Cadernos
Texto base: Leia o texto a seguir. O passado ao qual eles apelavam era uma invenção. Suas tradições, fabricadas. Mesmo o racismo de Hitler não era feito daquele orgulho de uma linhagem ininterrupta e sem mistura que leva americanos esperançosos de provar sua descendência de algum nobre de Suffolk do século XVI a contratar genealogistas, mas uma mixórdia pós-darwiniana do século XIX pretendendo (e, infelizmente, na Alemanha muitas vezes recebendo) o apoio da nova ciência da genética, mais precisamente do ramo da genética aplicada (“eugenia”) que sonhava em criar uma super-raça humana pela reprodução seletiva e a eliminação dos incapazes. A raça destinada a dominar o mundo através de Hitler não tinha sequer um nome até 1898, quando um antropólogo cunhou o termo ‘nórdico’. O fascismo era triunfantemente antiliberal. Também forneceu a prova de que o homem pode, sem dificuldade, combinar crenças malucas sobre o mundo com um confiante domínio de alta tecnologia contemporânea. O fim do século XX, com suas seitas fundamentalistas brandindo as armas da televisão e da coleta de fundos programada em computador, nos familiarizou mais com esse fenômeno. HOBSBAWN, Eric. A era dos extremos: o breve século XX (1914-1991). Companhia das Letras, 1995. p. 121-122.
Enunciado:
a) Identifique as características da ideologia racial nazista presentes no texto.
b) Qual é a crítica que o historiador, Eric Hobsbawn, apresenta nesse fragmento.
Questões relacionadas
- Geografia | 6.6 Politica Econômica
A Balança Comercial corresponde à diferença entre as exportações e as importações de um país. A tabela e o gráfico abaixo apresentam os saldos da balança comercial brasileira no período 2003-2012. Sobre o saldo da balança comercial brasileira, assinale a alternativa CORRETA.
Balança Comercial – Saldo Anual
Ano
US$ (milhões)
2003
24.793,90
2004
33.640,50
2005
44.702,90
2006
46.456,60
2007
40.031,60
2008
24.835,80
2009
25.289,80
2010
20.146,90
2011
29.792,80
2012
19.415,50
Fonte: Banco Central do Brasil
- Matemática
O coeficiente b da função quadrática f: IR
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IR, f(x) = x2 + bx + 1, que satisfaz a condição f(f(-1)) = 3, é igual a: - Química | 2.8 Radioatividade
Pesquisadores recuperaram DNA de ossos de mamute (Mammuthus primigenius) encontrados na Sibéria, que tiveram sua idade de cerca de 28 mil anos confirmada pela técnica do carbono-14.
FAPESP. DNA do mamute é revelado. Disponível em: http://agencia.fapesp.br. Acesso em: 13 ago. 2012 (adaptado).
A técnica de datação apresentada no texto só é possível devido à:
- Língua Portuguesa - Fundamental | 9.12 Gêneros Digitais: Mensagem Instantânea, Post e Chat
Texto base: Leia o texto a seguir, retirado da Internet, para responder à questão.
Enunciado:
Comentários, como o apresentado no texto, são gêneros textuais que expressam
- Língua Inglesa
(UERJ) The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process?
1A vision based on ideologies solves both challenges of sharing – the interpretation of the past and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of the past that respect diversity – is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity by trying to mould memories and hopes.
Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such “engineering”. 12Nevertheless, despite this, and maybe even because of it, we cannot give up trying the 3impossible: to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an 4unlikely scenario, can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary dream of freedom, of the individual and of the common good beyond the “either/or” and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free, uniquely non-instrumental, simply human. Art narrates what we don’t understand in 7enlightened ways. Artists in particular offer a wealth of 6unseen perspectives and 8unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the 9unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be 10intercultural – and art will be the ally in the art of difference that needs to be further developed. “Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
The ideas expressed in a text might be perceived as true because of the choice and repetition of a specific tense.
The verb tense that makes the ideas in the text seem true is:
