Foram encontradas 60 questões.
Disciplina: Inglês (Língua Inglesa)
Banca: FUNDATEC
Orgão: Pref. Criciúma-SC
Poor Things – Emma Stone transfixes in Lanthimos’s thrilling carnival of oddness
- It may only be the beginning of the year, but it’s hard to imagine that there will be a funnier,
- filthier, or more extravagantly peculiar film this year than Yorgos Lanthimos’s latest picture. To
- describe Poor Things, which is adapted by Tony McNamara from the 1992 novel by Alasdair Gray,
- as creatively uninhibited hardly does justice to the wild, wild ride that this explosively inventive
- picture takes us on. Driven by a courageous and physically committed performance from Emma
- Stone, the film follows her journey as Bella Baxter, at the start of the picture a barely verbal blank
- slate, who embarks on an autodidact voyage of discovery to become the ultimate self-made
- woman.
- Like in the book, the period is impossible to pin down exactly. The story unfolds in a parallel
- past, a gothic, steampunk-infused Victoriana, a world that is distorted by the patriarchal power
- disparities in society. Without giving away the specifics, the picture is a subversive spin on Mary
- Shelley’s Frankenstein, with the role of Bella’s creator and guardian taken by unorthodox genius
- Dr Godwin Baxter (Willem Dafoe). Called “God” by Bella, Godwin bears grotesque scars on his face
- and body resulting from his childhood experience as the subject of his father’s deranged scientific
- curiosity – an experience that failed to stymie his own rather baroque quest for empirical facts.
- When Godwin recruits eager student Max McCandles (Ramy Youssef) to keep a record of Bella’s
- accelerated progress, her grasp of language expands exponentially.
- But Bella’s hunger knowledge and experience is too voracious to be contained the
- walls Godwin’s mansion. She grasps the opportunity offered by caddish lawyer and man
- about-town Duncan Wedderburn (a marvelously hammy Mark Ruffalo) and ventures forth
- London, first to Lisbon, then by steamship to Alexandria, and finally to a Parisian brothel. As Bella’s
- horizons broaden, so the look of the film alters to encompass her experiences. The chapter set
- predominantly in Godwin’s home is black and white, but once Bella ventures forth, the film shifts
- into color. But not just any color – there’s an uncanny, hyperreal quality to the palette that makes
- each frame look like a hand-tinted piece of Victorian postcard erotica.
- It’s an alchemic combination, this continuing collaboration between Lanthimos and Stone, a
- working relationship that started with The Favourite and will continue with another feature film
- project, titled Kinds of Kindness. They unleash in each other an extra level of uninhibited artistic
- daring that must be rooted in an uncommon degree of mutual trust. Nowhere is this more evident
- than in the physicality of Stone’s remarkable performance. Stone’s virtuoso use of her body – the
- way it inhabits space, the way she gradually masters her gangling, string-like limbs, the guilelessly
- open play of emotions in her face – is one of the most crucial elements in our experience of Bella’s
- journey.
- That journey is supported by a deliciously eccentric score by Jerskin Fendrix. An uneasy,
- detuned four-note motif played on flayed violin strings opens the film and returns in various
- incarnations throughout, sounding at one point like a hippo mating with a harmonium. The gradual
- build of intricacy and sophistication in the music brilliantly mirrors Bella’s intellectual growth.
- Bella’s appetite for novelty is reflected in film-making that evokes a similar sense of wonder and
- discovery in the audience. From the quirky flamboyance of Holly Waddington’s costumes to the
- off-kilter production design by Shona Heath and James Price, Poor Things is an endlessly
- fascinating carnival of oddness.
(Available at: www.theguardian.com/film/2024/jan/14/poor-things-review-yorgos-lanthimos-emma-stone-frankenstein – text specially adapted for this test).
The highlighted word “oddness” (l. 41) means the quality of being:
Provas
Disciplina: Inglês (Língua Inglesa)
Banca: FUNDATEC
Orgão: Pref. Criciúma-SC
Poor Things – Emma Stone transfixes in Lanthimos’s thrilling carnival of oddness
- It may only be the beginning of the year, but it’s hard to imagine that there will be a funnier,
- filthier, or more extravagantly peculiar film this year than Yorgos Lanthimos’s latest picture. To
- describe Poor Things, which is adapted by Tony McNamara from the 1992 novel by Alasdair Gray,
- as creatively uninhibited hardly does justice to the wild, wild ride that this explosively inventive
- picture takes us on. Driven by a courageous and physically committed performance from Emma
- Stone, the film follows her journey as Bella Baxter, at the start of the picture a barely verbal blank
- slate, who embarks on an autodidact voyage of discovery to become the ultimate self-made
- woman.
- Like in the book, the period is impossible to pin down exactly. The story unfolds in a parallel
- past, a gothic, steampunk-infused Victoriana, a world that is distorted by the patriarchal power
- disparities in society. Without giving away the specifics, the picture is a subversive spin on Mary
- Shelley’s Frankenstein, with the role of Bella’s creator and guardian taken by unorthodox genius
- Dr Godwin Baxter (Willem Dafoe). Called “God” by Bella, Godwin bears grotesque scars on his face
- and body resulting from his childhood experience as the subject of his father’s deranged scientific
- curiosity – an experience that failed to stymie his own rather baroque quest for empirical facts.
- When Godwin recruits eager student Max McCandles (Ramy Youssef) to keep a record of Bella’s
- accelerated progress, her grasp of language expands exponentially.
- But Bella’s hunger knowledge and experience is too voracious to be contained the
- walls Godwin’s mansion. She grasps the opportunity offered by caddish lawyer and man
- about-town Duncan Wedderburn (a marvelously hammy Mark Ruffalo) and ventures forth
- London, first to Lisbon, then by steamship to Alexandria, and finally to a Parisian brothel. As Bella’s
- horizons broaden, so the look of the film alters to encompass her experiences. The chapter set
- predominantly in Godwin’s home is black and white, but once Bella ventures forth, the film shifts
- into color. But not just any color – there’s an uncanny, hyperreal quality to the palette that makes
- each frame look like a hand-tinted piece of Victorian postcard erotica.
- It’s an alchemic combination, this continuing collaboration between Lanthimos and Stone, a
- working relationship that started with The Favourite and will continue with another feature film
- project, titled Kinds of Kindness. They unleash in each other an extra level of uninhibited artistic
- daring that must be rooted in an uncommon degree of mutual trust. Nowhere is this more evident
- than in the physicality of Stone’s remarkable performance. Stone’s virtuoso use of her body – the
- way it inhabits space, the way she gradually masters her gangling, string-like limbs, the guilelessly
- open play of emotions in her face – is one of the most crucial elements in our experience of Bella’s
- journey.
- That journey is supported by a deliciously eccentric score by Jerskin Fendrix. An uneasy,
- detuned four-note motif played on flayed violin strings opens the film and returns in various
- incarnations throughout, sounding at one point like a hippo mating with a harmonium. The gradual
- build of intricacy and sophistication in the music brilliantly mirrors Bella’s intellectual growth.
- Bella’s appetite for novelty is reflected in film-making that evokes a similar sense of wonder and
- discovery in the audience. From the quirky flamboyance of Holly Waddington’s costumes to the
- off-kilter production design by Shona Heath and James Price, Poor Things is an endlessly
- fascinating carnival of oddness.
(Available at: www.theguardian.com/film/2024/jan/14/poor-things-review-yorgos-lanthimos-emma-stone-frankenstein – text specially adapted for this test).
Analyze the following statements about the text and mark T, if true, or F, if false.
( ) The article considers that the main character develops throughout the story from a “blank slate” to a “self-made woman”.
( ) Duncan Wedderburn’s role in the story was to offer Bella the opportunity to experience the world.
( ) The author highlights the historical accuracy of costumes and props as a captivating feature in the movie.
The correct order of filling the parentheses, from top to bottom, is:
Provas
Disciplina: Inglês (Língua Inglesa)
Banca: FUNDATEC
Orgão: Pref. Criciúma-SC
Poor Things – Emma Stone transfixes in Lanthimos’s thrilling carnival of oddness
- It may only be the beginning of the year, but it’s hard to imagine that there will be a funnier,
- filthier, or more extravagantly peculiar film this year than Yorgos Lanthimos’s latest picture. To
- describe Poor Things, which is adapted by Tony McNamara from the 1992 novel by Alasdair Gray,
- as creatively uninhibited hardly does justice to the wild, wild ride that this explosively inventive
- picture takes us on. Driven by a courageous and physically committed performance from Emma
- Stone, the film follows her journey as Bella Baxter, at the start of the picture a barely verbal blank
- slate, who embarks on an autodidact voyage of discovery to become the ultimate self-made
- woman.
- Like in the book, the period is impossible to pin down exactly. The story unfolds in a parallel
- past, a gothic, steampunk-infused Victoriana, a world that is distorted by the patriarchal power
- disparities in society. Without giving away the specifics, the picture is a subversive spin on Mary
- Shelley’s Frankenstein, with the role of Bella’s creator and guardian taken by unorthodox genius
- Dr Godwin Baxter (Willem Dafoe). Called “God” by Bella, Godwin bears grotesque scars on his face
- and body resulting from his childhood experience as the subject of his father’s deranged scientific
- curiosity – an experience that failed to stymie his own rather baroque quest for empirical facts.
- When Godwin recruits eager student Max McCandles (Ramy Youssef) to keep a record of Bella’s
- accelerated progress, her grasp of language expands exponentially.
- But Bella’s hunger knowledge and experience is too voracious to be contained the
- walls Godwin’s mansion. She grasps the opportunity offered by caddish lawyer and man
- about-town Duncan Wedderburn (a marvelously hammy Mark Ruffalo) and ventures forth
- London, first to Lisbon, then by steamship to Alexandria, and finally to a Parisian brothel. As Bella’s
- horizons broaden, so the look of the film alters to encompass her experiences. The chapter set
- predominantly in Godwin’s home is black and white, but once Bella ventures forth, the film shifts
- into color. But not just any color – there’s an uncanny, hyperreal quality to the palette that makes
- each frame look like a hand-tinted piece of Victorian postcard erotica.
- It’s an alchemic combination, this continuing collaboration between Lanthimos and Stone, a
- working relationship that started with The Favourite and will continue with another feature film
- project, titled Kinds of Kindness. They unleash in each other an extra level of uninhibited artistic
- daring that must be rooted in an uncommon degree of mutual trust. Nowhere is this more evident
- than in the physicality of Stone’s remarkable performance. Stone’s virtuoso use of her body – the
- way it inhabits space, the way she gradually masters her gangling, string-like limbs, the guilelessly
- open play of emotions in her face – is one of the most crucial elements in our experience of Bella’s
- journey.
- That journey is supported by a deliciously eccentric score by Jerskin Fendrix. An uneasy,
- detuned four-note motif played on flayed violin strings opens the film and returns in various
- incarnations throughout, sounding at one point like a hippo mating with a harmonium. The gradual
- build of intricacy and sophistication in the music brilliantly mirrors Bella’s intellectual growth.
- Bella’s appetite for novelty is reflected in film-making that evokes a similar sense of wonder and
- discovery in the audience. From the quirky flamboyance of Holly Waddington’s costumes to the
- off-kilter production design by Shona Heath and James Price, Poor Things is an endlessly
- fascinating carnival of oddness.
(Available at: www.theguardian.com/film/2024/jan/14/poor-things-review-yorgos-lanthimos-emma-stone-frankenstein – text specially adapted for this test).
Mark the correct alternative about the text.
Provas
Disciplina: Inglês (Língua Inglesa)
Banca: FUNDATEC
Orgão: Pref. Criciúma-SC
Poor Things – Emma Stone transfixes in Lanthimos’s thrilling carnival of oddness
- It may only be the beginning of the year, but it’s hard to imagine that there will be a funnier,
- filthier, or more extravagantly peculiar film this year than Yorgos Lanthimos’s latest picture. To
- describe Poor Things, which is adapted by Tony McNamara from the 1992 novel by Alasdair Gray,
- as creatively uninhibited hardly does justice to the wild, wild ride that this explosively inventive
- picture takes us on. Driven by a courageous and physically committed performance from Emma
- Stone, the film follows her journey as Bella Baxter, at the start of the picture a barely verbal blank
- slate, who embarks on an autodidact voyage of discovery to become the ultimate self-made
- woman.
- Like in the book, the period is impossible to pin down exactly. The story unfolds in a parallel
- past, a gothic, steampunk-infused Victoriana, a world that is distorted by the patriarchal power
- disparities in society. Without giving away the specifics, the picture is a subversive spin on Mary
- Shelley’s Frankenstein, with the role of Bella’s creator and guardian taken by unorthodox genius
- Dr Godwin Baxter (Willem Dafoe). Called “God” by Bella, Godwin bears grotesque scars on his face
- and body resulting from his childhood experience as the subject of his father’s deranged scientific
- curiosity – an experience that failed to stymie his own rather baroque quest for empirical facts.
- When Godwin recruits eager student Max McCandles (Ramy Youssef) to keep a record of Bella’s
- accelerated progress, her grasp of language expands exponentially.
- But Bella’s hunger knowledge and experience is too voracious to be contained the
- walls Godwin’s mansion. She grasps the opportunity offered by caddish lawyer and man
- about-town Duncan Wedderburn (a marvelously hammy Mark Ruffalo) and ventures forth
- London, first to Lisbon, then by steamship to Alexandria, and finally to a Parisian brothel. As Bella’s
- horizons broaden, so the look of the film alters to encompass her experiences. The chapter set
- predominantly in Godwin’s home is black and white, but once Bella ventures forth, the film shifts
- into color. But not just any color – there’s an uncanny, hyperreal quality to the palette that makes
- each frame look like a hand-tinted piece of Victorian postcard erotica.
- It’s an alchemic combination, this continuing collaboration between Lanthimos and Stone, a
- working relationship that started with The Favourite and will continue with another feature film
- project, titled Kinds of Kindness. They unleash in each other an extra level of uninhibited artistic
- daring that must be rooted in an uncommon degree of mutual trust. Nowhere is this more evident
- than in the physicality of Stone’s remarkable performance. Stone’s virtuoso use of her body – the
- way it inhabits space, the way she gradually masters her gangling, string-like limbs, the guilelessly
- open play of emotions in her face – is one of the most crucial elements in our experience of Bella’s
- journey.
- That journey is supported by a deliciously eccentric score by Jerskin Fendrix. An uneasy,
- detuned four-note motif played on flayed violin strings opens the film and returns in various
- incarnations throughout, sounding at one point like a hippo mating with a harmonium. The gradual
- build of intricacy and sophistication in the music brilliantly mirrors Bella’s intellectual growth.
- Bella’s appetite for novelty is reflected in film-making that evokes a similar sense of wonder and
- discovery in the audience. From the quirky flamboyance of Holly Waddington’s costumes to the
- off-kilter production design by Shona Heath and James Price, Poor Things is an endlessly
- fascinating carnival of oddness.
(Available at: www.theguardian.com/film/2024/jan/14/poor-things-review-yorgos-lanthimos-emma-stone-frankenstein – text specially adapted for this test).
Which of the following questions is NOT answered in the text?
Provas
Para responder às questões 26 a 28, considere a versão Microsoft 365, em sua configuração padrão e em português.
Em relação à exibição de páginas no Microsoft Word, analise as assertivas abaixo, assinalando V, se verdadeiras, ou F, se falsas.
( ) O modo de exibição “Rascunho” não mostra cabeçalhos e rodapés no documento.
( ) É possível exibir mais de uma página do documento na mesma janela, até o limite de quatro páginas.
( ) As linhas de grade são apenas para referência visual e não podem ser impressas.
A ordem correta de preenchimento dos parênteses, de cima para baixo, é:
Provas
Para responder às questões 26 a 28, considere a versão Microsoft 365, em sua configuração padrão e em português.
No Microsoft Word, em qual guia da faixa de opções está disponível o botão Ler em Voz Alta?
Provas
Sobre segurança na internet, são elementos que não devem ser utilizados na elaboração de senhas, EXCETO:
Provas
Analise as assertivas abaixo sobre o Microsoft Windows 10, em sua configuração padrão:
I. Windows Upgrade é o serviço de atualização do sistema operacional.
II. Não é possível ocultar os ícones da área de trabalho.
III. O Gerenciador de Tarefas permite a visualização de informações de desempenho do sistema operacional.
Quais estão corretas?
Provas
O componente de hardware de computador responsável pelo processamento dos dados, buscando e executando instruções, é chamado de:
Provas
Assinale a alternativa que preenche a tabela-verdade com os valores de A, B e C, respectivamente.
p |
q |
~p ^ ~q |
~p ∨ ~ q |
~(p^q) |
~(p ∨ q) |
---|---|---|---|---|---|
V |
V |
F |
F |
B |
C |
V |
F |
F |
V |
V |
F |
F |
V |
F |
V |
V |
F |
F |
F |
V |
A |
V |
V |
Provas
Caderno Container