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TEXT III
Use of language in diplomacy
What language should one use when speaking to diplomats, or what language should diplomats use? Or, to be more precise, what language/languages should a (young) diplomat try to learn to be more successful in his profession?
The term "language in diplomacy" obviously can be interpreted in several ways. First, as tongue ("mother" tongue or an acquired one), the speech "used by one nation, tribe, or other similar large group of people"; in this sense we can say, for example, that French used to be the predominant diplomatic language in the first half of the 20th century. Second, as a special way of expressing the subtle needs of the diplomatic profession; in this way it can be said, for example, that the delegate of such-andsuch a country spoke of the given subject in totally nondiplomatic language. Also, the term can refer to the particular form, style, manner or tone of expression; such as the minister formulated his conditions in unusually strong language. It may mean as well the verbal or non-verbal expression of thoughts or feelings: sending the gunships is a language that everybody understands.
All of these meanings - and probably several others - can be utilised in both oral and written practice. In any of these senses, the use of language in diplomacy is of major importance, since language is not a simple tool, vehicle for transmission of thoughts, or instrument of communication, but very often the very essence of the diplomatic vocation, and that has been so from the early beginnings of our profession. That is why from early times the first envoys of the Egyptian pharaohs, Roman legates, mediaeval Dubrovnik consuls, etc., had to be educated and trained people, well-spoken and polyglots.
Let us first look into different aspects of diplomatic language in its basic meaning - that of a tongue. Obviously, the first problem to solve is finding a common tongue. Diplomats only exceptionally find themselves in the situation to be able to communicate in one language, common to all participants. This may be done between, for example, Germans and Austrians, or Portuguese and Brazilians, or representatives of different Arab countries, or British and Americans, etc. Not only are such occasions rare, but very often there is a serious difference between the same language used in one country and another.
There are several ways to overcome the problem of communication between people who speak different mother tongues. None of these ways is ideal. One solution, obviously, is that one of the interlocutors speaks the language of the other. Problems may arise: the knowledge of the language may not be adequate, one side is making a concession and the other has an immediate and significant advantage, there are possible political implications, it may be difficult to apply in multilateral diplomacy, etc. A second possibility is that both sides use a third, neutral, language. A potential problem may be that neither side possesses full linguistic knowledge and control, leading to possible bad misunderstandings. Nevertheless, this method is frequently applied in international practice because of its political advantages. A third formula, using interpreters, is also very widely used, particularly in multilateral diplomacy or for negotiations at a very high political level - not only for reasons of equity, but because politicians and statesmen often do not speak foreign languages. This method also has disadvantages: it is time consuming, costly, and sometimes inadequate or straightforwardly incorrect. […] Finally, there is the possibility of using one international synthetic, artificial language, such as Esperanto; this solution would have many advantages, but unfortunately is not likely to be implemented soon, mostly because of the opposition of factors that dominate in the international political - and therefore also cultural and linguistic - scene.
So, which language is the diplomatic one? The answer is not simple at all […].
Words are bricks from which sentences are made. Each sentence should be a wound-up thought. If one wants to be clear, and particularly when using a language which he does not master perfectly, it is better to use short, simple sentences. On the contrary, if one wishes to camouflage his thoughts or even not say anything specific, it can be well achieved by using a more complicated style, complex sentences, digressions, interrupting one's own flow of thought and introducing new topics. One may leave the impression of being a little confused, but the basic purpose of withholding the real answer can be accomplished.
(adapted from http://www.diplomacy.edu/books/language_and_
diplomacy/texts/pdf/nick.PDF)
TEXT II
World Work Worker Workplace
Does your workplace offer affordances for #wellbeing? Natural light, movement, a view, informal areas to socialize or collaborate? 40% say no.
TEXT I
How music is the real language of political diplomacy
Forget guns and bombs, it is the power of melody that has changed the world
Marie Zawisza
Saturday 31 October 2015 10.00 GMT
Last modified on Tuesday 10 November 201513.19 GMT
An old man plays his cello at the foot of a crumbling wall. The notes of the sarabande of Bach’s Suite No 2 rise in the cold air, praising God for the “miracle” of the fall of the Berlin Wall, as Mstislav Rostropovich later put it. The photograph is seen around the world. The date is 11 November 1989, and the Russian virtuoso is marching to the beat of history.
Publicity stunt or political act? No doubt a bit of both – and proof, in any case, that music can have a political dimension. Yo-Yo Ma showed as much in September when the cellist opened the new season of the Philharmonie de Paris with the Boston Symphony Orchestra. As a “messenger of peace” for the United Nations, the Chinese American is the founder of Silk Road Project, which trains young musicians from a variety of cultures to listen to and improvise with each other and develop a common repertoire. “In this way, musicians create a dialogue and arrive at common policies,” says analyst Frédéric Ramel, a professor at the Institut d’Études Politiques in Paris. By having music take the place of speeches and peace talks, the hope is that it will succeed where diplomacy has failed.[…]
Curiously, the study of the role of music in international relations is still in its infancy. “Historians must have long seen it as something fanciful, because history has long been dominated by interpretations that stress economic, social and political factors,” says Anaïs Fléchet, a lecturer in contemporary history at the Université de Versailles-St-Quentin and co-editor of a book about music and globalisation.
“As for musicologists,” she adds, “until quite recently they were more interested in analysing musical scores than the actual context in which these were produced and how they were received.” In the 1990s came a cultural shift. Scholars were no longer interested solely in “hard power” – that is, in the balance of powers and in geopolitics – but also in “soft power”, where political issues are resolved by mutual support rather than force. […]
Gilberto Gil sings while then UN secretary general Kofi Annan plays percussion at a September 2003 concert at the UN headquarters honouring those killed by a bomb at a UN office in Baghdad a month earlier. Photograph: Zuma/Alamy
Since then, every embassy has a cultural attaché. The US engages in “audio diplomacy” by financing hip-hop festivals in the Middle East. China promotes opera in neighbouring states to project an image of harmony. Brazil has invested in culture to assert itself as a leader in Latin America, notably by establishing close collaboration between its ministries of foreign affairs and culture; musician Gilberto Gil was culture minister during Luiz Inácio Lula da Silva᾽s presidency from 2003 to 2008. He was involved in France’s Year of Brazil. As Fléchet recalls, “the free concert he gave on 13 July, 2005 at the Place de la Bastille was the pinnacle. That day, he sang La Marseillaise in the presence of presidents Lula and Jacques Chirac.” Two years earlier, in September 2003, Gil sang at the UN in honour of the victims of the 19 August bombing of the UN headquartes in Baghdad. He was delivering a message of peace, criticising the war on Iraq by the US: “There is no point in preaching security without giving a thought to respecting others,” he told his audience. Closing the concert, he invited then UN secretary general Kofi Annan on stage for a surprise appearance as a percussionist. “This highly symbolic image, which highlighted the conviction that culture can play a role in bringing people together, shows how music can become a political language,” Fléchet says.
(adapted from http://www.theguardian.com/music/2015/oct/31
/music-language-human-rights-political-diplomacy)
TEXT I
How music is the real language of political diplomacy
Forget guns and bombs, it is the power of melody that has changed the world
Marie Zawisza
Saturday 31 October 2015 10.00 GMT
Last modified on Tuesday 10 November 201513.19 GMT
An old man plays his cello at the foot of a crumbling wall. The notes of the sarabande of Bach’s Suite No 2 rise in the cold air, praising God for the “miracle” of the fall of the Berlin Wall, as Mstislav Rostropovich later put it. The photograph is seen around the world. The date is 11 November 1989, and the Russian virtuoso is marching to the beat of history.
Publicity stunt or political act? No doubt a bit of both – and proof, in any case, that music can have a political dimension. Yo-Yo Ma showed as much in September when the cellist opened the new season of the Philharmonie de Paris with the Boston Symphony Orchestra. As a “messenger of peace” for the United Nations, the Chinese American is the founder of Silk Road Project, which trains young musicians from a variety of cultures to listen to and improvise with each other and develop a common repertoire. “In this way, musicians create a dialogue and arrive at common policies,” says analyst Frédéric Ramel, a professor at the Institut d’Études Politiques in Paris. By having music take the place of speeches and peace talks, the hope is that it will succeed where diplomacy has failed.[…]
Curiously, the study of the role of music in international relations is still in its infancy. “Historians must have long seen it as something fanciful, because history has long been dominated by interpretations that stress economic, social and political factors,” says Anaïs Fléchet, a lecturer in contemporary history at the Université de Versailles-St-Quentin and co-editor of a book about music and globalisation.
“As for musicologists,” she adds, “until quite recently they were more interested in analysing musical scores than the actual context in which these were produced and how they were received.” In the 1990s came a cultural shift. Scholars were no longer interested solely in “hard power” – that is, in the balance of powers and in geopolitics – but also in “soft power”, where political issues are resolved by mutual support rather than force. […]
Gilberto Gil sings while then UN secretary general Kofi Annan plays percussion at a September 2003 concert at the UN headquarters honouring those killed by a bomb at a UN office in Baghdad a month earlier. Photograph: Zuma/Alamy
Since then, every embassy has a cultural attaché. The US engages in “audio diplomacy” by financing hip-hop festivals in the Middle East. China promotes opera in neighbouring states to project an image of harmony. Brazil has invested in culture to assert itself as a leader in Latin America, notably by establishing close collaboration between its ministries of foreign affairs and culture; musician Gilberto Gil was culture minister during Luiz Inácio Lula da Silva᾽s presidency from 2003 to 2008. He was involved in France’s Year of Brazil. As Fléchet recalls, “the free concert he gave on 13 July, 2005 at the Place de la Bastille was the pinnacle. That day, he sang La Marseillaise in the presence of presidents Lula and Jacques Chirac.” Two years earlier, in September 2003, Gil sang at the UN in honour of the victims of the 19 August bombing of the UN headquartes in Baghdad. He was delivering a message of peace, criticising the war on Iraq by the US: “There is no point in preaching security without giving a thought to respecting others,” he told his audience. Closing the concert, he invited then UN secretary general Kofi Annan on stage for a surprise appearance as a percussionist. “This highly symbolic image, which highlighted the conviction that culture can play a role in bringing people together, shows how music can become a political language,” Fléchet says.
(adapted from http://www.theguardian.com/music/2015/oct/31
/music-language-human-rights-political-diplomacy)
TEXT I
How music is the real language of political diplomacy
Forget guns and bombs, it is the power of melody that has changed the world
Marie Zawisza
Saturday 31 October 2015 10.00 GMT
Last modified on Tuesday 10 November 201513.19 GMT
An old man plays his cello at the foot of a crumbling wall. The notes of the sarabande of Bach’s Suite No 2 rise in the cold air, praising God for the “miracle” of the fall of the Berlin Wall, as Mstislav Rostropovich later put it. The photograph is seen around the world. The date is 11 November 1989, and the Russian virtuoso is marching to the beat of history.
Publicity stunt or political act? No doubt a bit of both – and proof, in any case, that music can have a political dimension. Yo-Yo Ma showed as much in September when the cellist opened the new season of the Philharmonie de Paris with the Boston Symphony Orchestra. As a “messenger of peace” for the United Nations, the Chinese American is the founder of Silk Road Project, which trains young musicians from a variety of cultures to listen to and improvise with each other and develop a common repertoire. “In this way, musicians create a dialogue and arrive at common policies,” says analyst Frédéric Ramel, a professor at the Institut d’Études Politiques in Paris. By having music take the place of speeches and peace talks, the hope is that it will succeed where diplomacy has failed.[…]
Curiously, the study of the role of music in international relations is still in its infancy. “Historians must have long seen it as something fanciful, because history has long been dominated by interpretations that stress economic, social and political factors,” says Anaïs Fléchet, a lecturer in contemporary history at the Université de Versailles-St-Quentin and co-editor of a book about music and globalisation.
“As for musicologists,” she adds, “until quite recently they were more interested in analysing musical scores than the actual context in which these were produced and how they were received.” In the 1990s came a cultural shift. Scholars were no longer interested solely in “hard power” – that is, in the balance of powers and in geopolitics – but also in “soft power”, where political issues are resolved by mutual support rather than force. […]
Gilberto Gil sings while then UN secretary general Kofi Annan plays percussion at a September 2003 concert at the UN headquarters honouring those killed by a bomb at a UN office in Baghdad a month earlier. Photograph: Zuma/Alamy
Since then, every embassy has a cultural attaché. The US engages in “audio diplomacy” by financing hip-hop festivals in the Middle East. China promotes opera in neighbouring states to project an image of harmony. Brazil has invested in culture to assert itself as a leader in Latin America, notably by establishing close collaboration between its ministries of foreign affairs and culture; musician Gilberto Gil was culture minister during Luiz Inácio Lula da Silva᾽s presidency from 2003 to 2008. He was involved in France’s Year of Brazil. As Fléchet recalls, “the free concert he gave on 13 July, 2005 at the Place de la Bastille was the pinnacle. That day, he sang La Marseillaise in the presence of presidents Lula and Jacques Chirac.” Two years earlier, in September 2003, Gil sang at the UN in honour of the victims of the 19 August bombing of the UN headquartes in Baghdad. He was delivering a message of peace, criticising the war on Iraq by the US: “There is no point in preaching security without giving a thought to respecting others,” he told his audience. Closing the concert, he invited then UN secretary general Kofi Annan on stage for a surprise appearance as a percussionist. “This highly symbolic image, which highlighted the conviction that culture can play a role in bringing people together, shows how music can become a political language,” Fléchet says.
(adapted from http://www.theguardian.com/music/2015/oct/31
/music-language-human-rights-political-diplomacy)
Innovation is the new key to survival
[…]
At its most basic, innovation presents an optimal strategy for controlling costs. Companies that have invested in such technologies as remote mining, autonomous equipment and driverless trucks and trains have reduced expenses by orders of magnitude, while simultaneously driving up productivity.
Yet, gazing towards the horizon, it is rapidly becoming clear that innovation can do much more than reduce capital intensity. Approached strategically, it also has the power to reduce people and energy intensity, while increasing mining intensity.
Capturing the learnings
The key is to think of innovation as much more than research and development (R&D) around particular processes or technologies. Companies can, in fact, innovate in multiple ways, such as leveraging supplier knowledge around specific operational challenges, redefining their participation in the energy value chain or finding new ways to engage and partner with major stakeholders and constituencies.
To reap these rewards, however, mining companies must overcome their traditionally conservative tendencies. In many cases, miners struggle to adopt technologies proven to work at other mining companies, let alone those from other industries. As a result, innovation becomes less of a technology problem and more of an adoption problem.
By breaking this mindset, mining companies can free themselves to adapt practical applications that already exist in other industries and apply them to fit their current needs. For instance, the tunnel boring machines used by civil engineers to excavate the Chunnel can vastly reduce miners' reliance on explosives. Until recently, those machines were too large to apply in a mining setting. Some innovators, however, are now incorporating the underlying technology to build smaller machines—effectively adapting mature solutions from other industries to realize more rapid results.
Re-imagining the future
At the same time, innovation mandates companies to think in entirely new ways. Traditionally, for instance, miners have focused on extracting higher grades and achieving faster throughput by optimizing the pit, schedule, product mix and logistics. A truly innovative mindset, however, will see them adopt an entirely new design paradigm that leverages new information, mining and energy technologies to maximize value. […]
Approached in this way, innovation can drive more than cost reduction. It can help mining companies mitigate and manage risks, strengthen business models and foster more effective community and government relations. It can help mining services companies enhance their value to the industry by developing new products and services. Longer-term, it can even position organizations to move the needle on such endemic issues as corporate social responsibility, environmental performance and sustainability.
(http://www2.deloitte.com/content/dam/Deloitte/ru/Document s/energy-resources/ru_er_tracking_the_trends_2015_eng.pdf)
Mining tourism in Ouro Preto
Ouro Preto is surrounded by a rich and varied natural environment with waterfalls, hiking trails and native vegetation partially protected as state parks. Parts of these resources are used for tourism. Paradoxically, this ecosystem contrasts with the human occupation of the region that produced, after centuries, a rich history and a cultural connection to mining, its oldest economic activity which triggered occupation. The region has an unlimited potential for tourism, especially in specific segments such as mining heritage tourism, in association or not with the existing ecotourism market. In fact, in Ouro Preto, tourism, history, geology and mining are often hard to distinguish; such is the inter-relationship between these segments.
For centuries, a major problem of mining has been the reuse of the affected areas. Modern mining projects proposed solutions to this problem right from the initial stages of operation, which did not happen until recently. As a result, most quarries and other old mining areas that do not have an appropriate destination represent serious environmental problems. Mining tourism utilizing exhausted mines is a source of employment and income. Tourism activities may even contribute to the recovery of degraded areas in various ways, such as reforestation for leisure purposes, or their transformation into history museums where aspects of local mining are interpreted.
Minas Gerais, and particularly Ouro Preto, provides the strong and rich cultural and historical content needed for the transformation of mining remnants into attractive tourism products, especially when combined with the existing cultural tourism of the region. Although mining tourism is explored in various parts of the world in extremely different social, economic, cultural and natural contexts, in Brazil it is still not a strategy readily adopted as an alternative for areas affected by mining activities.
(Lohmann, G. M.; Flecha, A. C.; Knupp, M. E. C. G.; Liccardo, A. (2011). Mining tourism in Ouro Preto, Brazil: opportunities and challenges. In: M. V. Conlin; L. Jolliffe (eds).Mining heritage and tourism: a global synthesis. New York: Routledge, pp. 194-202.)
Mining tourism in Ouro Preto
Ouro Preto is surrounded by a rich and varied natural environment with waterfalls, hiking trails and native vegetation partially protected as state parks. Parts of these resources are used for tourism. Paradoxically, this ecosystem contrasts with the human occupation of the region that produced, after centuries, a rich history and a cultural connection to mining, its oldest economic activity which triggered occupation. The region has an unlimited potential for tourism, especially in specific segments such as mining heritage tourism, in association or not with the existing ecotourism market. In fact, in Ouro Preto, tourism, history, geology and mining are often hard to distinguish; such is the inter-relationship between these segments.
For centuries, a major problem of mining has been the reuse of the affected areas. Modern mining projects proposed solutions to this problem right from the initial stages of operation, which did not happen until recently. As a result, most quarries and other old mining areas that do not have an appropriate destination represent serious environmental problems. Mining tourism utilizing exhausted mines is a source of employment and income. Tourism activities may even contribute to the recovery of degraded areas in various ways, such as reforestation for leisure purposes, or their transformation into history museums where aspects of local mining are interpreted.
Minas Gerais, and particularly Ouro Preto, provides the strong and rich cultural and historical content needed for the transformation of mining remnants into attractive tourism products, especially when combined with the existing cultural tourism of the region. Although mining tourism is explored in various parts of the world in extremely different social, economic, cultural and natural contexts, in Brazil it is still not a strategy readily adopted as an alternative for areas affected by mining activities.
(Lohmann, G. M.; Flecha, A. C.; Knupp, M. E. C. G.; Liccardo, A. (2011). Mining tourism in Ouro Preto, Brazil: opportunities and challenges. In: M. V. Conlin; L. Jolliffe (eds).Mining heritage and tourism: a global synthesis. New York: Routledge, pp. 194-202.)
Mining tourism in Ouro Preto
Ouro Preto is surrounded by a rich and varied natural environment with waterfalls, hiking trails and native vegetation partially protected as state parks. Parts of these resources are used for tourism. Paradoxically, this ecosystem contrasts with the human occupation of the region that produced, after centuries, a rich history and a cultural connection to mining, its oldest economic activity which triggered occupation. The region has an unlimited potential for tourism, especially in specific segments such as mining heritage tourism, in association or not with the existing ecotourism market. In fact, in Ouro Preto, tourism, history, geology and mining are often hard to distinguish; such is the inter-relationship between these segments.
For centuries, a major problem of mining has been the reuse of the affected areas. Modern mining projects proposed solutions to this problem right from the initial stages of operation, which did not happen until recently. As a result, most quarries and other old mining areas that do not have an appropriate destination represent serious environmental problems. Mining tourism utilizing exhausted mines is a source of employment and income. Tourism activities may even contribute to the recovery of degraded areas in various ways, such as reforestation for leisure purposes, or their transformation into history museums where aspects of local mining are interpreted.
Minas Gerais, and particularly Ouro Preto, provides the strong and rich cultural and historical content needed for the transformation of mining remnants into attractive tourism products, especially when combined with the existing cultural tourism of the region. Although mining tourism is explored in various parts of the world in extremely different social, economic, cultural and natural contexts, in Brazil it is still not a strategy readily adopted as an alternative for areas affected by mining activities.
(Lohmann, G. M.; Flecha, A. C.; Knupp, M. E. C. G.; Liccardo, A. (2011). Mining tourism in Ouro Preto, Brazil: opportunities and challenges. In: M. V. Conlin; L. Jolliffe (eds).Mining heritage and tourism: a global synthesis. New York: Routledge, pp. 194-202.)
TEXT 2
Women in Computing
(http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2013/3/19/1363705626950/women-at-computers-003.jpg accessed October 26th, 2015)
The Next Generation
Technology is rapidly evolving, but the low number of women in computer science and engineering remains stagnant and experts say that this could have major implications for the future.
“Computing is at the heart of everything,” says Dr. Telle Whitney, CEO of the Anita Borg Institute and co-founder of Grace Hopper Celebration. “To be missing half the population is a significant loss to our world.
In 2014, women made up only 22 percent of the science, technology, engineering, mathematics, and computer science (STEM) workforce. The number of Canadian women working in STEM fields has barely changed in the past three decades.
“Women look at the world a little differently than men and I think we have a huge opportunity to disrupt and play a big role in the technology space,” says Vicki Saunders, founder of SheEO, an initiative that supports female entrepreneurs.[…]
(MACLEAN’S, October 12th, 2015, p. 1)
“However" (l.5) can be replaced by nevertheless without it changing the meaning of the text.
In line 3, “immediately" means soon after leaving.
In the text about IT-managers, the word
“glitches” (R.16) is synonymous with malfunctions.
In the text, “to put your money where your mouth is" (l. 3 and 4) can be correctly replaced by to act on your outspoken beliefs, although this change results in a more formal text.
Read text II and answer the question:
Read text II and answer the question:
Read text II and answer the question:
Read text II and answer the question:
Conheça nossos planos