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Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105232
Inglês
Texto associado
Text III
Aside from the difficulties of operating a decidedly
multinational staff organization, once it is formed, the problem of
reconciling the principle of equitable geographical distribution of
recruits with that of “securing the highest standards of efficiency,
competence, and integrity” is a formidable one. This delicate task
was politically imposed upon the League of Nations
secretary-general, and is constitutionally required of his
counterpart in the United Nations.
For better or for worse, recruitment policy cannot be
based exclusively upon the criterion of the individual’s personal
qualifications; in the field of international employment, the
relevant irrelevancy is not “whom do you know” but “where are
you from?” From a strictly administrative point of view, there is
some positive value in securing broad nationality distribution,
even at the expense of sheer quality; for some purposes, a
slightly incompetent man’s nationality may make him more
useful than a more expert civil servant of inappropriate
nationality.
For the most part, however, the Charter principle of
geographical distribution is a concession to political necessity. It
licenses a kind of international spoils system in which states seek
to nourish their national self-esteem by securing an adequate
quota of international jobs for their citizens. Ironically, perhaps,
because it is politically necessary it is also politically and
administratively desirable; what shall it profit an international
organization to maintain its administrative purity and lose its
own members or their political support?
Inis L. and Claude Jr. Swords into Plowshares: The Problems and Progress
of International Organization. 4th ed. New York: McGraw-Hill, 1984, pp. 196-197 (adapted).
Regarding text III, judge whether the following statements are right (C) or wrong (E).
The author of the text considers that, more than the competence of the applicants or their nationality, it is their political connections — who they know — that has the greatest impact on their chance of being recruited for international jobs.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105231
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
In “for them the familiar appearance” (third sentence of second paragraph), “them” refers to the people the book is meant for: “those who look for bearings in a new field”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105230
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
It can be correctly concluded from the excerpt “Praise is so much duller than criticism” (ninth sentence of the first paragraph) that the author wishes to write a book criticizing what he considers “monstrosities”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105229
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
The excerpt “lest the well-known masterpieces be crowded out by my own personal favourites” (second sentence of the second paragraph) could be, maintaining the coherence and correctness of the original, correctly replaced with to avoid leaving the well-known masterpieces out to fill the book with my own personal favourites.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105228
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
In the last sentence of the text, the word “dog” has a similar meaning to trouble.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105227
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
In the fragment “I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics” (third sentence of the first paragraph), the referent for the pronoun “they” is “adults”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105226
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
By stating that he wants to show the reader “the lie of the land” (first sentence of the text), the author means that he wants to inform the reader of the rules he followed in writing the book.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105225
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
In the fragment “most exacting class of critics, critics who are quick to (…)” (third sentence of the first paragraph), omitting the second occurrence of the word “critics” would maintain the grammar correctness of the sentence.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105223
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Judge whether the following items about text I are right (C) or wrong (E).
By stating that the human figures in cave art are “self-effacing” (last sentence of the first paragraph), the author means that humans were virtually absent characters in cave paintings.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105222
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Judge whether the following items about text I are right (C) or wrong (E).
The last sentence of the second paragraph could be rewritten, maintaining its original meaning and correctness, as: Accordingly, Judith Thurman has already written that cave artists, notwithstanding their respect for naturalistic portraits, have an aversion to painting human beings with traces of crudeness, which suggests mockery.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105221
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Judge whether the following items about text I are right (C) or wrong (E).
In the expressions “unalloyed triumph” (first sentence of the text) and “sheer silliness” (first sentence of the second paragraph), the adjectives “unalloyed” and “sheer” convey similar meanings.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105219
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Based on text I, judge whether the following statements are right (C) or wrong (E).
The author concludes that cave artists depicted humans as weak to show the preponderance megafauna had in those days.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105218
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Based on text I, judge whether the following statements are right (C) or wrong (E).
The text suggests that 20th-century scholars had an erroneous perspective on how cave art should be viewed.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105217
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Based on text I, judge whether the following statements are right (C) or wrong (E).
The author sides with those who take cave art to be a ‘great spiritual symbol’, as stated in the first paragraph.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105216
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Based on text I, judge whether the following statements are right (C) or wrong (E).
The text stresses the difference between the opinions of cave artists and of modern art scholars in terms of the concept of the artistic genius.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105075
Direitos Humanos
No que se refere ao direito internacional humanitário, julgue (C ou E) o item subsequente.
Embora a Corte Internacional de Justiça não tenha determinado, em sua Opinião Consultiva (1996), a licitude ou ilicitude do uso de armas nucleares, os efeitos indiscriminados das armas nucleares suscitam questionamentos quanto à sua compatibilidade com o direito internacional humanitário, especialmente no que tange aos princípios da distinção e da humanidade.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105073
Direitos Humanos
No que se refere ao direito internacional humanitário, julgue (C ou E) o item subsequente.
De acordo com o princípio da proporcionalidade, ainda que determinado alvo de ataque seja militarmente legítimo, não deverá haver ataque se os danos civis colaterais forem desproporcionais ao ganho militar dele advindo.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105072
Direitos Humanos
No que se refere ao direito internacional humanitário, julgue (C ou E) o item subsequente.
Uma das normas básicas do Direito Internacional Humanitário, o princípio da distinção obriga os beligerantes a distinguir, em todas as circunstâncias, entre pessoas e bens civis, por um lado, e combatentes e objetivos militares, por outro lado, e os civis que temporariamente participem diretamente das hostilidades continuam amparados por essa norma fundamental.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105071
Direito Internacional Público
Em relação ao Tribunal Penal Internacional (TPI), ao Estatuto de Roma e às resoluções do CSNU, julgue (C ou E) o item que se segue.
O artigo 98.2 do Estatuto de Roma, que dispõe que o TPI pode não dar seguimento à execução de um pedido de entrega por força do qual o Estado requerido devesse atuar de forma incompatível com as obrigações que lhe incumbem em virtude de acordos internacionais à luz dos quais o consentimento do Estado de envio é necessário para que uma pessoa pertencente a esse Estado seja entregue ao tribunal, a menos que o tribunal consiga, previamente, obter a cooperação do Estado de envio para consentir na entrega, foi invocado de modo controverso em acordos bilaterais que tinham por objetivo pactuar a não entrega, sob nenhuma hipótese, de nacionais de país não parte do tribunal.
O artigo 98.2 do Estatuto de Roma, que dispõe que o TPI pode não dar seguimento à execução de um pedido de entrega por força do qual o Estado requerido devesse atuar de forma incompatível com as obrigações que lhe incumbem em virtude de acordos internacionais à luz dos quais o consentimento do Estado de envio é necessário para que uma pessoa pertencente a esse Estado seja entregue ao tribunal, a menos que o tribunal consiga, previamente, obter a cooperação do Estado de envio para consentir na entrega, foi invocado de modo controverso em acordos bilaterais que tinham por objetivo pactuar a não entrega, sob nenhuma hipótese, de nacionais de país não parte do tribunal.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105070
Direito Internacional Público
Em relação ao Tribunal Penal Internacional (TPI), ao Estatuto de Roma e às resoluções do CSNU, julgue (C ou E) o item que se segue.
Tanto a Resolução 1593 (2005), sobre a situação em Darfur, quanto a Resolução 1970 (2011), sobre a situação na Líbia, ambas adotadas pelo Conselho de Segurança da ONU com fundamento no Capítulo VII da Carta das Nações Unidas, estipulam que os gastos relacionados à investigação e à persecução penal advindos dessas decisões serão custeados pelas Nações Unidas.
Tanto a Resolução 1593 (2005), sobre a situação em Darfur, quanto a Resolução 1970 (2011), sobre a situação na Líbia, ambas adotadas pelo Conselho de Segurança da ONU com fundamento no Capítulo VII da Carta das Nações Unidas, estipulam que os gastos relacionados à investigação e à persecução penal advindos dessas decisões serão custeados pelas Nações Unidas.
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