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Q3105229
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105229 Inglês
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.  


Alternativas
Q3105226
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105226 Inglês
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.

Alternativas
Q3105225
Inglês Análise sintática | Syntax Parsing ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105225 Inglês
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.

Alternativas
Q3105223
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105223 Inglês
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. 


Alternativas
Q3105222
Inglês Interpretação de texto | Reading comprehension , Vocabulário | Vocabulary ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105222 Inglês
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.


Alternativas
Q3105221
Inglês Adjetivos | Adjectives ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105221 Inglês
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.


Alternativas
Q3105219
Inglês Interpretação de texto | Reading comprehension ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105219 Inglês
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. 

Alternativas
Q3105075
Direitos Humanos Direito Internacional dos Direitos Humanos , Direitos humanos, direito humanitário e direito dos refugiados ,
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. 

Alternativas
Q3105074
Direitos Humanos Direito Internacional dos Direitos Humanos , Direitos humanos, direito humanitário e direito dos refugiados ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105074 Direitos Humanos

No que se refere ao direito internacional humanitário, julgue (C ou E) o item subsequente.


A Convenção Internacional sobre a Proibição do Desenvolvimento, Produção, Estocagem e Uso de Armas Químicas e sobre a Destruição das Armas Químicas Existentes no Mundo, assinada em Paris, em 1993, baniu o emprego de tais armas, seu desenvolvimento, seu armazenamento e sua transferência, além de exigir a destruição dos arsenais, embora o cumprimento da última obrigação obedeça, via de regra, a discricionariedade de cada Estado-parte da convenção. 

Alternativas
Q3105073
Direitos Humanos Direito Internacional dos Direitos Humanos , Direitos humanos, direito humanitário e direito dos refugiados ,
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.  

Alternativas
Q3105072
Direitos Humanos Direito Internacional dos Direitos Humanos , Direitos humanos, direito humanitário e direito dos refugiados ,
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.

Alternativas
Q3105071
Direito Internacional Público Direito Penal Internacional ,
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.
Alternativas
Q3105070
Direito Internacional Público Direito Penal Internacional ,
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.
Alternativas
Q3105069
Direito Internacional Público Direito Penal Internacional ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105069 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 TPI é o órgão judicial das Nações Unidas, de caráter permanente, responsável por julgar os crimes mais graves de transcendência internacional, tendo natureza complementar em relação às jurisdições penais nacionais.
Alternativas
Q3105068
Direito Internacional Público Direito Penal Internacional ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105068 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.

Uma das principais críticas de parte da doutrina ao Estatuto de Roma refere-se ao fato de o procurador do TPI não deter a iniciativa de abrir inquérito com base em informações sobre a prática de crimes da competência do tribunal, dependendo, para tanto, de anuência do Estado-parte ou de denúncia proveniente do Conselho de Segurança da ONU.
Alternativas
Q3105067
Direito Internacional Público Direito de Guerra e Neutralidade ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105067 Direito Internacional Público

Acerca do uso da força no âmbito do direito internacional, julgue (C ou E) o seguinte item.


O Brasil, empenhado em criar zona de paz e cooperação em seu entorno geográfico, não integra qualquer acordo regional inspirado no artigo 51 da Carta das Nações Unidas, segundo o qual o exercício do direito inerente de legítima defesa contempla duas modalidades, a legítima defesa individual e a legítima defesa coletiva.

Alternativas
Q3105066
Direito Internacional Público Direito de Guerra e Neutralidade ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105066 Direito Internacional Público

Acerca do uso da força no âmbito do direito internacional, julgue (C ou E) o seguinte item.


Com a evolução da prática e da doutrina internacionais relacionadas ao direito à legítima defesa consagrado na Carta das Nações Unidas, o conceito de legítima defesa preventiva passou a ser aceito por crescente número de países, inclusive pelo Brasil.

Alternativas
Q3105065
Direito Internacional Público Direito de Guerra e Neutralidade ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105065 Direito Internacional Público

Acerca do uso da força no âmbito do direito internacional, julgue (C ou E) o seguinte item.


Nos termos da Carta das Nações Unidas, a represália é uma das formas lícitas de o Estado agredido exercer seu direito à legítima defesa.

Alternativas
Q3105064
Direito Internacional Público Sujeitos de Direito Internacional Público: Estados , Imunidade à Jurisdição Estatal: imunidade do estado estrangeiro, diplomacia e serviço consultar, imunidade penal e renúncia à imunidade ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105064 Direito Internacional Público

Acerca do uso da força no âmbito do direito internacional, julgue (C ou E) o seguinte item.



Segundo a Carta das Nações Unidas, o exercício do direito à legítima defesa por Estado-membro das Nações Unidas deve ser informado imediatamente ao Conselho de Segurança e restringe as ações desse órgão da ONU na tomada de providências para manter ou restabelecer a paz e a segurança internacionais. 

Alternativas
Q3105063
Direito Internacional Público Sujeitos de Direito Internacional Público: Estados , Imunidade à Jurisdição Estatal: imunidade do estado estrangeiro, diplomacia e serviço consultar, imunidade penal e renúncia à imunidade ,
Ano: 2024 Banca: CESPE / CEBRASPE Órgão: Instituto Rio Branco Prova: CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - manhã |
Q3105063 Direito Internacional Público
Julgue (C ou E) o item seguinte, acerca das imunidades diplomáticas, considerando as normas aplicáveis ao tema e a jurisprudência do STF acerca da matéria.

Nos termos da jurisprudência consolidada no STF, a imunidade de jurisdição da ONU não prevalece diante de causas de natureza trabalhista perante o Poder Judiciário brasileiro.
Alternativas
Respostas
561: C
562: E
563: C
564: E
565: E
566: C
567: E
568: C
569: E
570: C
571: E
572: C
573: E
574: E
575: E
576: E
577: E
578: E
579: E
580: E
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