Inglês — CACD 2015
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Cadastre-se1 Most of the recent scholarly works on the evolutionof diplomacy highlight the added complexity in which “statesand other international actors communicate, negotiate and4otherwise interact” in the 21st century. Diplomacy has to takeinto account “the crazy-quilt nature of moderninterdependence”. Decision-making on the international stage7involves what has been depicted as “two level games” or“double-edged diplomacy”. With accentuated forms ofglobalization the scope of diplomacy as the “engine room” of10International Relations has moved beyond the traditional coreconcerns to encompass a myriad set of issue areas. And theboundaries of participation in diplomacy — and the very13definition of diplomats — have broadened as well, albeit in astill contested fashion. In a variety of ways, therefore, not onlyits methods but also its objectives are far more expansive than16ever before. Yet, while the theme of complexity radiates throughthe pages of this book, changed circumstances and the19stretching of form, scope, and intensity do not only producefragmentation but centralization in terms of purposive acts.Amid the larger debates about the diversity of principals,22agents, and intermediaries, the space in modern diplomacy forleadership by personalities at the apex of power has expanded.At odds with the counter-image of horizontal breadth with an25open-ended nature, the dynamic of 21st -century diplomacyremains highly vertically oriented and individual-centric. To showcase this phenomenon, however, is no to28suggest ossification. In terms of causation, the dependence onleaders is largely a reaction to complexity. With the shift tomulti-party, multi-channel, multi-issue negotiations, with31domestic as well as international interests and values in play,leaders are often the only actors who can cut through thecomplexity and make the necessary trade-offs to allow34deadlocks to be broken. In terms of communication and othermodes of representation, bringing in leaders differentiates andelevates issues from the bureaucratic arena.37 In terms of effect, the primacy of leaders reinforceselements of both club and network diplomacy. In its mostvisible manifestation via summit diplomacy, the image of club40diplomacy explicitly differentiates the status and role ofinsiders and outsiders and thus the hierarchical nature ofdiplomacy. Although “large teams of representatives” are43involved in this central form of international practice, it is the“organized performances” of leaders that possess the mostsalience. At the same time, though, the galvanizing or catalytic46dimension of leader-driven diplomacy provides new avenuesand legitimation for network diplomacy, with many decisionsof summits being outsourced to actors who did not participate49at the summit but possess the technical knowledge, institutionalcredibility, 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).
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.
The text presents an opposition between club diplomacy and network diplomacy, which are different and irreconcilable ways of settling international conflicts.
- 3.
In the first paragraph, the author presents the main ideas he collected from “Most of the recent scholarly works” (l.1) on which his argument is built along the text.
- 4.
Discussions about inclusiveness and diversity in diplomatic circles have led to the expansion of the power of some countries.
1 When Memory Banda’s younger sister was forced tomarry at just 11 years old, Memory became determined toensure that no more girls had to experience her sister’s fate.4Since then, this remarkable young woman from rural Malawihas helped to persuade her government to raise the minimumage of marriage across her country, and is blazing a trail for7girls that we all should follow. Memory’s sister became pregnant during a traditionalsexual “cleansing ceremony”, a rite of passage in some parts of10Malawi that is supposed to prepare pubescent girls forwomanhood and marriage. She was forced to marry the fatherof her unplanned child, a man in his early 30s, and was13burdened with all the responsibilities of adulthood. Now 16,she is raising three children alone; she has been unable toreturn to school.16 The incident inspired Memory to push for a betterfuture for girls. She became involved with a local grassrootsgroup, Girls Empowerment Network, joining other young19women and civil-society groups across Malawi to urge villageauthorities and parliamentary ministers to put an end to childmarriages. Last month, Memory’s efforts — along with those22of thousands of others — paid off, when Malawi’s governmentenacted a new law that sets the minimum age for marriageat 18.25 Memory’s achievement is an important one. Everyyear, some 15 million girls are married before the age of 18,and their plight is all too often ignored. A girl forced into28marriage typically faces pressure to bear children before she isphysically or emotionally ready to do so. And the result can bedeadly. Girls who give birth before they turn 15 are five times31more likely to die in pregnancy or childbirth than women intheir 20s. The consequences of child marriage are lifelong.34Child brides typically drop out of school, losing the chance toacquire the skills and knowledge needed to lift themselves andtheir families out of poverty. Like Memory’s sister, they often37are married to older men — a situation that leaves them lessable to ensure that they are treated well. Education for girls is crucial to ending child marriage.40The transition from primary school to secondary school isparticularly important, as it usually coincides with adolescence,a period in a girl’s life that lays the foundation for success and43wellbeing in womanhood. Girls with secondary education areup to six times less likely to marry early compared to girls withlittle or no education.46 Girls must be convinced and assured of their worth,but they should not be left to end child marriage on theirown. Families, communities, and societies share a joint49responsibility to end it. Governments need to adopt legislationthat sets 18 as the minimum age for marriage — leaving noroom for exceptions such as traditional practices or parental52consent — the same way that fathers, brothers, and maleleaders must be engaged to care for and empower girls. It is up to all of us to serve as role models for the girls55in our lives. We have all benefited from the wisdom of ourparents, partners, colleagues, and mentors. It is now up to us tonourish and nurture girls’ ambitions. Let girls be girls, not58brides.
Mabel van Oranje and Graça Machel. Girls, not brides. Apr. nd 2015. Internet: <www.project-syndicate.org> (adapted).
In reference to the linguistic features of the text, decide whether the following statements are right (C) or wrong (E).
- 5.
By using the expression “blazing a trail” (l.6), the authors inform the reader that Memory has opened a glowing and intense path as a result of her work.
- 6.
The adjective “grassroots” (l.17) indicates that Memory became involved with an elite group from rural areas of Malawi.
- 7.
The meaning and the grammar correction of the extract “Every year (…) often ignored” (l. 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.
- 8.
In the sentence “Since then (...) should follow” (l. 4 to 7), the reference to Memory’s sister is based on the fragment “this remarkable young woman” and the two occurrences of “her”.
1 He — for there could be no doubt of his sex, thoughthe fashion of the time did something to disguise it — was inthe act of slicing at the head of an enemy which swung from4the rafters. It was the colour of an old football, and more orless the shape of one, save for the sunken cheeks and a strandor two of coarse, dry hair, like the hair on a coconut. Orlando’s7father, or perhaps his grandfather, had struck it from theshoulders of a vast Pagan who had started up under the moonin the barbarian fields of Africa; and now it swung, gently,10perpetually, in the breeze which never ceased blowing throughthe attic rooms of the gigantic house of the lord who had slainhim.13 Orlando’s fathers had ridden in fields of asphodel,and stony fields, and fields watered by strange rivers, and theyhad struck many heads of many colours off many shoulders,16and brought them back to hang from the rafters. So too wouldOrlando, he vowed. But since he was sixteen only, and tooyoung to ride with them in Africa or France, he would steal19away from his mother and the peacocks in the garden and go tohis attic room and there lunge and plunge and slice the air withhis blade. (…) His fathers had been noble since they had been22at all. They came out of the northern mists wearing coronets ontheir heads. Were not the bars of darkness in the room, and theyellow pools which chequered the floor, made by the sun25falling through the stained glass of a vast coat of arms in thewindow? Orlando stood now in the midst of the yellow bodyof a heraldic leopard. When he put his hand on the window-sill28to push the window open, it was instantly coloured red, blue,and yellow like a butterfly’s wing. Thus, those who likesymbols, and have a turn for the deciphering of them, might31observe that though the shapely legs, the handsome body, andthe well-set shoulders were all of them decorated with varioustints of heraldic light, Orlando’s face, as he threw the window34open, was lit solely by the sun itself. A more candid, sullenface it would be impossible to find. Happy the mother whobears, happier still the biographer who records the life of such37a one! Never need she vex herself, nor he invokes the help ofnovelist or poet. From deed to deed, from glory to glory, fromoffice to office he must go, his scribe following after, till they40reach 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 down43on the lips was only a little thicker than the down on thecheeks. The lips themselves were short and slightly drawn backover teeth of an exquisite and almond whiteness. Nothing46disturbed the arrowy nose in its short, tense flight; the hair wasdark, the ears small, and fitted closely to the head. But, alas,that these catalogues of youthful beauty cannot end without49mentioning forehead and eyes. Alas, that people are seldomborn devoid of all three; for directly we glance at Orlandostanding by the window, we must admit that he had eyes like52drenched violets, so large that the water seemed to havebrimmed in them and widened them; and a brow like theswelling of a marble dome pressed between the two blank55medallions which were his temples. Directly we glance at eyesand forehead, thus do we rhapsodize. Directly we glance ateyes and forehead, we have to admit a thousand disagreeables58which it is the aim of every good biographer to ignore.
Virginia Woolf. Orlando – A biography, 1928 (adapted).
In reference to the content of the text, its vocabulary and syntactic structure, decide whether the following statements are right (C) or wrong (E).
- 9.
By being informed that Orlando had a “sullen face” (l. 34 and 35), the reader learns that Orlando was a serious and grave young man.
- 10.
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” (l. 3 and 4).
- 11.
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.
- 12.
The use of the words “dome” (l.54) and “temples” (l.55) has the effect of creating a faint aura of saintliness and religiousness about Orlando.
1 Barbara Dawson, director of the Hugh Lane Galleryin Dublin, remembers very clearly the day in 1997 when sheclimbed the steep stairs and entered Francis Bacon’s studio at47 Reece Mews, South Kensington. It had been left the way itwas when he passed away, on April 28 1992, and it was achaos of slashed canvases, paint-splashed walls, cloths,7brushes, champagne boxes, and a large mirror. She stood andstared for a long time, in a kind of incredulity, “and actually itbecame quite beautiful.” She began to see “paths cut through10it,” and details. “The last unfinished painting was on the easelwhen I went in there, and on the floor underneath the easel wasa short article on George Michael, the singer, about how he13liked to be photographed from one side. It was like lookinginto somebody’s mind”. 7 Reece Mews was tiny, and apart from the studio16consisted of two rooms — a kitchen that contained a bath, anda living room that doubled as a bedroom. The studio had oneskylight, and Bacon usually worked there in the mornings. He19tried to paint elsewhere — in South Africa, for example, whenhe was visiting family, but couldn’t. (Too much light, was therather surprising objection.) He liked the size and general22frugality, too. Dawson recognised that the studio was the making ofBacon’s art in a more profound sense than just being a25comfortable space to paint in, and determined that it should notbe dismantled. John Edwards, to whom Bacon had bequeathedReece Mews, felt similarly, and after months of painstaking28cataloguing by archaeologists, conservators and photographers,the Hugh Lane Gallery took delivery of the studio, in 1998. Itwas opened to the public in 2001.31 What is visible now, in a climate-controlled corner ofthe gallery, a gracious neo-classical building on Parnell Squarein Dublin, is in fact a kind of faithful “skin” of objects; the34tables and chairs have all been returned to their original places,the work surfaces seem as cluttered as they were — but thedeep stuff, the bedrock, has been removed and is kept in37climate-controlled archival areas. In the end, there were 7,500items — samples of painting materials, photographs, slashedcanvasses, umpteen handwritten notes, drawings, books,40champagne boxes. Bacon was homosexual at a time when it was stillillegal, and while he was open about his sexuality, his notes for43prospective paintings refer to “bed[s] of crime]”, and hishomosexuality was felt as an affliction, says Dawson. It wasn’teasy. The sense of guilt is apparent in his work, as well as his46fascination with violence. “His collections of pictures, deadbodies, or depictions of violence — he’s not looking atviolence from the classic liberal position”. It was all, concedes49Dawson, accompanied by intellectual rigour, and an insistentattempt at objectivity — “he’s trying to detach from himself aswell.”52 Everything was grist, and in his studio even his ownart fed other art. He returned to his own work obsessively,repeating and augmenting. And of course, he responded55negatively — and violently — as well as positively; a hundredis a lot of slashed canvasses to keep around you when you’reworking, especially when they are so deliberately slashed. In58a way, all this might serve as a metaphor for the importance ofour understanding of his studio as a whole.
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
About the vocabulary the author uses in his text, decide whether the statements below are right (C) or wrong (E).
- 13.
“umpteen” (l.39) could be correctly replaced by torn.
- 14.
“took delivery” (l.29) means received something that has already been paid for.
- 15.
“prospective paintings” (l.43) can be understood as paintings about which Bacon was still thinking or planning.
- 16.
“cluttered” (l.35) is synonymous with scratched.
1 When Memory Banda’s younger sister was forced tomarry at just 11 years old, Memory became determined toensure that no more girls had to experience her sister’s fate.4Since then, this remarkable young woman from rural Malawihas helped to persuade her government to raise the minimumage of marriage across her country, and is blazing a trail for7girls that we all should follow. Memory’s sister became pregnant during a traditionalsexual “cleansing ceremony”, a rite of passage in some parts of10Malawi that is supposed to prepare pubescent girls forwomanhood and marriage. She was forced to marry the fatherof her unplanned child, a man in his early 30s, and was13burdened with all the responsibilities of adulthood. Now 16,she is raising three children alone; she has been unable toreturn to school.16 The incident inspired Memory to push for a betterfuture for girls. She became involved with a local grassrootsgroup, Girls Empowerment Network, joining other young19women and civil-society groups across Malawi to urge villageauthorities and parliamentary ministers to put an end to childmarriages. Last month, Memory’s efforts — along with those22of thousands of others — paid off, when Malawi’s governmentenacted a new law that sets the minimum age for marriageat 18.25 Memory’s achievement is an important one. Everyyear, some 15 million girls are married before the age of 18,and their plight is all too often ignored. A girl forced into28marriage typically faces pressure to bear children before she isphysically or emotionally ready to do so. And the result can bedeadly. Girls who give birth before they turn 15 are five times31more likely to die in pregnancy or childbirth than women intheir 20s. The consequences of child marriage are lifelong.34Child brides typically drop out of school, losing the chance toacquire the skills and knowledge needed to lift themselves andtheir families out of poverty. Like Memory’s sister, they often37are married to older men — a situation that leaves them lessable to ensure that they are treated well. Education for girls is crucial to ending child marriage.40The transition from primary school to secondary school isparticularly important, as it usually coincides with adolescence,a period in a girl’s life that lays the foundation for success and43wellbeing in womanhood. Girls with secondary education areup to six times less likely to marry early compared to girls withlittle or no education.46 Girls must be convinced and assured of their worth,but they should not be left to end child marriage on theirown. Families, communities, and societies share a joint49responsibility to end it. Governments need to adopt legislationthat sets 18 as the minimum age for marriage — leaving noroom for exceptions such as traditional practices or parental52consent — the same way that fathers, brothers, and maleleaders must be engaged to care for and empower girls. It is up to all of us to serve as role models for the girls55in our lives. We have all benefited from the wisdom of ourparents, partners, colleagues, and mentors. It is now up to us tonourish and nurture girls’ ambitions. Let girls be girls, not58brides.
Mabel van Oranje and Graça Machel. Girls, not brides. Apr. nd 2015. Internet: <www.project-syndicate.org> (adapted).
In reference to the ideas presented in the text, decide whether the statements below are right (C) or wrong (E).
- 17.
The authors regard Memory Banda’s efforts as successful because she was able to get her young sister divorced from her older husband.
- 18.
One can correctly deduce from the text that Memory’s sister became pregnant with the complicity of those involved in her cleansing ceremony.
- 19.
Programs and campaigns to end child marriage should focus on girls who are already attending secondary school.
- 20.
The text reveals two elements of child marriage which work together to disempower women: gender and age difference.
1 Barbara Dawson, director of the Hugh Lane Galleryin Dublin, remembers very clearly the day in 1997 when sheclimbed the steep stairs and entered Francis Bacon’s studio at47 Reece Mews, South Kensington. It had been left the way itwas when he passed away, on April 28 1992, and it was achaos of slashed canvases, paint-splashed walls, cloths,7brushes, champagne boxes, and a large mirror. She stood andstared for a long time, in a kind of incredulity, “and actually itbecame quite beautiful.” She began to see “paths cut through10it,” and details. “The last unfinished painting was on the easelwhen I went in there, and on the floor underneath the easel wasa short article on George Michael, the singer, about how he13liked to be photographed from one side. It was like lookinginto somebody’s mind”. 7 Reece Mews was tiny, and apart from the studio16consisted of two rooms — a kitchen that contained a bath, anda living room that doubled as a bedroom. The studio had oneskylight, and Bacon usually worked there in the mornings. He19tried to paint elsewhere — in South Africa, for example, whenhe was visiting family, but couldn’t. (Too much light, was therather surprising objection.) He liked the size and general22frugality, too. Dawson recognised that the studio was the making ofBacon’s art in a more profound sense than just being a25comfortable space to paint in, and determined that it should notbe dismantled. John Edwards, to whom Bacon had bequeathedReece Mews, felt similarly, and after months of painstaking28cataloguing by archaeologists, conservators and photographers,the Hugh Lane Gallery took delivery of the studio, in 1998. Itwas opened to the public in 2001.31 What is visible now, in a climate-controlled corner ofthe gallery, a gracious neo-classical building on Parnell Squarein Dublin, is in fact a kind of faithful “skin” of objects; the34tables and chairs have all been returned to their original places,the work surfaces seem as cluttered as they were — but thedeep stuff, the bedrock, has been removed and is kept in37climate-controlled archival areas. In the end, there were 7,500items — samples of painting materials, photographs, slashedcanvasses, umpteen handwritten notes, drawings, books,40champagne boxes. Bacon was homosexual at a time when it was stillillegal, and while he was open about his sexuality, his notes for43prospective paintings refer to “bed[s] of crime]”, and hishomosexuality was felt as an affliction, says Dawson. It wasn’teasy. The sense of guilt is apparent in his work, as well as his46fascination with violence. “His collections of pictures, deadbodies, or depictions of violence — he’s not looking atviolence from the classic liberal position”. It was all, concedes49Dawson, accompanied by intellectual rigour, and an insistentattempt at objectivity — “he’s trying to detach from himself aswell.”52 Everything was grist, and in his studio even his ownart fed other art. He returned to his own work obsessively,repeating and augmenting. And of course, he responded55negatively — and violently — as well as positively; a hundredis a lot of slashed canvasses to keep around you when you’reworking, especially when they are so deliberately slashed. In58a way, all this might serve as a metaphor for the importance ofour 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.
- 21.
The author of the text claims that the fact that George Michael liked having his profile photographed revealed a lot about his personality.
- 22.
Bacon left part of his properties to Edwards.
- 23.
Bacon believed that his inability to work in South Africa was due to the visits of his relatives.
- 24.
The two driving forces behind the Hugh Lane Gallery project were Dawson and Edwards.
1 Barbara Dawson, director of the Hugh Lane Galleryin Dublin, remembers very clearly the day in 1997 when sheclimbed the steep stairs and entered Francis Bacon’s studio at47 Reece Mews, South Kensington. It had been left the way itwas when he passed away, on April 28 1992, and it was achaos of slashed canvases, paint-splashed walls, cloths,7brushes, champagne boxes, and a large mirror. She stood andstared for a long time, in a kind of incredulity, “and actually itbecame quite beautiful.” She began to see “paths cut through10it,” and details. “The last unfinished painting was on the easelwhen I went in there, and on the floor underneath the easel wasa short article on George Michael, the singer, about how he13liked to be photographed from one side. It was like lookinginto somebody’s mind”. 7 Reece Mews was tiny, and apart from the studio16consisted of two rooms — a kitchen that contained a bath, anda living room that doubled as a bedroom. The studio had oneskylight, and Bacon usually worked there in the mornings. He19tried to paint elsewhere — in South Africa, for example, whenhe was visiting family, but couldn’t. (Too much light, was therather surprising objection.) He liked the size and general22frugality, too. Dawson recognised that the studio was the making ofBacon’s art in a more profound sense than just being a25comfortable space to paint in, and determined that it should notbe dismantled. John Edwards, to whom Bacon had bequeathedReece Mews, felt similarly, and after months of painstaking28cataloguing by archaeologists, conservators and photographers,the Hugh Lane Gallery took delivery of the studio, in 1998. Itwas opened to the public in 2001.31 What is visible now, in a climate-controlled corner ofthe gallery, a gracious neo-classical building on Parnell Squarein Dublin, is in fact a kind of faithful “skin” of objects; the34tables and chairs have all been returned to their original places,the work surfaces seem as cluttered as they were — but thedeep stuff, the bedrock, has been removed and is kept in37climate-controlled archival areas. In the end, there were 7,500items — samples of painting materials, photographs, slashedcanvasses, umpteen handwritten notes, drawings, books,40champagne boxes. Bacon was homosexual at a time when it was stillillegal, and while he was open about his sexuality, his notes for43prospective paintings refer to “bed[s] of crime]”, and hishomosexuality was felt as an affliction, says Dawson. It wasn’teasy. The sense of guilt is apparent in his work, as well as his46fascination with violence. “His collections of pictures, deadbodies, or depictions of violence — he’s not looking atviolence from the classic liberal position”. It was all, concedes49Dawson, accompanied by intellectual rigour, and an insistentattempt at objectivity — “he’s trying to detach from himself aswell.”52 Everything was grist, and in his studio even his ownart fed other art. He returned to his own work obsessively,repeating and augmenting. And of course, he responded55negatively — and violently — as well as positively; a hundredis a lot of slashed canvasses to keep around you when you’reworking, especially when they are so deliberately slashed. In58a way, all this might serve as a metaphor for the importance ofour understanding of his studio as a whole.
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
According to the text and in reference to Bacon’s studio, decide whether the statements below are right (C) or wrong (E).
- 25.
Bacon’s studio was rather small but its living room was twice the size of the bedroom.
- 26.
The studio at 7 Reece Mews will soon provide an invaluable and lasting wealth of information and enjoyment for experts on Bacon’s art.
- 27.
Bacon’s original studio was transplanted and reassembled in the Irish capital city.
- 28.
The interior of Bacon’s studio is in sharp contrast to Hugh Lane Gallery’s front façade.
1 He — for there could be no doubt of his sex, thoughthe fashion of the time did something to disguise it — was inthe act of slicing at the head of an enemy which swung from4the rafters. It was the colour of an old football, and more orless the shape of one, save for the sunken cheeks and a strandor two of coarse, dry hair, like the hair on a coconut. Orlando’s7father, or perhaps his grandfather, had struck it from theshoulders of a vast Pagan who had started up under the moonin the barbarian fields of Africa; and now it swung, gently,10perpetually, in the breeze which never ceased blowing throughthe attic rooms of the gigantic house of the lord who had slainhim.13 Orlando’s fathers had ridden in fields of asphodel,and stony fields, and fields watered by strange rivers, and theyhad struck many heads of many colours off many shoulders,16and brought them back to hang from the rafters. So too wouldOrlando, he vowed. But since he was sixteen only, and tooyoung to ride with them in Africa or France, he would steal19away from his mother and the peacocks in the garden and go tohis attic room and there lunge and plunge and slice the air withhis blade. (…) His fathers had been noble since they had been22at all. They came out of the northern mists wearing coronets ontheir heads. Were not the bars of darkness in the room, and theyellow pools which chequered the floor, made by the sun25falling through the stained glass of a vast coat of arms in thewindow? Orlando stood now in the midst of the yellow bodyof a heraldic leopard. When he put his hand on the window-sill28to push the window open, it was instantly coloured red, blue,and yellow like a butterfly’s wing. Thus, those who likesymbols, and have a turn for the deciphering of them, might31observe that though the shapely legs, the handsome body, andthe well-set shoulders were all of them decorated with varioustints of heraldic light, Orlando’s face, as he threw the window34open, was lit solely by the sun itself. A more candid, sullenface it would be impossible to find. Happy the mother whobears, happier still the biographer who records the life of such37a one! Never need she vex herself, nor he invokes the help ofnovelist or poet. From deed to deed, from glory to glory, fromoffice to office he must go, his scribe following after, till they40reach 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 down43on the lips was only a little thicker than the down on thecheeks. The lips themselves were short and slightly drawn backover teeth of an exquisite and almond whiteness. Nothing46disturbed the arrowy nose in its short, tense flight; the hair wasdark, the ears small, and fitted closely to the head. But, alas,that these catalogues of youthful beauty cannot end without49mentioning forehead and eyes. Alas, that people are seldomborn devoid of all three; for directly we glance at Orlandostanding by the window, we must admit that he had eyes like52drenched violets, so large that the water seemed to havebrimmed in them and widened them; and a brow like theswelling of a marble dome pressed between the two blank55medallions which were his temples. Directly we glance at eyesand forehead, thus do we rhapsodize. Directly we glance ateyes and forehead, we have to admit a thousand disagreeables58which it is the aim of every good biographer to ignore.
Virginia Woolf. Orlando – A biography, 1928 (adapted).
In relation to Orlando’s family, decide whether the following statements are right (C) or wrong (E).
- 29.
Orlando’s father or his grandfather traversed vast expanses of land beheading people of different races along the way.
- 30.
Orlando’s family have enjoyed their title from time immemorial.
- 31.
Orlando’s mother was a victim of his, because he would make off with her money while she was busy in the garden.
- 32.
His mother, when pregnant, foresaw a life of success for Orlando, a life which would make her happy.
1 He — for there could be no doubt of his sex, thoughthe fashion of the time did something to disguise it — was inthe act of slicing at the head of an enemy which swung from4the rafters. It was the colour of an old football, and more orless the shape of one, save for the sunken cheeks and a strandor two of coarse, dry hair, like the hair on a coconut. Orlando’s7father, or perhaps his grandfather, had struck it from theshoulders of a vast Pagan who had started up under the moonin the barbarian fields of Africa; and now it swung, gently,10perpetually, in the breeze which never ceased blowing throughthe attic rooms of the gigantic house of the lord who had slainhim.13 Orlando’s fathers had ridden in fields of asphodel,and stony fields, and fields watered by strange rivers, and theyhad struck many heads of many colours off many shoulders,16and brought them back to hang from the rafters. So too wouldOrlando, he vowed. But since he was sixteen only, and tooyoung to ride with them in Africa or France, he would steal19away from his mother and the peacocks in the garden and go tohis attic room and there lunge and plunge and slice the air withhis blade. (…) His fathers had been noble since they had been22at all. They came out of the northern mists wearing coronets ontheir heads. Were not the bars of darkness in the room, and theyellow pools which chequered the floor, made by the sun25falling through the stained glass of a vast coat of arms in thewindow? Orlando stood now in the midst of the yellow bodyof a heraldic leopard. When he put his hand on the window-sill28to push the window open, it was instantly coloured red, blue,and yellow like a butterfly’s wing. Thus, those who likesymbols, and have a turn for the deciphering of them, might31observe that though the shapely legs, the handsome body, andthe well-set shoulders were all of them decorated with varioustints of heraldic light, Orlando’s face, as he threw the window34open, was lit solely by the sun itself. A more candid, sullenface it would be impossible to find. Happy the mother whobears, happier still the biographer who records the life of such37a one! Never need she vex herself, nor he invokes the help ofnovelist or poet. From deed to deed, from glory to glory, fromoffice to office he must go, his scribe following after, till they40reach 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 down43on the lips was only a little thicker than the down on thecheeks. The lips themselves were short and slightly drawn backover teeth of an exquisite and almond whiteness. Nothing46disturbed the arrowy nose in its short, tense flight; the hair wasdark, the ears small, and fitted closely to the head. But, alas,that these catalogues of youthful beauty cannot end without49mentioning forehead and eyes. Alas, that people are seldomborn devoid of all three; for directly we glance at Orlandostanding by the window, we must admit that he had eyes like52drenched violets, so large that the water seemed to havebrimmed in them and widened them; and a brow like theswelling of a marble dome pressed between the two blank55medallions which were his temples. Directly we glance at eyesand forehead, thus do we rhapsodize. Directly we glance ateyes and forehead, we have to admit a thousand disagreeables58which it is the aim of every good biographer to ignore.
Virginia Woolf. Orlando – A biography, 1928 (adapted).
As far as Orlando’s physical features are concerned, decide whether the following statements are right (C) or wrong (E).
- 33.
His eyes and brow were his most striking facial features.
- 34.
Orlando’s lips and cheeks had a sweet fragrance reminiscent of fresh fruit.
- 35.
His teeth were not perfectly aligned and had the colour of nuts.
- 36.
There was some fine, silky, soft hair both on his lips and cheeks.
1 Most of the recent scholarly works on the evolutionof diplomacy highlight the added complexity in which “statesand other international actors communicate, negotiate and4otherwise interact” in the 21st century. Diplomacy has to takeinto account “the crazy-quilt nature of moderninterdependence”. Decision-making on the international stage7involves what has been depicted as “two level games” or“double-edged diplomacy”. With accentuated forms ofglobalization the scope of diplomacy as the “engine room” of10International Relations has moved beyond the traditional coreconcerns to encompass a myriad set of issue areas. And theboundaries of participation in diplomacy — and the very13definition of diplomats — have broadened as well, albeit in astill contested fashion. In a variety of ways, therefore, not onlyits methods but also its objectives are far more expansive than16ever before. Yet, while the theme of complexity radiates throughthe pages of this book, changed circumstances and the19stretching of form, scope, and intensity do not only producefragmentation but centralization in terms of purposive acts.Amid the larger debates about the diversity of principals,22agents, and intermediaries, the space in modern diplomacy forleadership by personalities at the apex of power has expanded.At odds with the counter-image of horizontal breadth with an25open-ended nature, the dynamic of 21st -century diplomacyremains highly vertically oriented and individual-centric. To showcase this phenomenon, however, is no to28suggest ossification. In terms of causation, the dependence onleaders is largely a reaction to complexity. With the shift tomulti-party, multi-channel, multi-issue negotiations, with31domestic as well as international interests and values in play,leaders are often the only actors who can cut through thecomplexity and make the necessary trade-offs to allow34deadlocks to be broken. In terms of communication and othermodes of representation, bringing in leaders differentiates andelevates issues from the bureaucratic arena.37 In terms of effect, the primacy of leaders reinforceselements of both club and network diplomacy. In its mostvisible manifestation via summit diplomacy, the image of club40diplomacy explicitly differentiates the status and role ofinsiders and outsiders and thus the hierarchical nature ofdiplomacy. Although “large teams of representatives” are43involved in this central form of international practice, it is the“organized performances” of leaders that possess the mostsalience. At the same time, though, the galvanizing or catalytic46dimension of leader-driven diplomacy provides new avenuesand legitimation for network diplomacy, with many decisionsof summits being outsourced to actors who did not participate49at the summit but possess the technical knowledge, institutionalcredibility, 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).
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).
- 37.
“At odds with” (l.24): As bizarre as
- 38.
“To showcase this phenomenon, however, is no to suggest ossification” (l. 27 and 28): Highlighting this fact does not amount to acknowledging stagnation
Item anulado pela banca
- 39.
“make the necessary trade-offs to allow deadlocks to be broken” (l. 33 and 34): strike a compromise as a way out of an impasse
- 40.
“to encompass a myriad set of issue areas” (l.11): to comprise a vast range of fields of interest
1 He — for there could be no doubt of his sex, thoughthe fashion of the time did something to disguise it — was inthe act of slicing at the head of an enemy which swung from4the rafters. It was the colour of an old football, and more orless the shape of one, save for the sunken cheeks and a strandor two of coarse, dry hair, like the hair on a coconut. Orlando’s7father, or perhaps his grandfather, had struck it from theshoulders of a vast Pagan who had started up under the moonin the barbarian fields of Africa; and now it swung, gently,10perpetually, in the breeze which never ceased blowing throughthe attic rooms of the gigantic house of the lord who had slainhim.13 Orlando’s fathers had ridden in fields of asphodel,and stony fields, and fields watered by strange rivers, and theyhad struck many heads of many colours off many shoulders,16and brought them back to hang from the rafters. So too wouldOrlando, he vowed. But since he was sixteen only, and tooyoung to ride with them in Africa or France, he would steal19away from his mother and the peacocks in the garden and go tohis attic room and there lunge and plunge and slice the air withhis blade. (…) His fathers had been noble since they had been22at all. They came out of the northern mists wearing coronets ontheir heads. Were not the bars of darkness in the room, and theyellow pools which chequered the floor, made by the sun25falling through the stained glass of a vast coat of arms in thewindow? Orlando stood now in the midst of the yellow bodyof a heraldic leopard. When he put his hand on the window-sill28to push the window open, it was instantly coloured red, blue,and yellow like a butterfly’s wing. Thus, those who likesymbols, and have a turn for the deciphering of them, might31observe that though the shapely legs, the handsome body, andthe well-set shoulders were all of them decorated with varioustints of heraldic light, Orlando’s face, as he threw the window34open, was lit solely by the sun itself. A more candid, sullenface it would be impossible to find. Happy the mother whobears, happier still the biographer who records the life of such37a one! Never need she vex herself, nor he invokes the help ofnovelist or poet. From deed to deed, from glory to glory, fromoffice to office he must go, his scribe following after, till they40reach 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 down43on the lips was only a little thicker than the down on thecheeks. The lips themselves were short and slightly drawn backover teeth of an exquisite and almond whiteness. Nothing46disturbed the arrowy nose in its short, tense flight; the hair wasdark, the ears small, and fitted closely to the head. But, alas,that these catalogues of youthful beauty cannot end without49mentioning forehead and eyes. Alas, that people are seldomborn devoid of all three; for directly we glance at Orlandostanding by the window, we must admit that he had eyes like52drenched violets, so large that the water seemed to havebrimmed in them and widened them; and a brow like theswelling of a marble dome pressed between the two blank55medallions which were his temples. Directly we glance at eyesand forehead, thus do we rhapsodize. Directly we glance ateyes and forehead, we have to admit a thousand disagreeables58which it is the aim of every good biographer to ignore.
Virginia Woolf. Orlando – A biography, 1928 (adapted).
According to the text, decide whether the following statements are right (C) or wrong (E).
- 41.
Orlando cut a striking figure.
- 42.
One could find some live animals up in the attic of Orlando’s house.
- 43.
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.
- 44.
Orlando acquired, from an early age on, a disconcerting habit of cross-dressing.
1 Most of the recent scholarly works on the evolutionof diplomacy highlight the added complexity in which “statesand other international actors communicate, negotiate and4otherwise interact” in the 21st century. Diplomacy has to takeinto account “the crazy-quilt nature of moderninterdependence”. Decision-making on the international stage7involves what has been depicted as “two level games” or“double-edged diplomacy”. With accentuated forms ofglobalization the scope of diplomacy as the “engine room” of10International Relations has moved beyond the traditional coreconcerns to encompass a myriad set of issue areas. And theboundaries of participation in diplomacy — and the very13definition of diplomats — have broadened as well, albeit in astill contested fashion. In a variety of ways, therefore, not onlyits methods but also its objectives are far more expansive than16ever before. Yet, while the theme of complexity radiates throughthe pages of this book, changed circumstances and the19stretching of form, scope, and intensity do not only producefragmentation but centralization in terms of purposive acts.Amid the larger debates about the diversity of principals,22agents, and intermediaries, the space in modern diplomacy forleadership by personalities at the apex of power has expanded.At odds with the counter-image of horizontal breadth with an25open-ended nature, the dynamic of 21st -century diplomacyremains highly vertically oriented and individual-centric. To showcase this phenomenon, however, is no to28suggest ossification. In terms of causation, the dependence onleaders is largely a reaction to complexity. With the shift tomulti-party, multi-channel, multi-issue negotiations, with31domestic as well as international interests and values in play,leaders are often the only actors who can cut through thecomplexity and make the necessary trade-offs to allow34deadlocks to be broken. In terms of communication and othermodes of representation, bringing in leaders differentiates andelevates issues from the bureaucratic arena.37 In terms of effect, the primacy of leaders reinforceselements of both club and network diplomacy. In its mostvisible manifestation via summit diplomacy, the image of club40diplomacy explicitly differentiates the status and role ofinsiders and outsiders and thus the hierarchical nature ofdiplomacy. Although “large teams of representatives” are43involved in this central form of international practice, it is the“organized performances” of leaders that possess the mostsalience. At the same time, though, the galvanizing or catalytic46dimension of leader-driven diplomacy provides new avenuesand legitimation for network diplomacy, with many decisionsof summits being outsourced to actors who did not participate49at the summit but possess the technical knowledge, institutionalcredibility, 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).
In relation to the content and the vocabulary of the text, decide whether the following statements are right (C) or wrong (E).
- 45.
The idea expressed by the fragment “diversity of principals, agents, and intermediaries” (l. 21 and 22) stands in sharp contrast to the one introduced by “horizontal breadth with an open-ended nature” (l. 24 and 25).
- 46.
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.
- 47.
The expressions “two level games” (l.7) and “double-edged diplomacy” (l.8) refer to a kind of diplomacy characterized by the presence of two types of actors: political leaders and technical diplomats.
- 48.
From the third paragraph, it is correct to infer that the more complex the diplomatic scenario, the more necessary the presence of leaders is.
1 Barbara Dawson, director of the Hugh Lane Galleryin Dublin, remembers very clearly the day in 1997 when sheclimbed the steep stairs and entered Francis Bacon’s studio at47 Reece Mews, South Kensington. It had been left the way itwas when he passed away, on April 28 1992, and it was achaos of slashed canvases, paint-splashed walls, cloths,7brushes, champagne boxes, and a large mirror. She stood andstared for a long time, in a kind of incredulity, “and actually itbecame quite beautiful.” She began to see “paths cut through10it,” and details. “The last unfinished painting was on the easelwhen I went in there, and on the floor underneath the easel wasa short article on George Michael, the singer, about how he13liked to be photographed from one side. It was like lookinginto somebody’s mind”. 7 Reece Mews was tiny, and apart from the studio16consisted of two rooms — a kitchen that contained a bath, anda living room that doubled as a bedroom. The studio had oneskylight, and Bacon usually worked there in the mornings. He19tried to paint elsewhere — in South Africa, for example, whenhe was visiting family, but couldn’t. (Too much light, was therather surprising objection.) He liked the size and general22frugality, too. Dawson recognised that the studio was the making ofBacon’s art in a more profound sense than just being a25comfortable space to paint in, and determined that it should notbe dismantled. John Edwards, to whom Bacon had bequeathedReece Mews, felt similarly, and after months of painstaking28cataloguing by archaeologists, conservators and photographers,the Hugh Lane Gallery took delivery of the studio, in 1998. Itwas opened to the public in 2001.31 What is visible now, in a climate-controlled corner ofthe gallery, a gracious neo-classical building on Parnell Squarein Dublin, is in fact a kind of faithful “skin” of objects; the34tables and chairs have all been returned to their original places,the work surfaces seem as cluttered as they were — but thedeep stuff, the bedrock, has been removed and is kept in37climate-controlled archival areas. In the end, there were 7,500items — samples of painting materials, photographs, slashedcanvasses, umpteen handwritten notes, drawings, books,40champagne boxes. Bacon was homosexual at a time when it was stillillegal, and while he was open about his sexuality, his notes for43prospective paintings refer to “bed[s] of crime]”, and hishomosexuality was felt as an affliction, says Dawson. It wasn’teasy. The sense of guilt is apparent in his work, as well as his46fascination with violence. “His collections of pictures, deadbodies, or depictions of violence — he’s not looking atviolence from the classic liberal position”. It was all, concedes49Dawson, accompanied by intellectual rigour, and an insistentattempt at objectivity — “he’s trying to detach from himself aswell.”52 Everything was grist, and in his studio even his ownart fed other art. He returned to his own work obsessively,repeating and augmenting. And of course, he responded55negatively — and violently — as well as positively; a hundredis a lot of slashed canvasses to keep around you when you’reworking, especially when they are so deliberately slashed. In58a way, all this might serve as a metaphor for the importance ofour understanding of his studio as a whole.
Aida Edemarian. Francis Bacon: box of tricks. Internet: <www.theguardian.com> (adapted).
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).
- 49.
The fact that Bacon ripped a considerable number of paintings is consistent with his personality but plays a minor role in understanding his art.
- 50.
Bacon makes a deliberate effort not to allow his personal life to take central stage in his art.
- 51.
Heinous crimes provided the seeds for Bacon’s major works.
- 52.
Bacon objected to the manner in which artists from the classical period approached violence as a subject matter.
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