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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 |
Q3105236
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 third sentence of the text, “supreme” is an adjective modifying the noun “perfection”.
In the third sentence of the text, “supreme” is an adjective modifying the noun “perfection”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105235
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 excerpt “It licenses a kind of international spoils system” could be, without altering the meaning of the sentence, replaced with It spoils the international system.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105234
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 fragment “even at the expense of sheer quality” (last sentence of the second paragraph) could be, without harming the coherence of the text, replaced with even if this entails the choice of less qualified applicants.
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 |
Q3105231
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
In “for them the familiar appearance” (third sentence of second paragraph), “them” refers to the people the book is meant for: “those who look for bearings in a new field”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105230
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
It can be correctly concluded from the excerpt “Praise is so much duller than criticism” (ninth sentence of the first paragraph) that the author wishes to write a book criticizing what he considers “monstrosities”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105229
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
The excerpt “lest the well-known masterpieces be crowded out by my own personal favourites” (second sentence of the second paragraph) could be, maintaining the coherence and correctness of the original, correctly replaced with to avoid leaving the well-known masterpieces out to fill the book with my own personal favourites.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105228
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Based on text II, judge whether the following statements are right (C) or wrong (E).
In the last sentence of the text, the word “dog” has a similar meaning to trouble.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105227
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
In the fragment “I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics” (third sentence of the first paragraph), the referent for the pronoun “they” is “adults”.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105226
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
By stating that he wants to show the reader “the lie of the land” (first sentence of the text), the author means that he wants to inform the reader of the rules he followed in writing the book.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105225
Inglês
Texto associado
Text II
This book wants to show the newcomer the lie of the land
without confusing him with details. In writing it I thought first
and foremost of readers in their teens. But I have never believed
that books for young people should differ from books for adults
except for the fact that they must reckon with the most exacting
class of critics, critics who are quick to detect and resent any
trace of pretentious jargon or bogus sentiment. I know from
experience that these are the vices which may render people
suspicious of all writings. I have striven to use plain language
even at the risk of sounding casual or unprofessional. I hope that
no reader will attribute my decision to get along with a minimum
of the art historian’s conventional terms to any desire on my part
of ‘talking down’ to him. Apart from this decision, I have tried to
follow a number of more specific self-imposed rules, such as
limiting myself to real works of art and cutting out anything
which might merely be interesting as a specimen of taste or
fashion. This decision entailed a considerable sacrifice of literary
effects. Praise is so much duller than criticism, and the inclusion
of some amusing monstrosities might have offered some light
relief. Thus, while I do not claim that all the works illustrated
represent the highest standard of perfection, I did make an effort
not to include anything which I considered to be without a
peculiar merit of its own.
A second rule also demanded a little self-denial. I vowed
to resist any temptation to be original in my selection, lest the
well-known masterpieces be crowded out by my own personal
favourites. This book, after all, is not intended merely as an
anthology of beautiful things; it is meant for those who look for
bearings in a new field, and for them the familiar appearance of
apparently ‘hackneyed’ examples may serve as welcome
landmarks.
One more rule I have followed. When in doubt I have
always preferred to discuss a work which I had seen in the
original rather than one I knew only from photographs. I should
have liked to make this an absolute rule, but I did not want the
reader to be penalized by the accidents of travel restrictions
which sometimes dog the life of the art-lover.
E. H. Gombrich. The Story of Art.
Phaidon, New York – London: 1995, p. 7-8 (adapted).
Considering text II, judge whether the following statements are right (C) or wrong (E).
In the fragment “most exacting class of critics, critics who are quick to (…)” (third sentence of the first paragraph), omitting the second occurrence of the word “critics” would maintain the grammar correctness of the sentence.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
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.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105221
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Judge whether the following items about text I are right (C) or wrong (E).
In the expressions “unalloyed triumph” (first sentence of the text) and “sheer silliness” (first sentence of the second paragraph), the adjectives “unalloyed” and “sheer” convey similar meanings.
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
Instituto Rio Branco
Prova:
CESPE / CEBRASPE - 2024 - Instituto Rio Branco - Terceiro Secretário - tarde |
Q3105220
Inglês
Texto associado
Text I
Despite the tricky and life-threatening relationship
between Paleolithic humans and the megafauna that comprised
so much of their environment, twentieth-century scholars tended
to claim cave art as evidence of an unalloyed triumph for our
species. It was a “great spiritual symbol,” of a time when “man
had just emerged from a purely zoological existence, when
instead of being dominated by animals, he began to dominate
them.” But the child-like and highly stylized stick figures found
in caves do not radiate triumph. By the standards of our own
time, they are excessively self-effacing and, compared to the
animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to
solemnize prehistoric art as “magico-religious” or “shamanic,”
today’s more secular viewers sometimes detect a vein of sheer
silliness. India’s Mesolithic rock art portrays few human stick
figures; those that are portrayed have been described by modern
viewers as “comical,” “animalized” and “grotesque.” As Judith
Thurman wrote about the artists, “despite their penchant for
naturalism, rarely did they choose to depict human beings, and
then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by
extension, their distant descendants, ourselves? Of course, our
reactions to Paleolithic art may bear no connection to the
intentions or feelings of the artists. Yet there are reasons to
believe that Paleolithic people had a sense of humor not all that
dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on.
Internet: (adapted).
Judge whether the following items about text I are right (C) or wrong (E).
In the last sentence of the text, inserting a comma immediately after the first occurrence of “that” would make the sentence grammatically incorrect.
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