Foram encontradas 305 questões.
3841487
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
Consider the dialogue below:
Bob: "Hey, long time no see! How have you been?"
Susan: "I've been good, just trying to keep my head above water with all this work."
Bob: "I hear you. It seems like everyone is burning the candle at both ends these days."
Susan: "Exactly! But you know what they say, every cloud has a silver lining. I'm learning a lot."
Bob: "That's the spirit! Just remember, all work and no play makes Jack a dull boy."
Which of the following best describes the meaning of the idiom "keep my head above water" as used in the dialogue?
Bob: "Hey, long time no see! How have you been?"
Susan: "I've been good, just trying to keep my head above water with all this work."
Bob: "I hear you. It seems like everyone is burning the candle at both ends these days."
Susan: "Exactly! But you know what they say, every cloud has a silver lining. I'm learning a lot."
Bob: "That's the spirit! Just remember, all work and no play makes Jack a dull boy."
Which of the following best describes the meaning of the idiom "keep my head above water" as used in the dialogue?
Provas
Questão presente nas seguintes provas
A avaliação formativa desempenha um papel crucial no
processo de ensino e aprendizagem. Considerando as
características da avaliação formativa, qual das
alternativas a seguir não é uma prática adequada dessa
forma de avaliação?
Provas
Questão presente nas seguintes provas
3841485
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
During a listening comprehension test, you hear the
following conversation:
Max: Did you manage to submit the report on time?
Peter: I was up against the clock, but I got it in just under the wire.
Based on the conversation, what does "just under the wire" mean in this context?
Max: Did you manage to submit the report on time?
Peter: I was up against the clock, but I got it in just under the wire.
Based on the conversation, what does "just under the wire" mean in this context?
Provas
Questão presente nas seguintes provas
Acerca da relação professor-aluno analisada sob a
perspectiva das dinâmicas de poder, julgue as frases
abaixo:
I. Para Pierre Bourdieu, as escolas são instituições que exercem um controle disciplinar sobre os corpos e mentes dos alunos, moldando-os de acordo com as normas sociais predominantes. Este controle é exercido através de uma série de mecanismos sutis, como a vigilância constante (o "panóptico"), o exame, e a classificação, que normalizam o comportamento e reforçam a conformidade com as expectativas sociais.
II. Michel Foucault, em sua teoria do poder simbólico e da reprodução social, argumenta que a escola desempenha um papel crucial na reprodução das desigualdades sociais. Ele introduz o conceito de habitus , que se refere às disposições internalizadas pelos indivíduos, influenciadas por suas condições sociais, e que orientam suas práticas e percepções.
III. Michel Foucault introduz o conceito de biopoder, que se refere ao poder exercido sobre as populações, visando regular a vida social em suas múltiplas dimensões. Na escola, o biopoder se manifesta na forma como os currículos são estruturados para produzir sujeitos que se encaixem nas demandas da sociedade contemporânea, disciplinando não apenas o corpo, mas também os modos de pensar e agir dos alunos.
Está(ão) CORRETA(S) a(s) seguinte(s) proposição(ões).
I. Para Pierre Bourdieu, as escolas são instituições que exercem um controle disciplinar sobre os corpos e mentes dos alunos, moldando-os de acordo com as normas sociais predominantes. Este controle é exercido através de uma série de mecanismos sutis, como a vigilância constante (o "panóptico"), o exame, e a classificação, que normalizam o comportamento e reforçam a conformidade com as expectativas sociais.
II. Michel Foucault, em sua teoria do poder simbólico e da reprodução social, argumenta que a escola desempenha um papel crucial na reprodução das desigualdades sociais. Ele introduz o conceito de habitus , que se refere às disposições internalizadas pelos indivíduos, influenciadas por suas condições sociais, e que orientam suas práticas e percepções.
III. Michel Foucault introduz o conceito de biopoder, que se refere ao poder exercido sobre as populações, visando regular a vida social em suas múltiplas dimensões. Na escola, o biopoder se manifesta na forma como os currículos são estruturados para produzir sujeitos que se encaixem nas demandas da sociedade contemporânea, disciplinando não apenas o corpo, mas também os modos de pensar e agir dos alunos.
Está(ão) CORRETA(S) a(s) seguinte(s) proposição(ões).
Provas
Questão presente nas seguintes provas
3841483
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
Qual dos seguintes métodos de ensino de línguas se
baseia principalmente na repetição, memorização e
prática intensiva de padrões estruturais da língua, sem
ênfase na explicação de regras gramaticais explícitas?
Provas
Questão presente nas seguintes provas
3841482
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
O texto seguinte servirá de base para responder à questão.
Carmen Miranda
When Carmen Miranda performed, audiences remarked
on her vivacity and sparkle. Her voice and stage
presence captivated people and made her a favorite star,
first in Brazil, and later in the United States. Miranda was
born in 1909 in northern Portugal, but her family
immigrated to Brazil when she was very young. She
began her career as a singer for Brazilian radio stations,
but she very quickly leapt to stardom, and began acting
in movies as well. Her fame and talent caught the
attention of a Broadway theater owner and producer, Lee
Shubert. He convinced her to join his 1939 production of
The Streets of Paris and, with the support of the Brazilian
government, Miranda and her band went to New York
City as goodwill ambassadors to the United States.
Carmen Miranda was highly successful in the United
States, and in addition to major theater appearances, she
acted in movies and sang in nightclubs. At the peak of
her Hollywood career, she was the highest paid female
performer in the United States. However, her success
came with drawbacks. Her first major role in a Hollywood
film was as an exotic, volatile stereotype of a Latina, and
thereafter she was typically typecast in such roles. Her
parts often genericized Latin American cultures and
played to stereotypes. This was very well received by
American audiences, and fed the interests of the United
States' Good Neighbor policy in the 1940s, but it angered
critics in South and Central America. On a return trip
home to Brazil in 1940, she was poorly received, and was
actually booed off a stage at a charity event she
arranged, a drastic change from the adoration she was
given before her departure for America. She did not
return to Brazil until shortly before she died in 1955.
Miranda's greatest legacy, perhaps, is the popularization
of the samba. The samba was created by Afro-Latin
American musicians with roots in the Carnival
celebrations that blended European Catholic traditions
with African ones. It was created and originally played in
poorer Afro-Latin communities but was increasingly
picked up by middle class performers. Miranda was
sometimes criticized by whites for performing a form of
music they considered vulgar because of its origins, while
Afro-Latin Americans have criticized her for appropriating
their musical traditions without regard for their culture.
Nonetheless, her talent was considerable, and her fame
brought samba into the spotlight with her. Miranda
popularized the samba first in Brazil on the radio and in
films, and later in the United States with her
performances there, and the samba has had
considerable influences on a wide range of musicians
and musical forms since.
https://www.si.edu/spotlight/latin-music-legends-stamps/carmen-mirand
a
Provas
Questão presente nas seguintes provas
3841481
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
O texto seguinte servirá de base para responder à questão.
Carmen Miranda
When Carmen Miranda performed, audiences remarked
on her vivacity and sparkle. Her voice and stage
presence captivated people and made her a favorite star,
first in Brazil, and later in the United States. Miranda was
born in 1909 in northern Portugal, but her family
immigrated to Brazil when she was very young. She
began her career as a singer for Brazilian radio stations,
but she very quickly leapt to stardom, and began acting
in movies as well. Her fame and talent caught the
attention of a Broadway theater owner and producer, Lee
Shubert. He convinced her to join his 1939 production of
The Streets of Paris and, with the support of the Brazilian
government, Miranda and her band went to New York
City as goodwill ambassadors to the United States.
Carmen Miranda was highly successful in the United
States, and in addition to major theater appearances, she
acted in movies and sang in nightclubs. At the peak of
her Hollywood career, she was the highest paid female
performer in the United States. However, her success
came with drawbacks. Her first major role in a Hollywood
film was as an exotic, volatile stereotype of a Latina, and
thereafter she was typically typecast in such roles. Her
parts often genericized Latin American cultures and
played to stereotypes. This was very well received by
American audiences, and fed the interests of the United
States' Good Neighbor policy in the 1940s, but it angered
critics in South and Central America. On a return trip
home to Brazil in 1940, she was poorly received, and was
actually booed off a stage at a charity event she
arranged, a drastic change from the adoration she was
given before her departure for America. She did not
return to Brazil until shortly before she died in 1955.
Miranda's greatest legacy, perhaps, is the popularization
of the samba. The samba was created by Afro-Latin
American musicians with roots in the Carnival
celebrations that blended European Catholic traditions
with African ones. It was created and originally played in
poorer Afro-Latin communities but was increasingly
picked up by middle class performers. Miranda was
sometimes criticized by whites for performing a form of
music they considered vulgar because of its origins, while
Afro-Latin Americans have criticized her for appropriating
their musical traditions without regard for their culture.
Nonetheless, her talent was considerable, and her fame
brought samba into the spotlight with her. Miranda
popularized the samba first in Brazil on the radio and in
films, and later in the United States with her
performances there, and the samba has had
considerable influences on a wide range of musicians
and musical forms since.
https://www.si.edu/spotlight/latin-music-legends-stamps/carmen-mirand
a
Provas
Questão presente nas seguintes provas
O texto seguinte servirá de base para responder à questão.
Carmen Miranda
When Carmen Miranda performed, audiences remarked
on her vivacity and sparkle. Her voice and stage
presence captivated people and made her a favorite star,
first in Brazil, and later in the United States. Miranda was
born in 1909 in northern Portugal, but her family
immigrated to Brazil when she was very young. She
began her career as a singer for Brazilian radio stations,
but she very quickly leapt to stardom, and began acting
in movies as well. Her fame and talent caught the
attention of a Broadway theater owner and producer, Lee
Shubert. He convinced her to join his 1939 production of
The Streets of Paris and, with the support of the Brazilian
government, Miranda and her band went to New York
City as goodwill ambassadors to the United States.
Carmen Miranda was highly successful in the United
States, and in addition to major theater appearances, she
acted in movies and sang in nightclubs. At the peak of
her Hollywood career, she was the highest paid female
performer in the United States. However, her success
came with drawbacks. Her first major role in a Hollywood
film was as an exotic, volatile stereotype of a Latina, and
thereafter she was typically typecast in such roles. Her
parts often genericized Latin American cultures and
played to stereotypes. This was very well received by
American audiences, and fed the interests of the United
States' Good Neighbor policy in the 1940s, but it angered
critics in South and Central America. On a return trip
home to Brazil in 1940, she was poorly received, and was
actually booed off a stage at a charity event she
arranged, a drastic change from the adoration she was
given before her departure for America. She did not
return to Brazil until shortly before she died in 1955.
Miranda's greatest legacy, perhaps, is the popularization
of the samba. The samba was created by Afro-Latin
American musicians with roots in the Carnival
celebrations that blended European Catholic traditions
with African ones. It was created and originally played in
poorer Afro-Latin communities but was increasingly
picked up by middle class performers. Miranda was
sometimes criticized by whites for performing a form of
music they considered vulgar because of its origins, while
Afro-Latin Americans have criticized her for appropriating
their musical traditions without regard for their culture.
Nonetheless, her talent was considerable, and her fame
brought samba into the spotlight with her. Miranda
popularized the samba first in Brazil on the radio and in
films, and later in the United States with her
performances there, and the samba has had
considerable influences on a wide range of musicians
and musical forms since.
https://www.si.edu/spotlight/latin-music-legends-stamps/carmen-mirand
a
Provas
Questão presente nas seguintes provas
3841479
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
O texto seguinte servirá de base para responder à questão.
Carmen Miranda
When Carmen Miranda performed, audiences remarked
on her vivacity and sparkle. Her voice and stage
presence captivated people and made her a favorite star,
first in Brazil, and later in the United States. Miranda was
born in 1909 in northern Portugal, but her family
immigrated to Brazil when she was very young. She
began her career as a singer for Brazilian radio stations,
but she very quickly leapt to stardom, and began acting
in movies as well. Her fame and talent caught the
attention of a Broadway theater owner and producer, Lee
Shubert. He convinced her to join his 1939 production of
The Streets of Paris and, with the support of the Brazilian
government, Miranda and her band went to New York
City as goodwill ambassadors to the United States.
Carmen Miranda was highly successful in the United
States, and in addition to major theater appearances, she
acted in movies and sang in nightclubs. At the peak of
her Hollywood career, she was the highest paid female
performer in the United States. However, her success
came with drawbacks. Her first major role in a Hollywood
film was as an exotic, volatile stereotype of a Latina, and
thereafter she was typically typecast in such roles. Her
parts often genericized Latin American cultures and
played to stereotypes. This was very well received by
American audiences, and fed the interests of the United
States' Good Neighbor policy in the 1940s, but it angered
critics in South and Central America. On a return trip
home to Brazil in 1940, she was poorly received, and was
actually booed off a stage at a charity event she
arranged, a drastic change from the adoration she was
given before her departure for America. She did not
return to Brazil until shortly before she died in 1955.
Miranda's greatest legacy, perhaps, is the popularization
of the samba. The samba was created by Afro-Latin
American musicians with roots in the Carnival
celebrations that blended European Catholic traditions
with African ones. It was created and originally played in
poorer Afro-Latin communities but was increasingly
picked up by middle class performers. Miranda was
sometimes criticized by whites for performing a form of
music they considered vulgar because of its origins, while
Afro-Latin Americans have criticized her for appropriating
their musical traditions without regard for their culture.
Nonetheless, her talent was considerable, and her fame
brought samba into the spotlight with her. Miranda
popularized the samba first in Brazil on the radio and in
films, and later in the United States with her
performances there, and the samba has had
considerable influences on a wide range of musicians
and musical forms since.
https://www.si.edu/spotlight/latin-music-legends-stamps/carmen-mirand
a
Provas
Questão presente nas seguintes provas
3841478
Ano: 2024
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Disciplina: Inglês (Língua Inglesa)
Banca: AMEOSC
Orgão: Pref. Itapiranga-SC
Provas:
O texto seguinte servirá de base para responder à questão.
Carmen Miranda
When Carmen Miranda performed, audiences remarked
on her vivacity and sparkle. Her voice and stage
presence captivated people and made her a favorite star,
first in Brazil, and later in the United States. Miranda was
born in 1909 in northern Portugal, but her family
immigrated to Brazil when she was very young. She
began her career as a singer for Brazilian radio stations,
but she very quickly leapt to stardom, and began acting
in movies as well. Her fame and talent caught the
attention of a Broadway theater owner and producer, Lee
Shubert. He convinced her to join his 1939 production of
The Streets of Paris and, with the support of the Brazilian
government, Miranda and her band went to New York
City as goodwill ambassadors to the United States.
Carmen Miranda was highly successful in the United
States, and in addition to major theater appearances, she
acted in movies and sang in nightclubs. At the peak of
her Hollywood career, she was the highest paid female
performer in the United States. However, her success
came with drawbacks. Her first major role in a Hollywood
film was as an exotic, volatile stereotype of a Latina, and
thereafter she was typically typecast in such roles. Her
parts often genericized Latin American cultures and
played to stereotypes. This was very well received by
American audiences, and fed the interests of the United
States' Good Neighbor policy in the 1940s, but it angered
critics in South and Central America. On a return trip
home to Brazil in 1940, she was poorly received, and was
actually booed off a stage at a charity event she
arranged, a drastic change from the adoration she was
given before her departure for America. She did not
return to Brazil until shortly before she died in 1955.
Miranda's greatest legacy, perhaps, is the popularization
of the samba. The samba was created by Afro-Latin
American musicians with roots in the Carnival
celebrations that blended European Catholic traditions
with African ones. It was created and originally played in
poorer Afro-Latin communities but was increasingly
picked up by middle class performers. Miranda was
sometimes criticized by whites for performing a form of
music they considered vulgar because of its origins, while
Afro-Latin Americans have criticized her for appropriating
their musical traditions without regard for their culture.
Nonetheless, her talent was considerable, and her fame
brought samba into the spotlight with her. Miranda
popularized the samba first in Brazil on the radio and in
films, and later in the United States with her
performances there, and the samba has had
considerable influences on a wide range of musicians
and musical forms since.
https://www.si.edu/spotlight/latin-music-legends-stamps/carmen-mirand
a
Provas
Questão presente nas seguintes provas
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