Questões de Concurso
Sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 9.406 questões
Ano: 2024
Banca:
AMEOSC
Órgão:
Prefeitura de São João do Oeste - SC
Prova:
AMEOSC - 2024 - Prefeitura de São João do Oeste - SC - Professor de Inglês |
Q3106228
Inglês
Texto associado
O texto seguinte servirá de base para responder à questão.
Archaeologists conduct first 'space excavation' on International Space Station
By Justin St. P. Walsh and Alice Gorman, The Conversation | Published: August 15, 2024 | Last updated on August 20, 2024
New results from the first archaeological fieldwork conducted in space show the International Space Station is a rich cultural landscape where crew create their own "gravity" to replace Earth's, and adapt module spaces to suit their needs.
Archaeology is usually thought of as the study of the distant past, but it's ideally suited for revealing how people adapt to long-duration spaceflight.
In the SQuARE experiment described in our new paper in PLOS ONE, we re-imagined a standard archaeological method for use in space, and got astronauts to carry it out for us.
Archaeology ... in ... spaaaaace!
The International Space Station is the first permanent human settlement in space. Close to 280 people have visited it in the past 23 years.
Our team has studied displays of photos, religious icons and artworks made by crew members from different countries, observed the cargo that is returned to Earth, and used NASA's historic photo archive to examine the relationships between crew members who serve together.
We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away.
Most recently, we collected data about how crew used objects inside the space station by adapting one of the most traditional archaeological techniques, the "shovel test pit".
On Earth, after an archaeological site has been identified, a grid of one-metre squares is laid out, and some of these are excavated as "test pits". These samples give a sense of the site as a whole.
In January 2022, we asked the space station crew to lay out five roughly square sample areas. We chose the square locations to encompass zones of work, science, exercise and leisure. The crew also selected a sixth area based on their own idea of what might be interesting to observe. Our study was sponsored by the International Space Station National Laboratory.
Then, for 60 days, the crew photographed each square every day to document the objects within its boundaries. Everything in space culture has an acronym, so we called this activity the Sampling Quadrangle Assemblages Research Experiment, or SQuARE.
The resulting photos show the richness of the space station's cultural landscape, while also revealing how far life in space is from images of sci-fi imagination.
The space station is cluttered and chaotic, cramped and dirty. There are no boundaries between where the crew works and where they rest. There is little to no privacy. There isn't even a shower.
What we saw in the squares
Now we can present results from the analysis of the first two squares. One was located in the US Node 2 module, where there are four crew berths, and connections to the European and Japanese labs. Visiting spacecraft often dock here. Our target was a wall where the Maintenance Work Area, or MWA, is located. There's a blue metal panel with 40 velcro squares on it, and a table below for fixing equipment or doing experiments.
NASA intended the area to be used for maintenance. However, we saw hardly any evidence of maintenance there, and only a handful of science activities. In fact, for 50 of the 60 days covered by our survey, the square was only used for storing items, which may not even have been used there.
The amount of velcro here made it a perfect location for ad hoc storage. Close to half of all items recorded (44%) were related to holding other items in place.
The other square we've completed was in the US Node 3 module, where there are exercise machines and the toilet. It's also a passageway to the crew's favourite part of the space station, the seven-sided cupola window, and to storage modules.
This wall had no designated function, so it was used for eclectic purposes, such as storing a laptop, an antibacterial experiment and resealable bags. And for 52 days during SQuARE, it was also the location where one crew member kept their toiletry kit.
It makes a kind of sense to put one's toiletries near the toilet and the exercise machines that each astronaut uses for hours every day. But this is a highly public space, where others are constantly passing by. The placement of the toiletry kit shows how inadequate the facilities are for hygiene and privacy.
What does this mean?
Our analysis of Squares 03 and 05 helped us understand how restraints such as velcro create a sort of transient gravity.
Restraints used to hold an object form a patch of active gravity, while those not in use represent potential gravity. The artefact analysis shows us how much potential gravity is available at each location.
The main focus of the space station is scientific work. To make this happen, astronauts have to deploy large numbers of objects. Square 03 shows how they turned a surface intended for maintenance into a halfway house for various items on their journeys around the station. Professor de Inglês - 1 1
Our data suggests that designers of future space stations, such as the commercial ones currently planned for low Earth orbit, or the Gateway station being built for lunar orbit, might need to make storage a higher priority.
Square 05 shows how a public wall space was claimed for personal storage by an unknown crew member. We already know there is less-than-ideal provision for privacy, but the persistence of the toiletry bag at this location shows how crew adapt spaces to make up for this.
What makes our conclusions significant is that they are evidence-based. The analysis of the first two squares suggests the data from all six will offer further insights into humanity's longest surviving space habitat.
Current plans are to bring the space station down from orbit in 2031, so this experiment may be the only chance we have to gather archaeological data.
https://www.astronomy.com/space-exploration/archaeologists-conduct-fi rst-space-excavation-on-international-space-station/
In the article, the authors discuss how astronauts adapt to the microgravity environment of the International Space Station (ISS). Consider the following excerpt:
"We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away."
In this context, the phrase "recreate the Earthly effect of gravity" is an example of:
"We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away."
In this context, the phrase "recreate the Earthly effect of gravity" is an example of:
Ano: 2024
Banca:
AMEOSC
Órgão:
Prefeitura de São João do Oeste - SC
Prova:
AMEOSC - 2024 - Prefeitura de São João do Oeste - SC - Professor de Inglês |
Q3106227
Inglês
Texto associado
O texto seguinte servirá de base para responder à questão.
Archaeologists conduct first 'space excavation' on International Space Station
By Justin St. P. Walsh and Alice Gorman, The Conversation | Published: August 15, 2024 | Last updated on August 20, 2024
New results from the first archaeological fieldwork conducted in space show the International Space Station is a rich cultural landscape where crew create their own "gravity" to replace Earth's, and adapt module spaces to suit their needs.
Archaeology is usually thought of as the study of the distant past, but it's ideally suited for revealing how people adapt to long-duration spaceflight.
In the SQuARE experiment described in our new paper in PLOS ONE, we re-imagined a standard archaeological method for use in space, and got astronauts to carry it out for us.
Archaeology ... in ... spaaaaace!
The International Space Station is the first permanent human settlement in space. Close to 280 people have visited it in the past 23 years.
Our team has studied displays of photos, religious icons and artworks made by crew members from different countries, observed the cargo that is returned to Earth, and used NASA's historic photo archive to examine the relationships between crew members who serve together.
We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away.
Most recently, we collected data about how crew used objects inside the space station by adapting one of the most traditional archaeological techniques, the "shovel test pit".
On Earth, after an archaeological site has been identified, a grid of one-metre squares is laid out, and some of these are excavated as "test pits". These samples give a sense of the site as a whole.
In January 2022, we asked the space station crew to lay out five roughly square sample areas. We chose the square locations to encompass zones of work, science, exercise and leisure. The crew also selected a sixth area based on their own idea of what might be interesting to observe. Our study was sponsored by the International Space Station National Laboratory.
Then, for 60 days, the crew photographed each square every day to document the objects within its boundaries. Everything in space culture has an acronym, so we called this activity the Sampling Quadrangle Assemblages Research Experiment, or SQuARE.
The resulting photos show the richness of the space station's cultural landscape, while also revealing how far life in space is from images of sci-fi imagination.
The space station is cluttered and chaotic, cramped and dirty. There are no boundaries between where the crew works and where they rest. There is little to no privacy. There isn't even a shower.
What we saw in the squares
Now we can present results from the analysis of the first two squares. One was located in the US Node 2 module, where there are four crew berths, and connections to the European and Japanese labs. Visiting spacecraft often dock here. Our target was a wall where the Maintenance Work Area, or MWA, is located. There's a blue metal panel with 40 velcro squares on it, and a table below for fixing equipment or doing experiments.
NASA intended the area to be used for maintenance. However, we saw hardly any evidence of maintenance there, and only a handful of science activities. In fact, for 50 of the 60 days covered by our survey, the square was only used for storing items, which may not even have been used there.
The amount of velcro here made it a perfect location for ad hoc storage. Close to half of all items recorded (44%) were related to holding other items in place.
The other square we've completed was in the US Node 3 module, where there are exercise machines and the toilet. It's also a passageway to the crew's favourite part of the space station, the seven-sided cupola window, and to storage modules.
This wall had no designated function, so it was used for eclectic purposes, such as storing a laptop, an antibacterial experiment and resealable bags. And for 52 days during SQuARE, it was also the location where one crew member kept their toiletry kit.
It makes a kind of sense to put one's toiletries near the toilet and the exercise machines that each astronaut uses for hours every day. But this is a highly public space, where others are constantly passing by. The placement of the toiletry kit shows how inadequate the facilities are for hygiene and privacy.
What does this mean?
Our analysis of Squares 03 and 05 helped us understand how restraints such as velcro create a sort of transient gravity.
Restraints used to hold an object form a patch of active gravity, while those not in use represent potential gravity. The artefact analysis shows us how much potential gravity is available at each location.
The main focus of the space station is scientific work. To make this happen, astronauts have to deploy large numbers of objects. Square 03 shows how they turned a surface intended for maintenance into a halfway house for various items on their journeys around the station. Professor de Inglês - 1 1
Our data suggests that designers of future space stations, such as the commercial ones currently planned for low Earth orbit, or the Gateway station being built for lunar orbit, might need to make storage a higher priority.
Square 05 shows how a public wall space was claimed for personal storage by an unknown crew member. We already know there is less-than-ideal provision for privacy, but the persistence of the toiletry bag at this location shows how crew adapt spaces to make up for this.
What makes our conclusions significant is that they are evidence-based. The analysis of the first two squares suggests the data from all six will offer further insights into humanity's longest surviving space habitat.
Current plans are to bring the space station down from orbit in 2031, so this experiment may be the only chance we have to gather archaeological data.
https://www.astronomy.com/space-exploration/archaeologists-conduct-fi rst-space-excavation-on-international-space-station/
What can be inferred about the astronauts' personal space and privacy aboard the International Space Station from the article?
Ano: 2024
Banca:
AMEOSC
Órgão:
Prefeitura de São João do Oeste - SC
Prova:
AMEOSC - 2024 - Prefeitura de São João do Oeste - SC - Professor de Inglês |
Q3106226
Inglês
Texto associado
O texto seguinte servirá de base para responder à questão.
Archaeologists conduct first 'space excavation' on International Space Station
By Justin St. P. Walsh and Alice Gorman, The Conversation | Published: August 15, 2024 | Last updated on August 20, 2024
New results from the first archaeological fieldwork conducted in space show the International Space Station is a rich cultural landscape where crew create their own "gravity" to replace Earth's, and adapt module spaces to suit their needs.
Archaeology is usually thought of as the study of the distant past, but it's ideally suited for revealing how people adapt to long-duration spaceflight.
In the SQuARE experiment described in our new paper in PLOS ONE, we re-imagined a standard archaeological method for use in space, and got astronauts to carry it out for us.
Archaeology ... in ... spaaaaace!
The International Space Station is the first permanent human settlement in space. Close to 280 people have visited it in the past 23 years.
Our team has studied displays of photos, religious icons and artworks made by crew members from different countries, observed the cargo that is returned to Earth, and used NASA's historic photo archive to examine the relationships between crew members who serve together.
We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away.
Most recently, we collected data about how crew used objects inside the space station by adapting one of the most traditional archaeological techniques, the "shovel test pit".
On Earth, after an archaeological site has been identified, a grid of one-metre squares is laid out, and some of these are excavated as "test pits". These samples give a sense of the site as a whole.
In January 2022, we asked the space station crew to lay out five roughly square sample areas. We chose the square locations to encompass zones of work, science, exercise and leisure. The crew also selected a sixth area based on their own idea of what might be interesting to observe. Our study was sponsored by the International Space Station National Laboratory.
Then, for 60 days, the crew photographed each square every day to document the objects within its boundaries. Everything in space culture has an acronym, so we called this activity the Sampling Quadrangle Assemblages Research Experiment, or SQuARE.
The resulting photos show the richness of the space station's cultural landscape, while also revealing how far life in space is from images of sci-fi imagination.
The space station is cluttered and chaotic, cramped and dirty. There are no boundaries between where the crew works and where they rest. There is little to no privacy. There isn't even a shower.
What we saw in the squares
Now we can present results from the analysis of the first two squares. One was located in the US Node 2 module, where there are four crew berths, and connections to the European and Japanese labs. Visiting spacecraft often dock here. Our target was a wall where the Maintenance Work Area, or MWA, is located. There's a blue metal panel with 40 velcro squares on it, and a table below for fixing equipment or doing experiments.
NASA intended the area to be used for maintenance. However, we saw hardly any evidence of maintenance there, and only a handful of science activities. In fact, for 50 of the 60 days covered by our survey, the square was only used for storing items, which may not even have been used there.
The amount of velcro here made it a perfect location for ad hoc storage. Close to half of all items recorded (44%) were related to holding other items in place.
The other square we've completed was in the US Node 3 module, where there are exercise machines and the toilet. It's also a passageway to the crew's favourite part of the space station, the seven-sided cupola window, and to storage modules.
This wall had no designated function, so it was used for eclectic purposes, such as storing a laptop, an antibacterial experiment and resealable bags. And for 52 days during SQuARE, it was also the location where one crew member kept their toiletry kit.
It makes a kind of sense to put one's toiletries near the toilet and the exercise machines that each astronaut uses for hours every day. But this is a highly public space, where others are constantly passing by. The placement of the toiletry kit shows how inadequate the facilities are for hygiene and privacy.
What does this mean?
Our analysis of Squares 03 and 05 helped us understand how restraints such as velcro create a sort of transient gravity.
Restraints used to hold an object form a patch of active gravity, while those not in use represent potential gravity. The artefact analysis shows us how much potential gravity is available at each location.
The main focus of the space station is scientific work. To make this happen, astronauts have to deploy large numbers of objects. Square 03 shows how they turned a surface intended for maintenance into a halfway house for various items on their journeys around the station. Professor de Inglês - 1 1
Our data suggests that designers of future space stations, such as the commercial ones currently planned for low Earth orbit, or the Gateway station being built for lunar orbit, might need to make storage a higher priority.
Square 05 shows how a public wall space was claimed for personal storage by an unknown crew member. We already know there is less-than-ideal provision for privacy, but the persistence of the toiletry bag at this location shows how crew adapt spaces to make up for this.
What makes our conclusions significant is that they are evidence-based. The analysis of the first two squares suggests the data from all six will offer further insights into humanity's longest surviving space habitat.
Current plans are to bring the space station down from orbit in 2031, so this experiment may be the only chance we have to gather archaeological data.
https://www.astronomy.com/space-exploration/archaeologists-conduct-fi rst-space-excavation-on-international-space-station/
How did the researchers adapt traditional archaeological methods for use in the microgravity environment of the space station?
Ano: 2024
Banca:
AMEOSC
Órgão:
Prefeitura de São João do Oeste - SC
Prova:
AMEOSC - 2024 - Prefeitura de São João do Oeste - SC - Professor de Inglês |
Q3106225
Inglês
Texto associado
O texto seguinte servirá de base para responder à questão.
Archaeologists conduct first 'space excavation' on International Space Station
By Justin St. P. Walsh and Alice Gorman, The Conversation | Published: August 15, 2024 | Last updated on August 20, 2024
New results from the first archaeological fieldwork conducted in space show the International Space Station is a rich cultural landscape where crew create their own "gravity" to replace Earth's, and adapt module spaces to suit their needs.
Archaeology is usually thought of as the study of the distant past, but it's ideally suited for revealing how people adapt to long-duration spaceflight.
In the SQuARE experiment described in our new paper in PLOS ONE, we re-imagined a standard archaeological method for use in space, and got astronauts to carry it out for us.
Archaeology ... in ... spaaaaace!
The International Space Station is the first permanent human settlement in space. Close to 280 people have visited it in the past 23 years.
Our team has studied displays of photos, religious icons and artworks made by crew members from different countries, observed the cargo that is returned to Earth, and used NASA's historic photo archive to examine the relationships between crew members who serve together.
We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away.
Most recently, we collected data about how crew used objects inside the space station by adapting one of the most traditional archaeological techniques, the "shovel test pit".
On Earth, after an archaeological site has been identified, a grid of one-metre squares is laid out, and some of these are excavated as "test pits". These samples give a sense of the site as a whole.
In January 2022, we asked the space station crew to lay out five roughly square sample areas. We chose the square locations to encompass zones of work, science, exercise and leisure. The crew also selected a sixth area based on their own idea of what might be interesting to observe. Our study was sponsored by the International Space Station National Laboratory.
Then, for 60 days, the crew photographed each square every day to document the objects within its boundaries. Everything in space culture has an acronym, so we called this activity the Sampling Quadrangle Assemblages Research Experiment, or SQuARE.
The resulting photos show the richness of the space station's cultural landscape, while also revealing how far life in space is from images of sci-fi imagination.
The space station is cluttered and chaotic, cramped and dirty. There are no boundaries between where the crew works and where they rest. There is little to no privacy. There isn't even a shower.
What we saw in the squares
Now we can present results from the analysis of the first two squares. One was located in the US Node 2 module, where there are four crew berths, and connections to the European and Japanese labs. Visiting spacecraft often dock here. Our target was a wall where the Maintenance Work Area, or MWA, is located. There's a blue metal panel with 40 velcro squares on it, and a table below for fixing equipment or doing experiments.
NASA intended the area to be used for maintenance. However, we saw hardly any evidence of maintenance there, and only a handful of science activities. In fact, for 50 of the 60 days covered by our survey, the square was only used for storing items, which may not even have been used there.
The amount of velcro here made it a perfect location for ad hoc storage. Close to half of all items recorded (44%) were related to holding other items in place.
The other square we've completed was in the US Node 3 module, where there are exercise machines and the toilet. It's also a passageway to the crew's favourite part of the space station, the seven-sided cupola window, and to storage modules.
This wall had no designated function, so it was used for eclectic purposes, such as storing a laptop, an antibacterial experiment and resealable bags. And for 52 days during SQuARE, it was also the location where one crew member kept their toiletry kit.
It makes a kind of sense to put one's toiletries near the toilet and the exercise machines that each astronaut uses for hours every day. But this is a highly public space, where others are constantly passing by. The placement of the toiletry kit shows how inadequate the facilities are for hygiene and privacy.
What does this mean?
Our analysis of Squares 03 and 05 helped us understand how restraints such as velcro create a sort of transient gravity.
Restraints used to hold an object form a patch of active gravity, while those not in use represent potential gravity. The artefact analysis shows us how much potential gravity is available at each location.
The main focus of the space station is scientific work. To make this happen, astronauts have to deploy large numbers of objects. Square 03 shows how they turned a surface intended for maintenance into a halfway house for various items on their journeys around the station. Professor de Inglês - 1 1
Our data suggests that designers of future space stations, such as the commercial ones currently planned for low Earth orbit, or the Gateway station being built for lunar orbit, might need to make storage a higher priority.
Square 05 shows how a public wall space was claimed for personal storage by an unknown crew member. We already know there is less-than-ideal provision for privacy, but the persistence of the toiletry bag at this location shows how crew adapt spaces to make up for this.
What makes our conclusions significant is that they are evidence-based. The analysis of the first two squares suggests the data from all six will offer further insights into humanity's longest surviving space habitat.
Current plans are to bring the space station down from orbit in 2031, so this experiment may be the only chance we have to gather archaeological data.
https://www.astronomy.com/space-exploration/archaeologists-conduct-fi rst-space-excavation-on-international-space-station/
What conclusion did the researchers draw regarding the design of future space stations based on their findings?
Ano: 2024
Banca:
AMEOSC
Órgão:
Prefeitura de São João do Oeste - SC
Prova:
AMEOSC - 2024 - Prefeitura de São João do Oeste - SC - Professor de Inglês |
Q3106224
Inglês
Texto associado
O texto seguinte servirá de base para responder à questão.
Archaeologists conduct first 'space excavation' on International Space Station
By Justin St. P. Walsh and Alice Gorman, The Conversation | Published: August 15, 2024 | Last updated on August 20, 2024
New results from the first archaeological fieldwork conducted in space show the International Space Station is a rich cultural landscape where crew create their own "gravity" to replace Earth's, and adapt module spaces to suit their needs.
Archaeology is usually thought of as the study of the distant past, but it's ideally suited for revealing how people adapt to long-duration spaceflight.
In the SQuARE experiment described in our new paper in PLOS ONE, we re-imagined a standard archaeological method for use in space, and got astronauts to carry it out for us.
Archaeology ... in ... spaaaaace!
The International Space Station is the first permanent human settlement in space. Close to 280 people have visited it in the past 23 years.
Our team has studied displays of photos, religious icons and artworks made by crew members from different countries, observed the cargo that is returned to Earth, and used NASA's historic photo archive to examine the relationships between crew members who serve together.
We've also studied the simple technologies, such as Velcro and resealable plastic bags, which astronauts use to recreate the Earthly effect of gravity in the microgravity environment − to keep things where you left them, so they don't float away.
Most recently, we collected data about how crew used objects inside the space station by adapting one of the most traditional archaeological techniques, the "shovel test pit".
On Earth, after an archaeological site has been identified, a grid of one-metre squares is laid out, and some of these are excavated as "test pits". These samples give a sense of the site as a whole.
In January 2022, we asked the space station crew to lay out five roughly square sample areas. We chose the square locations to encompass zones of work, science, exercise and leisure. The crew also selected a sixth area based on their own idea of what might be interesting to observe. Our study was sponsored by the International Space Station National Laboratory.
Then, for 60 days, the crew photographed each square every day to document the objects within its boundaries. Everything in space culture has an acronym, so we called this activity the Sampling Quadrangle Assemblages Research Experiment, or SQuARE.
The resulting photos show the richness of the space station's cultural landscape, while also revealing how far life in space is from images of sci-fi imagination.
The space station is cluttered and chaotic, cramped and dirty. There are no boundaries between where the crew works and where they rest. There is little to no privacy. There isn't even a shower.
What we saw in the squares
Now we can present results from the analysis of the first two squares. One was located in the US Node 2 module, where there are four crew berths, and connections to the European and Japanese labs. Visiting spacecraft often dock here. Our target was a wall where the Maintenance Work Area, or MWA, is located. There's a blue metal panel with 40 velcro squares on it, and a table below for fixing equipment or doing experiments.
NASA intended the area to be used for maintenance. However, we saw hardly any evidence of maintenance there, and only a handful of science activities. In fact, for 50 of the 60 days covered by our survey, the square was only used for storing items, which may not even have been used there.
The amount of velcro here made it a perfect location for ad hoc storage. Close to half of all items recorded (44%) were related to holding other items in place.
The other square we've completed was in the US Node 3 module, where there are exercise machines and the toilet. It's also a passageway to the crew's favourite part of the space station, the seven-sided cupola window, and to storage modules.
This wall had no designated function, so it was used for eclectic purposes, such as storing a laptop, an antibacterial experiment and resealable bags. And for 52 days during SQuARE, it was also the location where one crew member kept their toiletry kit.
It makes a kind of sense to put one's toiletries near the toilet and the exercise machines that each astronaut uses for hours every day. But this is a highly public space, where others are constantly passing by. The placement of the toiletry kit shows how inadequate the facilities are for hygiene and privacy.
What does this mean?
Our analysis of Squares 03 and 05 helped us understand how restraints such as velcro create a sort of transient gravity.
Restraints used to hold an object form a patch of active gravity, while those not in use represent potential gravity. The artefact analysis shows us how much potential gravity is available at each location.
The main focus of the space station is scientific work. To make this happen, astronauts have to deploy large numbers of objects. Square 03 shows how they turned a surface intended for maintenance into a halfway house for various items on their journeys around the station. Professor de Inglês - 1 1
Our data suggests that designers of future space stations, such as the commercial ones currently planned for low Earth orbit, or the Gateway station being built for lunar orbit, might need to make storage a higher priority.
Square 05 shows how a public wall space was claimed for personal storage by an unknown crew member. We already know there is less-than-ideal provision for privacy, but the persistence of the toiletry bag at this location shows how crew adapt spaces to make up for this.
What makes our conclusions significant is that they are evidence-based. The analysis of the first two squares suggests the data from all six will offer further insights into humanity's longest surviving space habitat.
Current plans are to bring the space station down from orbit in 2031, so this experiment may be the only chance we have to gather archaeological data.
https://www.astronomy.com/space-exploration/archaeologists-conduct-fi rst-space-excavation-on-international-space-station/
In the article, the authors mention that astronauts on the
International Space Station "create their own 'gravity' to
replace Earth's." Considering the multiple meanings of
the word "gravity," which strategy would best help a
reader understand its specific meaning in this context?
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105243
Inglês
Texto associado
Text V
Urbanization is one of the defining trends of this century
and a key driver of development. By 2050, around 70% of the
world’s population will be living in cities and towns. Asia and
Africa will collectively account for a significant majority of the
urban growth rate, a development that reflects the growth of
both ‘megacities’ and smaller urban settlements in both regions
over the past three decades. Today, cities produce around 80%
of the global GDP and this importance is likely to continue.
Cities also use 75% of global energy and are responsible for
70% of global carbon emissions. Accompanying the pace and
extent of urbanization are a number of positive and negative
trends — from increased economic opportunities and
improvements in lives and livelihoods, through to the potential
for greater urban-rural disparity, lower quality of life, and
conflict. One thing is clear, cities across the world play a
critical role in driving sustainable development.
However, cities today face numerous vulnerabilities and
threats. Without proper planning, policies, and support,
urbanization often leads to unnecessary risks and costs,
preventing cities from reaching their full potential. Cases such as
urban sprawls and the proliferation of informal settlements are
increasing, and the communities who reside in such areas often
suffer from the poor provision of public services (or lack of) such
as healthcare or waste management systems. As their population
grows, cities also become more complex, making long-term
planning and city management a challenge. Amongst the
numerous challenges that policymakers must tackle include those
that are environmental, those pertaining to resource allocation,
and even social challenges such as reducing intra-city
inequalities.
Cities are providing a wide range of opportunities and
possibilities for its citizens and, in order for them to be fully
harnessed, cities should be built for and together with its citizens
to fully unlock their potential. This includes taking into account
the various needs and aspirations of people, making sure that
everyone can have equal and inclusive access to services and
create urban spaces and environments to enhance livability.
Internet: <www.undp.org (adapted)
Based on text V, judge whether the following statements are right (C) or wrong (E).
Despite the many vulnerabilities and threats cities encounter, it is reasonable to conclude that with effective planning, policies, and adequate support, urbanization can avoid unnecessary risks and costs, enabling cities to achieve their full potential.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105242
Inglês
Texto associado
Text V
Urbanization is one of the defining trends of this century
and a key driver of development. By 2050, around 70% of the
world’s population will be living in cities and towns. Asia and
Africa will collectively account for a significant majority of the
urban growth rate, a development that reflects the growth of
both ‘megacities’ and smaller urban settlements in both regions
over the past three decades. Today, cities produce around 80%
of the global GDP and this importance is likely to continue.
Cities also use 75% of global energy and are responsible for
70% of global carbon emissions. Accompanying the pace and
extent of urbanization are a number of positive and negative
trends — from increased economic opportunities and
improvements in lives and livelihoods, through to the potential
for greater urban-rural disparity, lower quality of life, and
conflict. One thing is clear, cities across the world play a
critical role in driving sustainable development.
However, cities today face numerous vulnerabilities and
threats. Without proper planning, policies, and support,
urbanization often leads to unnecessary risks and costs,
preventing cities from reaching their full potential. Cases such as
urban sprawls and the proliferation of informal settlements are
increasing, and the communities who reside in such areas often
suffer from the poor provision of public services (or lack of) such
as healthcare or waste management systems. As their population
grows, cities also become more complex, making long-term
planning and city management a challenge. Amongst the
numerous challenges that policymakers must tackle include those
that are environmental, those pertaining to resource allocation,
and even social challenges such as reducing intra-city
inequalities.
Cities are providing a wide range of opportunities and
possibilities for its citizens and, in order for them to be fully
harnessed, cities should be built for and together with its citizens
to fully unlock their potential. This includes taking into account
the various needs and aspirations of people, making sure that
everyone can have equal and inclusive access to services and
create urban spaces and environments to enhance livability.
Internet: <www.undp.org (adapted)
Based on text V, judge whether the following statements are right (C) or wrong (E).
Due to the amount of global GDP produced by cities, the article shows how important it is for cities to continue growing to help the urbanization process.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105241
Inglês
Texto associado
Text V
Urbanization is one of the defining trends of this century
and a key driver of development. By 2050, around 70% of the
world’s population will be living in cities and towns. Asia and
Africa will collectively account for a significant majority of the
urban growth rate, a development that reflects the growth of
both ‘megacities’ and smaller urban settlements in both regions
over the past three decades. Today, cities produce around 80%
of the global GDP and this importance is likely to continue.
Cities also use 75% of global energy and are responsible for
70% of global carbon emissions. Accompanying the pace and
extent of urbanization are a number of positive and negative
trends — from increased economic opportunities and
improvements in lives and livelihoods, through to the potential
for greater urban-rural disparity, lower quality of life, and
conflict. One thing is clear, cities across the world play a
critical role in driving sustainable development.
However, cities today face numerous vulnerabilities and
threats. Without proper planning, policies, and support,
urbanization often leads to unnecessary risks and costs,
preventing cities from reaching their full potential. Cases such as
urban sprawls and the proliferation of informal settlements are
increasing, and the communities who reside in such areas often
suffer from the poor provision of public services (or lack of) such
as healthcare or waste management systems. As their population
grows, cities also become more complex, making long-term
planning and city management a challenge. Amongst the
numerous challenges that policymakers must tackle include those
that are environmental, those pertaining to resource allocation,
and even social challenges such as reducing intra-city
inequalities.
Cities are providing a wide range of opportunities and
possibilities for its citizens and, in order for them to be fully
harnessed, cities should be built for and together with its citizens
to fully unlock their potential. This includes taking into account
the various needs and aspirations of people, making sure that
everyone can have equal and inclusive access to services and
create urban spaces and environments to enhance livability.
Internet: <www.undp.org (adapted)
Based on text V, judge whether the following statements are right (C) or wrong (E).
To ensure equal and inclusive access to services and create urban spaces that improve livability, cities should be developed by citizens aiming to fully realize their potential.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105240
Inglês
Texto associado
Text V
Urbanization is one of the defining trends of this century
and a key driver of development. By 2050, around 70% of the
world’s population will be living in cities and towns. Asia and
Africa will collectively account for a significant majority of the
urban growth rate, a development that reflects the growth of
both ‘megacities’ and smaller urban settlements in both regions
over the past three decades. Today, cities produce around 80%
of the global GDP and this importance is likely to continue.
Cities also use 75% of global energy and are responsible for
70% of global carbon emissions. Accompanying the pace and
extent of urbanization are a number of positive and negative
trends — from increased economic opportunities and
improvements in lives and livelihoods, through to the potential
for greater urban-rural disparity, lower quality of life, and
conflict. One thing is clear, cities across the world play a
critical role in driving sustainable development.
However, cities today face numerous vulnerabilities and
threats. Without proper planning, policies, and support,
urbanization often leads to unnecessary risks and costs,
preventing cities from reaching their full potential. Cases such as
urban sprawls and the proliferation of informal settlements are
increasing, and the communities who reside in such areas often
suffer from the poor provision of public services (or lack of) such
as healthcare or waste management systems. As their population
grows, cities also become more complex, making long-term
planning and city management a challenge. Amongst the
numerous challenges that policymakers must tackle include those
that are environmental, those pertaining to resource allocation,
and even social challenges such as reducing intra-city
inequalities.
Cities are providing a wide range of opportunities and
possibilities for its citizens and, in order for them to be fully
harnessed, cities should be built for and together with its citizens
to fully unlock their potential. This includes taking into account
the various needs and aspirations of people, making sure that
everyone can have equal and inclusive access to services and
create urban spaces and environments to enhance livability.
Internet: <www.undp.org (adapted)
Based on text V, judge whether the following statements are right (C) or wrong (E).
It can be inferred that the more urban expansions and proliferation of informal settlements are created, the more problems the communities nearby will face in terms of provision of public services.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105239
Inglês
Texto associado
Text IV
In the middle of July, Roger was making his first
ministerial speech. I did not need reminding, having drafted
enough of them, how much speeches mattered — to
parliamentary bosses, to any kind of tycoon. Draft after draft: the
search for the supreme, the impossible, the more than Flaubertian
perfection; the scrutiny for any phrase that said more than it
ought to say, so that each speech at the end was bound, by the
law of official inexplicitness, to be more porridge-like than when
it started out in its first draft. I had always hated writing drafts for
other people, and nowadays got out of it. To Hector, to Douglas,
it was part of the job, which they took with their usual patience,
their usual lack of egotism: when a minister crossed out their
sharp, clear English and went in for a literary composition of his
own, they gave a wintry smile and let it stand.
C. P. Snow. Corridors of Power. London: Penguin Books, 1972, p. 31.
Considering the grammatical and semantic aspects of text IV, judge whether the following statements are right (C) or wrong (E).
The narrator of the text considers that the process of rewriting the speech multiple times contributes to its becoming more focused and direct.
The narrator of the text considers that the process of rewriting the speech multiple times contributes to its becoming more focused and direct.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105238
Inglês
Texto associado
Text IV
In the middle of July, Roger was making his first
ministerial speech. I did not need reminding, having drafted
enough of them, how much speeches mattered — to
parliamentary bosses, to any kind of tycoon. Draft after draft: the
search for the supreme, the impossible, the more than Flaubertian
perfection; the scrutiny for any phrase that said more than it
ought to say, so that each speech at the end was bound, by the
law of official inexplicitness, to be more porridge-like than when
it started out in its first draft. I had always hated writing drafts for
other people, and nowadays got out of it. To Hector, to Douglas,
it was part of the job, which they took with their usual patience,
their usual lack of egotism: when a minister crossed out their
sharp, clear English and went in for a literary composition of his
own, they gave a wintry smile and let it stand.
C. P. Snow. Corridors of Power. London: Penguin Books, 1972, p. 31.
Considering the grammatical and semantic aspects of text IV, judge whether the following statements are right (C) or wrong (E).
In the first sentence of the text, the verb “making” is being used with the sense of writing.
In the first sentence of the text, the verb “making” is being used with the sense of writing.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105237
Inglês
Texto associado
Text IV
In the middle of July, Roger was making his first
ministerial speech. I did not need reminding, having drafted
enough of them, how much speeches mattered — to
parliamentary bosses, to any kind of tycoon. Draft after draft: the
search for the supreme, the impossible, the more than Flaubertian
perfection; the scrutiny for any phrase that said more than it
ought to say, so that each speech at the end was bound, by the
law of official inexplicitness, to be more porridge-like than when
it started out in its first draft. I had always hated writing drafts for
other people, and nowadays got out of it. To Hector, to Douglas,
it was part of the job, which they took with their usual patience,
their usual lack of egotism: when a minister crossed out their
sharp, clear English and went in for a literary composition of his
own, they gave a wintry smile and let it stand.
C. P. Snow. Corridors of Power. London: Penguin Books, 1972, p. 31.
Considering the grammatical and semantic aspects of text IV, judge whether the following statements are right (C) or wrong (E).
The text suggests that, when their original drafts were modified by a minister, Hector and Douglas would stand up to him and insist on retaining the sharp, clear English of the original.
The text suggests that, when their original drafts were modified by a minister, Hector and Douglas would stand up to him and insist on retaining the sharp, clear English of the original.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105233
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).
According to the text, reconciling the principle of equitable geographical distribution of recruits with that of securing the highest standards of efficiency, competence, and integrity was a legal obligation incumbent both on the Secretary-General of the League of Nations and the Secretary-General of the United Nations.
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 |
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 |
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 |
Q3105224
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).
As used in the third sentence of the first paragraph, the expression “most exacting class of critics” refers to critics who worry too much about being correct.
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.
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