CESPE/CEBRASPE – 2015 – MRE – DIPLOMATA – 1ª FASE CACD – LÍNGUA INGLESA – CONCURSO PÚBLICO – MINISTÉRIO DAS RELAÇÕES EXTERIORES – PROVA COM GABARITO.

Welcome back to another post!

➧ PROVA DE LÍNGUA INGLESA: CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE CACD, aplicação em 02/08/2015.

➧ PADRÃO/COMPOSIÇÃO DA PROVA: 13 Questões totalizando 52 itens do tipo CORRETA (C) ou ERRADA (E).

➧ GABARITO:

01-ECEE, 02-CCEE, 03-ECCX, 04-CCEE, 05-CECE

06-ECEE, 07-EECC, 08-CEEC, 09-CECE, 10-CECE

 11-ECCE, 12-EECC, 13-ECEE

➧ TEXT I: Text for questions from 01 to 03.

Most of the recent scholarly works on the evolution of diplomacy highlight the added complexity in which “states and other international actors communicate, negotiate and otherwise interact” in the 21st 4 century. Diplomacy has to take into account “the crazy-quilt nature of modern interdependence”. Decision-making on the international stage  involves what has been depicted as “two level games” or “double-edged diplomacy”. With accentuated forms of globalization the scope of diplomacy as the “engine room” of International Relations has moved beyond the traditional core concerns to encompass a myriad set of issue areas. And the boundaries of participation in diplomacy — and the very  definition of diplomats — have broadened as well, albeit in a still contested fashion. In a variety of ways, therefore, not only its methods but also its objectives are far more expansive than ever before.

Yet, while the theme of complexity radiates through the pages of this book, changed circumstances and the stretching of form, scope, and intensity do not only produce fragmentation but centralization in terms of purposive acts. Amid the larger debates about the diversity of principals,  agents, and intermediaries, the space in modern diplomacy for leadership by personalities at the apex of power has expanded. At odds with the counter-image of horizontal breadth with an open-ended nature, the dynamic of 21st 25 -century diplomacy remains highly vertically oriented and individual-centric.

To showcase this phenomenon, however, is no to suggest ossification. In terms of causation, the dependence on leaders is largely a reaction to complexity. With the shift to multi-party, multi-channel, multi-issue negotiations, with  domestic as well as international interests and values in play, leaders are often the only actors who can cut through the complexity and make the necessary trade-offs to allow deadlocks to be broken. In terms of communication and other modes of representation, bringing in leaders differentiates and elevates issues from the bureaucratic arena.

In terms of effect, the primacy of leaders reinforces elements of both club and network diplomacy. In its most visible manifestation via summit diplomacy, the image of club diplomacy explicitly differentiates the status and role of insiders and outsiders and thus the hierarchical nature of diplomacy. Although “large teams of representatives” are involved in this central form of international practice, it is the “organized performances” of leaders that possess the most salience. At the same time, though, the galvanizing or catalytic dimension of leader-driven diplomacy provides new avenues and legitimation for network diplomacy, with many decisions of summits being outsourced to actors who did not participate  at the summit but possess the technical knowledge, institutional credibility, and resources to enhance results.

Andrew F. Cooper. The changing nature of diplomacy. In: Andrew F. Cooper and Jorge Heine.

The Oxford Handbook of Modern Diplomacy.Oxford:

Oxford University Press, 2013. p. 36 (adapted).

01. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In reference to the text, decide whether the following statements are right (C) or wrong (E).

1 The hierarchical structure of the diplomatic services in the 21st century is remarkably different from that prevalent in the previous centuries.
2 In the first paragraph, the author presents the main ideas he collected from “Most of the recent scholarly works” (R.1) on which his argument is built along the text.
3 The text presents an opposition between club diplomacy and network diplomacy, which are different and irreconcilable ways of settling international conflicts.
4 Discussions about inclusiveness and diversity in diplomatic circles have led to the expansion of the power of some countries.

02. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In relation to the content and the vocabulary of the text, decide whether the following statements are right (C) or wrong (E).

1 From the third paragraph, it is correct to infer that the more complex the diplomatic scenario, the more necessary the presence of leaders is.
2 As far as textual unity is concerned, “Yet” provides a transition from the first to the second paragraphs, and establishes a contrast between the ideas in each of them.
3 The expressions “two level games” (R.7) and “double-edged diplomacy” (R.8) refer to a kind of diplomacy characterized by the presence of two types of actors: political leaders and technical diplomats.
4 The idea expressed by the fragment “diversity of principals, agents, and intermediaries” (R. 21 and 22) stands in sharp contrast to the one introduced by “horizontal breadth with an open-ended nature” (R. 24 and 25).

03. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

Each of the fragments from the text presented below is followed by a suggestion of rewriting. Decide whether the suggestion given maintains the meaning, coherence and grammar correction of the text (C) or not (E).

1 “At odds with” (R.24): As bizarre as
2 “make the necessary trade-offs to allow deadlocks to be broken” (R.33 and 34): strike a compromise as a way out of an impasse
3 “to encompass a myriad set of issue areas” (R.11): to comprise a vast range of fields of interest
4 “To showcase this phenomenon, however, is no to suggest ossification” (R. 27 and 28): Highlighting this fact does not amount to acknowledging stagnation.

➧ TEXT II: Text for questions from 04 to 07.

           

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 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, 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 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 liked to be photographed from one side. It was like looking into somebody’s mind”.

Reece Mews was tiny, and apart from the studio 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 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 frugality, too.

Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 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 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.

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 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 climate-controlled archival areas. In the end, there were 7,500 items - samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, champagne boxes.

Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 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 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 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity - “he’s trying to detach from himself as well.”

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 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 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).

04. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text.

1 The two driving forces behind the Hugh Lane Gallery project were Dawson and Edwards.
2 Bacon left part of his properties to Edwards.
3 The author of the text claims that the fact that George Michael liked having his profile photographed revealed a lot about his personality.
4 Bacon believed that his inability to work in South Africa was due to the visits of his relatives.

05. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

According to the text and in reference to Bacon’s studio, decide whether the statements below are right (C) or wrong (E).

1 Bacon’s original studio was transplanted and reassembled in the Irish capital city.
2 The studio at 7 Reece Mews will soon provide an invaluable and lasting wealth of information and enjoyment for experts on Bacon’s art.
3 The interior of Bacon’s studio is in sharp contrast to Hugh Lane Gallery’s front façade.
4 Bacon’s studio was rather small but its living room was twice the size of the bedroom.

06. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

According to the information given in the text about Bacon’s personal life, his relationship with art, and his work, decide whether the statements below are right (C) or wrong (E).

1 Heinous crimes provided the seeds for Bacon’s major 

works.
2 Bacon makes a deliberate effort not to allow his personal life to take central stage in his art.
3 Bacon objected to the manner in which artists from the classical period approached violence as a subject matter.
4 The fact that Bacon ripped a considerable number of paintings is consistent with his personality but plays a minor role in understanding his art.

07. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

About the vocabulary the author uses in his text, decide whether the statements below are right (C) or wrong (E).

1 “umpteen” (L.39) could be correctly replaced by torn.
2 “cluttered” (L.35) is synonymous with scratched.
3 “prospective paintings” (L.43) can be understood as paintings about which Bacon was still thinking or planning.
4 “took delivery” (L.29) means received something that has already been paid for.

➧ TEXT III: Text for questions from 08 to 11.

           

He - for there could be no doubt of his sex, though the fashion of the time did something to disguise it - was in the act of slicing at the head of an enemy which swung from the rafters. It was the colour of an old football, and more or less the shape of one, save for the sunken cheeks and a strand or two of coarse, dry hair, like the hair on a coconut. Orlando’s father, or perhaps his grandfather, had struck it from the shoulders of a vast Pagan who had started up under the moon in the barbarian fields of Africa; and now it swung, gently, perpetually, in the breeze which never ceased blowing through the attic rooms of the gigantic house of the lord who had slain him.

Orlando’s fathers had ridden in fields of asphodel, and stony fields, and fields watered by strange rivers, and they had struck many heads of many colours off many shoulders, and brought them back to hang from the rafters. So too would Orlando, he vowed. But since he was sixteen only, and too young to ride with them in Africa or France, he would steal away from his mother and the peacocks in the garden and go to his attic room and there lunge and plunge and slice the air with his blade. (…)

His fathers had been noble since they had been at all. They came out of the northern mists wearing coronets on their heads. Were not the bars of darkness in the room, and the yellow pools which chequered the floor, made by the sun falling through the stained glass of a vast coat of arms in the window? Orlando stood now in the midst of the yellow body of a heraldic leopard. When he put his hand on the window-sill to push the window open, it was instantly coloured red, blue, and yellow like a butterfly’s wing.

Thus, those who like symbols, and have a turn for the deciphering of them, might observe that though the shapely legs, the handsome body, and the well-set shoulders were all of them decorated with various tints of heraldic light, Orlando’s face, as he threw the window open, was lit solely by the sun itself. A more candid, sullen face it would be impossible to find. Happy the mother who bears, happier still the biographer who records the life of such a one! Never need she vex herself, nor he invokes the help of novelist or poet. From deed to deed, from glory to glory, from office to office he must go, his scribe following after, till they reach whatever seat it may be that is the height of their desire. Orlando, to look at, was cut out precisely for some such career. The red of the cheeks was covered with peach down; the down on the lips was only a little thicker than the down on the cheeks. The lips themselves were short and slightly drawn back over teeth of an exquisite and almond whiteness. Nothing disturbed the arrowy nose in its short, tense flight; the hair was dark, the ears small, and fitted closely to the head. But, alas, that these catalogues of youthful beauty cannot end without mentioning forehead and eyes. Alas, that people are seldom born devoid of all three; for directly we glance at Orlando standing by the window, we must admit that he had eyes like drenched violets, so large that the water seemed to have brimmed in them and widened them; and a brow like the swelling of a marble dome pressed between the two blank medallions which were his temples. Directly we glance at eyes and forehead, thus do we rhapsodize. Directly we glance at eyes and forehead, we have to admit a thousand disagreeables which it is the aim of every good biographer to ignore.

Virginia Woolf. Orlando – A biography, 1928 (adapted).

08. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

According to the text, decide whether the following statements are right (C) or wrong (E).
1 Lunging, plunging and slicing the air with a blade were activities with which Orlando engaged as some sort of rehearsal for the roles he believed he would eventually play.
2 Orlando acquired, from an early age on, a disconcerting habit of cross-dressing.
3 One could find some live animals up in the attic of Orlando’s house.
4 Orlando cut a striking figure.

09. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In relation to Orlando’s family, decide whether the following statements are right (C) or wrong (E).

1 Orlando’s family have enjoyed their title from time immemorial.
2 Orlando’s mother was a victim of his, because he would make off with her money while she was busy in the garden.
3 Orlando’s father or his grandfather traversed vast expanses of land beheading people of different races along the way.
4 His mother, when pregnant, foresaw a life of success for Orlando, a life which would make her happy.

10. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

As far as Orlando’s physical features are concerned, decide whether the following statements are right (C) or wrong (E).

1 His eyes and brow were his most striking facial features.
2 Orlando’s lips and cheeks had a sweet fragrance reminiscent of fresh fruit.
3 There was some fine, silky, soft hair both on his lips and cheeks.
4 His teeth were not perfectly aligned and had the colour of nuts.

11. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In reference to the content of the text, its vocabulary and syntactic structure, decide whether the following statements are right (C) or wrong (E).

1 The use of the words “dome” (R.54) and “temples” (R.55) has the effect of creating a faint aura of saintliness and religiousness about Orlando.
2 By being informed that Orlando had a “sullen face”
(R. 34 and 35), the reader learns that Orlando was a serious and grave young man.
3 In lines 4, 7 and 9, although with different syntactic functions, the word it refers to the same thing: “the head of an enemy which swung from the rafters” (R. 3 and 4).
4 The repetition of single words and of phrases results in a tiresome text, one in which the author tries to tell a story but is stuck in descriptive language.

➧ TEXT IV: Text for questions 12 and 13.

     

When Memory Banda’s younger sister was forced to marry at just 11 years old, Memory became determined to ensure that no more girls had to experience her sister’s fate. Since then, this remarkable young woman from rural Malawi has helped to persuade her government to raise the minimum age of marriage across her country, and is blazing a trail for girls that we all should follow.

Memory’s sister became pregnant during a traditional sexual “cleansing ceremony”, a rite of passage in some parts of Malawi that is supposed to prepare pubescent girls for womanhood and marriage. She was forced to marry the father of her unplanned child, a man in his early 30s, and was burdened with all the responsibilities of adulthood. Now 16, she is raising three children alone; she has been unable to return to school.

The incident inspired Memory to push for a better future for girls. She became involved with a local grassroots group, Girls Empowerment Network, joining other young women and civil-society groups across Malawi to urge village authorities and parliamentary ministers to put an end to child marriages. Last month, Memory’s efforts — along with those of thousands of others — paid off, when Malawi’s government enacted a new law that sets the minimum age for marriage at 18.

Memory’s achievement is an important one. Every year, some 15 million girls are married before the age of 18, and their plight is all too often ignored. A girl forced into marriage typically faces pressure to bear children before she is physically or emotionally ready to do so. And the result can be deadly. Girls who give birth before they turn 15 are five  imes more likely to die in pregnancy or childbirth than women in their 20s.

The consequences of child marriage are lifelong. Child brides typically drop out of school, losing the chance to acquire the skills and knowledge needed to lift themselves and their families out of poverty. Like Memory’s sister, they often are married to older men — a situation that leaves them less able to ensure that they are treated well.

Education for girls is crucial to ending child marriage. The transition from primary school to secondary school is particularly important, as it usually coincides with adolescence, a period in a girl’s life that lays the foundation for success and wellbeing in womanhood. Girls with secondary education are up to six times less likely to marry early compared to girls with little or no education.

Girls must be convinced and assured of their worth, but they should not be left to end child marriage on their own. Families, communities, and societies share a joint responsibility to end it. Governments need to adopt legislation that sets 18 as the minimum age for marriage - leaving no room for exceptions such as traditional practices or parental consent - the same way that fathers, brothers, and male leaders must be engaged to care for and empower girls.

It is up to all of us to serve as role models for the girls in our lives. We have all benefited from the wisdom of our parents, partners, colleagues, and mentors. It is now up to us to nourish and nurture girls’ ambitions. Let girls be girls, not 58 brides.

Mabel van Oranje and Graça Machel. Girls, not brides. Apr. 22nd 2015. Internet: <www.project-syndicate.org> (adapted).

12. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In reference to the ideas presented in the text, decide whether the statements below are right (C) or wrong (E).

1 Programs and campaigns to end child marriage should focus on girls who are already attending secondary school.
2 The authors regard Memory Banda’s efforts as successful because she was able to get her young sister divorced from her older husband.
3 The text reveals two elements of child marriage which work together to disempower women: gender and age difference.
4 One can correctly deduce from the text that Memory’s sister became pregnant with the complicity of those involved in her cleansing ceremony.

13. (CESPE-CEBRASPE-2015-MRE-DIPLOMATA-1ª FASE)

In reference to the linguistic features of the text, decide whether the following statements are right (C) or wrong (E).

1 In the sentence “Since then (...) should follow” (R. 4 to 7), the reference to Memory’s sister is based on the fragment “this remarkable young woman” and the two occurrences of “her”.
2 By using the expression “blazing a trail” (R.6), the authors inform the reader that Memory has opened a glowing and intense path as a result of her work.
3 The adjective “grassroots” (R.17) indicates that Memory became involved with an elite group from rural areas of Malawi.
4 The meaning and the grammar correction of the extract “Every year (…) often ignored” (R. 25 to 27) are maintained if this sentence is replaced by: Annually circa 15 million girls marry before turning 18, but their predicament is ignored by all more often than not.