Questões de Concurso Público MRE 2023 para Oficial de Chancelaria
Foram encontradas 60 questões
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324505
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
According to the ideas of text 1A2-I, choose the correct option.
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324506
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
For the author of text 1A2-I,
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324507
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
Choose the option in which the fragment “No sooner, however,
does the artist transgress the law of his medium than we realize”
(last sentence of the second paragraph of text 1A2-I) is correctly
rewritten, without changing its meaning or harming its
correctness.
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324508
Inglês
Texto associado
Text 1A2-I
Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves
about our spirit and give a predetermined form to all its symbolic
expression. When the expression is of unusual significance, we
call it literature. Art is so personal an expression that we do not
like to feel that it is bound to predetermined form of any sort.
The possibilities of individual expression are infinite, language in
particular is the most fluid of mediums. Yet some limitation there
must be to this freedom, some resistance of the medium.
In great art there is the illusion of absolute freedom. The
formal restraints imposed by the material are not perceived; it is
as though there were a limitless margin of elbow room between
the artist’s fullest utilization of form and the most that the
material is innately capable of. The artist has intuitively
surrendered to the inescapable tyranny of the material, made its
brute nature fuse easily with his conception. The material
“disappears” precisely because there is nothing in the artist’s
conception to indicate that any other material exists. For the time
being, he, and we with him, move in the artistic medium as a fish
moves in the water, oblivious of the existence of an alien
atmosphere. No sooner, however, does the artist transgress the
law of his medium than we realize with a start that there is a
medium to obey.
Language is the medium of literature as marble or bronze
or clay are the materials of the sculptor. Since every language has
its distinctive peculiarities, the innate formal limitations—and
possibilities—of one literature are never quite the same as those
of another. The literature fashioned out of the form and substance
of a language has the color and the texture of its matrix. The
literary artist may never be conscious of just how he is hindered
or helped or otherwise guided by the matrix, but when it is a
question of translating his work into another language, the nature
of the original matrix manifests itself at once. All his effects have
been calculated, or intuitively felt, with reference to the formal
“genius” of his own language; they cannot be carried over
without loss or modification. Croce is therefore perfectly right in
saying that a work of literary art can never be translated.
Nevertheless, literature does get itself translated, sometimes with
astonishing adequacy.
Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)
The word “oblivious”, in the fragment “oblivious of the existence
of an alien atmosphere” (fifth sentence of the second paragraph)
is being used, in text 1A2-I, with the same meaning as
Ano: 2023
Banca:
CESPE / CEBRASPE
Órgão:
MRE
Prova:
CESPE / CEBRASPE - 2023 - MRE - Oficial de Chancelaria |
Q2324509
Inglês
Texto associado
Text 1A2-II
I have often thought how interesting a magazine paper
might be written by any author who would—that is to say, who
could—detail, step by step, the processes by which any one of
his compositions attained its ultimate point of completion. Why
such a paper has never been given to the world, I am much at a
loss to say—but, perhaps, the authorial vanity has had more to do
with the omission than any one other cause. Most writers—poets
in especial—prefer having it understood that they compose by a
species of fine frenzy—an ecstatic intuition—and would
positively shudder at letting the public take a peep behind the
scenes, at the elaborate and vacillating crudities of thought—at
the true purposes seized only at the last moment—at the
innumerable glimpses of idea that arrived not at the maturity of
full view—at the fully-matured fancies discarded in despair as
unmanageable—at the cautious selections and rejections—at the
painful erasures and interpolations—in a word, at the wheels and
pinions—the tackle for scene-shifting—the step-ladders, and
demon-traps—the cock’s feathers, the red paint and the black
patches, which, in ninety-nine cases out of a hundred, constitute
the properties of the literary histrio.
I am aware, on the other hand, that the case is by no
means common, in which an author is at all in condition to
retrace the steps by which his conclusions have been attained. In
general, suggestions, having arisen pell-mell are pursued and
forgotten in a similar manner.
For my own part, I have neither sympathy with the
repugnance alluded to, nor, at any time, the least difficulty in
recalling to mind the progressive steps of any of my
compositions, and, since the interest of an analysis or
reconstruction, such as I have considered a desideratum, is quite
independent of any real or fancied interest in the thing analysed,
it will not be regarded as a breach of decorum on my part to
show the modus operandi by which some one of my own works
was put together. I select The Raven as most generally known. It
is my design to render it manifest that no one point in its
composition is referable either to accident or intuition—that the
work proceeded step by step, to its completion, with the precision
and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
According to Edgar Allan Poe’s point of view, portrayed in text
1A2-II, behind the scenes of writing,