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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
Q3105220 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 last sentence of the text, inserting a comma immediately after the first occurrence of “that” would make the sentence grammatically incorrect.

Alternativas
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
Q3105218 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 text suggests that 20th-century scholars had an erroneous perspective on how cave art should be viewed.

Alternativas
Q3105217 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 sides with those who take cave art to be a ‘great spiritual symbol’, as stated in the first paragraph.

Alternativas
Q3105216 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 text stresses the difference between the opinions of cave artists and of modern art scholars in terms of the concept of the artistic genius.

Alternativas
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

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

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

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
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
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
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
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

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

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

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

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
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
Q3105062 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.

Em razão da gravidade de atos imputados a agente diplomático ou a pessoas que gozam de imunidade diplomática, o Estado acreditante pode renunciar à imunidade de jurisdição desses indivíduos, e a efetivação dessa renúncia, no tocante a ações civis ou administrativas, implica renúncia automática à imunidade no que diz respeito às medidas de execução da sentença condenatória pelas autoridades do Estado acreditado.
Alternativas
Respostas
601: C
602: E
603: E
604: C
605: E
606: E
607: C
608: E
609: C
610: E
611: C
612: E
613: E
614: E
615: E
616: E
617: E
618: E
619: E
620: E