in illiquid art investments has diminished”, one can conclude that, in 2020, Covid-19 pandemic was
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