FUVEST 2020

Questão 48404

(UNESP - 2020 - 1ª FASE)

Leia o texto e analise os dois mapas para responder às 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.)

By comparing maps 1 and 2, one can say that the Brazilian administrative area totally covered by the Cerrado is

Questão 48407

(UNESP - 2020 - 1ª FASE) 

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)

The chart shows that the approximate period of time when both urban and rural estimated populations were equal was

Questão 48412

(UNESP - 2020 - 1ª FASE)

Analyse the following comic.

The objective of the comic is to

Questão 48432

(UNESP - 2020 - 1ª FASE)

Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder a questão

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 iintense 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.)

De acordo com o texto, a Tropicália

Questão 48486

(UNESP - 2020 - 1ª FASE)

Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder a questão

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 iintense 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.)

No trecho do segundo parágrafo “Nevertheless, a military coup in 1964”, o termo sublinhado indica

Questão 48487

(UNESP - 2020 - 1ª FASE)

Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder a questão

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.)

No trecho do segundo parágrafo “a right-wing regime at odds with the concerns of left-wing artists”, a expressão sublinhada tem sentido de

Questão 48488

(UNESP - 2020 - 1ª FASE)

Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder a questão.

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 iintense 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.)

De acordo com o terceiro parágrafo, a obra Tropicália, de Hélio Oiticica,

Questão 48489

(UNESP - 2020 - 1 FASE) 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

Questão 48490

(UNESP - 2020 - 1 FASE) Observe a imagem.

A Catedral de Notre-Dame, em Paris, parcialmente destruída por um incêndio em abril de 2019, é um exemplo da arquitetura

Questão 48491

(UNESP - 2020 - 1 FASE) [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