Questões de Concurso Comentadas para instituto rio branco

       1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”. 
       7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too. 
      Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001. 
      31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes. 
      Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.” 
      52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole. 
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text.
Bacon believed that his inability to work in South Africa was due to the visits of his relatives.

    1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”. 
    7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too. 
      Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001. 
      31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.          Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.” 
      52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole. 
Aida Edemarian. Francis Bacon: box of tricks.  Internet: <www.theguardian.com> (adapted).
Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text.
The two driving forces behind the Hugh Lane Gallery project were Dawson and Edwards.

1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.  7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.  Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.  31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.  Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”  52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole. 
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text.
Bacon left part of his properties to Edwards.

A Belle Époque terminou subitamente em 28 de junho de 1914, dia do assassinato de Francisco Ferdinando, herdeiro do trono da Áustria-Hungria, pelo jovem sérvio Gavrilo Princip. Aquele ato de terror perpetrado em Sarajevo, nos turbulentos Bálcãs, empurrou as potências para a guerra geral que ninguém desejava. 
Demétrio Magnoli e Elaine Senise Barbosa. Liberdade versus igualdade. In: O mundo em desordem (1914-1945), v. I. Rio de Janeiro: Record, 2011, p. 21-2 (com adaptações). 
Tendo o texto acima como referência inicial e considerando o contexto histórico que antecedeu a Primeira Grande Guerra, julgue (C ou E) o item seguinte.
Entre os contextos de crise que impeliram as potências para a guerra, destacam-se a criação da Entente Cordiale anglo-francesa e a reação alemã à sua criação, manifestada nas pretensões de Berlim em relação ao Marrocos, em claro sinal de que a Alemanha desejava barrar a expansão francesa no norte da África.

A Belle Époque terminou subitamente em 28 de junho de 1914, dia do assassinato de Francisco Ferdinando, herdeiro do trono da Áustria-Hungria, pelo jovem sérvio Gavrilo Princip. Aquele ato de terror perpetrado em Sarajevo, nos turbulentos Bálcãs, empurrou as potências para a guerra geral que ninguém desejava. 
Demétrio Magnoli e Elaine Senise Barbosa. Liberdade versus igualdade. In: O mundo em desordem (1914-1945), v. I. Rio de Janeiro: Record, 2011, p. 21-2 (com adaptações). 
Tendo o texto acima como referência inicial e considerando o contexto histórico que antecedeu a Primeira Grande Guerra, julgue (C ou E) o item seguinte.
Comprovada a participação direta do governo sérvio no assassinato do sucessor ao trono austro-húngaro, o governo da Áustria radicalizou sua posição em relação ao de Belgrado. Ao apresentar seu ultimato à Sérvia, a Áustria demonstrou, ainda que de maneira sutil, apoio ao movimento nacionalista eslavo na região balcânica.

1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.  7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.  Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.  31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.  Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”  52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole. 
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text.
The author of the text claims that the fact that George Michael liked having his profile photographed revealed a lot about his personality.

A combinação de extraordinário crescimento econômico com taxas relativamente baixas de inflação ficou conhecida como “milagre brasileiro”, no auge do regime militar, entre 1969 e 1973. A respeito desse tema, julgue C ou E. 
Os resultados positivos do período deveram-se, em larga medida, à situação econômica mundial caracterizada pela ampla disponibilidade de capitais.

Os processos de independência que afetaram as colônias europeias da América compartilham vários aspectos, embora haja especificidades que não podem ser desprezadas pelos historiadores. A respeito desse contexto histórico, julgue (C ou E) o item seguinte.
No Chile, cuja Ata de Independência data de 1818, os enfrentamentos entre os partidários da Coroa espanhola e os libertários e, em seguida, o choque entre os que defendiam a visão centralista e os federalistas convulsionaram o jovem país, que suportou longo período de guerras, até que, em 1830, a facção conservadora centralista venceu a disputa.

A estrutura do Breve Século XX parece uma espécie de tríptico ou sanduíche histórico. A uma era de catástrofe, que se estendeu de 1914 até depois da Segunda Guerra Mundial, seguiram-se cerca de 25 ou 30 anos de extraordinário crescimento econômico e de transformação social, anos que provavelmente mudaram de maneira mais profunda a sociedade humana que qualquer outro período de brevidade comparável. Retrospectivamente, podemos ver esse período como uma espécie de era de ouro, e assim ele foi visto quase imediatamente depois que acabou, no início da década de 70. A última parte do século foi uma nova era de decomposição, incerteza e crise — e, com efeito, para grandes áreas do mundo, como a África, a ex-URSS e as partes anteriormente socialistas da Europa, de catástrofe. À medida que a década de 80 dava lugar à de 90, o estado de espírito dos que refletiam sobre o passado e o futuro do século era de crescente melancolia fin-de-siècle. Visto do privilegiado ponto de vista da década de 90, o Breve Século XX passou por uma curta era de ouro, entre uma crise e outra, e entrou em futuro desconhecido e problemático, mas não necessariamente apocalíptico.
Em face das informações apresentadas no texto acima e considerando aspectos históricos marcantes do século XX, contingenciadores da política internacional praticada no período, julgue o item seguinte.
No pós-Segunda Guerra e ao longo dos anos 50 do século XX, coincidindo com a “era de ouro” mencionada no texto, o sistema de Bretton Woods funcionou sem maiores atropelos. Contudo, na década de 60, ele começou a ser fortemente pressionado em função, sobretudo, do déficit em conta-corrente que os EUA passaram a registrar, processo acelerado em larga medida pelas despesas com a guerra no Vietnã.

A estrutura do Breve Século XX parece uma espécie de tríptico ou sanduíche histórico. A uma era de catástrofe, que se estendeu de 1914 até depois da Segunda Guerra Mundial, seguiram-se cerca de 25 ou 30 anos de extraordinário crescimento econômico e de transformação social, anos que provavelmente mudaram de maneira mais profunda a sociedade humana que qualquer outro período de brevidade comparável. Retrospectivamente, podemos ver esse período como uma espécie de era de ouro, e assim ele foi visto quase imediatamente depois que acabou, no início da década de 70. A última parte do século foi uma nova era de decomposição, incerteza e crise — e, com efeito, para grandes áreas do mundo, como a África, a ex-URSS e as partes anteriormente socialistas da Europa, de catástrofe. À medida que a década de 80 dava lugar à de 90, o estado de espírito dos que refletiam sobre o passado e o futuro do século era de crescente melancolia fin-de-siècle. Visto do privilegiado ponto de vista da década de 90, o Breve Século XX passou por uma curta era de ouro, entre uma crise e outra, e entrou em futuro desconhecido e problemático, mas não necessariamente apocalíptico.
Em face das informações apresentadas no texto acima e considerando aspectos históricos marcantes do século XX, contingenciadores da política internacional praticada no período, julgue o item seguinte.
Em 1973, a guerra entre árabes e judeus é um dos símbolos do fim da “era de ouro”. Sofrendo os efeitos da desvalorização do dólar decidida em 1971 (governo Nixon) e ante o apoio norte-americano a Israel, os países árabes quintuplicam o preço do barril de petróleo, o que gera efeitos devastadores nas economias ocidentais.

O Brasil passou por diversos momentos de expansão fiscal em sua trajetória. Acerca desses momentos e de suas consequências, julgue (C ou E) o item a seguir.


As taxas de inflação elevadas, verificadas na segunda metade do século 20, permitiram que o sistema bancário brasileiro atuasse com taxas de juros reais negativas, além de permitir uma melhor situação de liquidez e solvência. O final do período inflacionário dificultou a situação de diversos bancos, apesar do aumento da demanda por crédito, provocada pela estabilidade monetária.

O Brasil passou por diversos momentos de expansão fiscal em sua trajetória. Acerca desses momentos e de suas consequências, julgue (C ou E) o item a seguir.


A melhora no resultado fiscal durante o período conhecido como “milagre econômico” possibilitou que a expansão monetária ocorrida no período se efetivasse sob a forma de um aumento do crédito concentrado no setor privado.

O Brasil passou por diversos momentos de expansão fiscal em sua trajetória. Acerca desses momentos e de suas consequências, julgue (C ou E) o item a seguir.

As emissões previstas na reforma bancária de 1890 seriam feitas na proporção 1:1 do lastro constituído, desvinculadas da paridade de 1846 e sinalizando sua relação com as finanças públicas.

O Brasil passou por diversos momentos de expansão fiscal em sua trajetória. Acerca desses momentos e de suas consequências, julgue (C ou E) o item a seguir.

A Lei Bancária, de janeiro de 1890, autorizou emissões inconversíveis que aumentaram muito a quantidade de papel-moeda em circulação e eram lastreadas em títulos da dívida pública, em clara inspiração no sistema de bancos nacionais norte-americano.

A intervenção do Estado na economia é uma característica do processo de desenvolvimento brasileiro. A respeito dessa atuação, julgue (C ou E) o item a seguir.


A Secretaria Especial para o Controle de Empresas Estatais (SEST), criada no governo Fernando Henrique Cardoso, buscou um controle centralizado sobre as empresas estatais e permitiu que se utilizassem essas empresas, de forma sistemática, para controle inflacionário no Plano Real e na captação de recursos externos, em um momento de maior abertura econômica.

A intervenção do Estado na economia é uma característica do processo de desenvolvimento brasileiro. A respeito dessa atuação, julgue (C ou E) o item a seguir.

Durante o primeiro mandato do governo Fernando Henrique Cardoso, o Brasil sofreu diversos ataques especulativos associados a crises em países emergentes e à própria situação fiscal delicada. A política escolhida para lidar com esses ataques foi o aumento da taxa de juros, com reflexos positivos sobre a situação fiscal, causando um círculo fiscal virtuoso.

A intervenção do Estado na economia é uma característica do processo de desenvolvimento brasileiro. A respeito dessa atuação, julgue (C ou E) o item a seguir.

O combate à inflação no período conhecido como “milagre econômico” manteve a ênfase em uma inflação de demanda já existente no Programa de Ação Econômica do Governo (PAEG), apesar de buscar conciliar o incentivo à retomada do crescimento econômico. Dessa forma, foram adotados controles de preços regulados pela Comissão Nacional de Estabilização de Preços (CONEP) e pela Comissão Interministerial de Preços (CIP) que tabelavam preços públicos.

A intervenção do Estado na economia é uma característica do processo de desenvolvimento brasileiro. A respeito dessa atuação, julgue (C ou E) o item a seguir.


Durante o período conhecido como “milagre econômico”, a realização de investimentos públicos foi conciliada com uma redução no deficit primário, pois foi efetivado com forte participação de empresas estatais e, nessa época, a contabilização desse deficit não incluía o resultado dessas empresas.