Teste de Conhecimento - Literatura Inglesa I

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Teste de
Conhecimento
 avalie sua aprendizagem
What is correct to claim about the English Reformation? 
I. it refused the existence of purgatory 
II. it debated questions of theology concerning free will and grace 
III. it questioned the sacraments 
Why did Henry VIII start the English Reformation? 
LITERATURA INGLESA I
Lupa Calc.
 
 
EEL0079_202002241411_TEMAS 
 
Aluno: KAROLINE OLIVEIRA SOUZA Matr.: 202002241411
Disc.: LITERAT INGLE 2021.3 EAD (G) / EX
 
Prezado (a) Aluno(a),
 
Você fará agora seu TESTE DE CONHECIMENTO! Lembre-se que este exercício é opcional, mas não valerá ponto para sua
avaliação. O mesmo será composto de questões de múltipla escolha.
Após responde cada questão, você terá acesso ao gabarito comentado e/ou à explicação da mesma. Aproveite para se
familiarizar com este modelo de questões que será usado na sua AV e AVS.
 
 
1.
None of the above 
Only I and II are true 
Only I and III are true 
Only II and III are true 
I, II and III are true 
Data Resp.: 05/11/2021 14:33:52
 
Explicação:
A resposta certa é: I, II and III are true 
 
 
 
 
2.
because he wanted a divorce from Anne Boleyn and the Pope would not grant it. 
because he wanted a divorce from Catherine of Aragon and the Pope would not grant it. 
because he refused the title the Defender of the Faith given by the Pope. 
because Anne Boleyn was pregnant. 
because he did not want to be Catholic anymore. 
Data Resp.: 05/11/2021 14:36:49
 
Explicação:
A resposta certa é: because he wanted a divorce from Catherine of Aragon and the Pope would not grant it. 
 
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The Elizabethan Age (or Golden Age) was a period in which music, art and literature thrived. Choose the alternative which
contains representatives of this flowering of the arts: 
Still more vivid were the English imitations of Plautus, which started already at 1533 with Ralph Roister Doister, by Nicholas
Udall. Although being the school principal both at Eton and Westminster, he found in Plautus a model that favored jovial
humor rather than grumpy didacticism. Udall's scope might have been a pedagogical one, attempting to offer an exercise to
his students. However, he conceived his play as the English equivalent of a Roman comedy, from which he borrowed its
common characters of the fool, the wanton and the parasite rascal. (GASSNER, 2010, p.224)
Source: (adapted from) GASSNER, John. ''Christopher Marlowe''. In: GASSNER, John. Mestres do Teatro I. São Paulo:
Editora Perspectiva, 2010.
Critic John Gassner points out that Nicholas Udall might have been ''attempting to offer an exercise to his students''. This
possibility comes into play because...
The immediacy and concreteness of drama and the fact that it forces the spectator to interpret what is happening in front of
him on a multitude of levels, compelling him to decide whether the tone of voice of the character was friendly or menacing
or sarcastic, means that drama has all the qualities of the real world, the real situations we meet in life - but with one very
decisive difference: in life the situations we are confronted with are real; in the theatre - or in the other forms of drama
(radio, TV, the cinema) - they are merely acted, they are make-believe, play. (ESSLIN, 1976, p. 19; author's stress)
Source: ESSLIN, Martin. An Anatomy of Drama. New York: Hill and Wang, 1996.
According to the text above, the drama is ¿
 
 
 
3.
Edmund Spenser, John Milton and John Donne 
William Shakespeare, Thomas Kyd and Geoffrey Chaucer 
Christopher Marlowe, Edmund Spenser and Geoffrey Chaucer 
William Shakespeare, Christopher Marlowe and Edmund Spenser 
Thomas Kyd, John Milton and William Shakespeare 
Data Resp.: 05/11/2021 14:37:10
 
Explicação:
A resposta certa é: William Shakespeare, Christopher Marlowe and Edmund Spenser 
 
 
 
 
4.
...Roman influences were part of grammar schools and university life in England¿s early modern period.
... Seneca was already being used by other authors such as Marlowe, so Udall wanted to try something different.
... Plautus and Seneca were absolutely new playwrights for the English tradition.
... Plautus never stopped being a popular author, and Udall probably wanted his play to educate everyone in London.
... Roman influences were not part of the education at Eton, so Udall provided an English example.
Data Resp.: 05/11/2021 14:34:42
 
Explicação:
A resposta certa é: ...Roman influences were part of grammar schools and university life in England¿s early
modern period.
 
 
 
 
5.
...a play between audience and dramatic production aiming at a simulacrum of the situations we meet in life.
...highly depending on the realness of the characters in scene for it to work properly.
... a copycat of reality exactly as it is experienced in our everyday life conflicts and situations.
...a play between text and actors unattached to the reality of life situations surrounding it.
...an absolute denial of reality as such towards a surrealist framework of entertainment.
Data Resp.: 05/11/2021 14:37:45
 
Explicação:
A resposta certa é: ...a play between audience and dramatic production aiming at a simulacrum of the situations
we meet in life.
 
 
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[Regarding the cycles], each guild was responsible for representing just one episode, staged on top of a wheel cart and, on
the day of [Corpus Christi], following the sequence of the Bible, these carts enacted the whole collection of mysteries, from
Genesis to Judgement Day (...). It is obvious that on top of these carts it was not possible to stage big scenarios, so that
this scenic tradition has two important consequences for the Elizabethan Theater: the absence of scenarios, with a common
scenic space for every action in play, and the challenge to create visual images through their words to compensate for this
absence of scenarios. (HELIODORA, 2015, p.16-17)
Source: (adapted from) HELIODORA, Bárbara. ''Dramaturgia Elizabetana: Uma Introdução''. In: Dramaturgia Elizabetana.
São Paulo: Perspectiva, 2015.
I. Elizabethan theater was known for its lack of props and scenarios on the stage.
BECAUSE
II. They had a lot of problems with rats at Southbank, which usually destroyed all the props and clothing of the plays.
Regarding these affirmatives, mark the correct option.
As you have come to realize in the previous modules, labeling the discourse genres of Shakespearean plays might be a
rather complex task. Bearing this in mind, which alternative better accounts for the use of such terminologies in the Bald's
legacy?
Read and compare these quotes from Romeo and Juliet and Much Ado About Nothing, respectively. Afterwards, choose the
most appropriate alternative concerning their plots.
(1) ''Some shall be pardoned, and some punished./ For never was a story of more woe/ Than this of Juliet and her Romeo.''
(5.3.324-326)
(2) ''Beatrice: I would not deny you, but, by this good day, I yield upon/ great persuasion, and partly to save your life, for I
was told/you were in a consumption.
Benedict: Peace! I will stop your mouth.'' (5.4.96-100)
 
 
6.
Affirmative I is false, and II is true.
Affirmatives I and II are false.
Affirmatives I and II are true, II is a correct justification of I.
Affirmative I is true, and II is false.
Affirmatives I and II are true, but II is not a correct justification of I.
Data Resp.: 05/11/2021 14:35:00
 
Explicação:
A resposta certa é: Affirmative I is true, and II is false.
 
 
 
 
7.
Romeo and Juliet is mainly a comedy, being arranged assuch in the First Folio.
Midnight Summer's Dream is one of the few Shakespearean plays which conform to the characteristics of one single
discourse genre, with no traces of tragedies whatsoever.
The Merchant of Venice has been labeled in the First Folio as one of the first Shakespearean tragedies.
The Bard has probably used the mixture of different discourse genres to raise the audiences' expectations and
contextualize the dramatis personae's social spheres.
In order to break the audience's expectation in the play King Lear, the jester of such plot is entirely dreary and
melancholic.
Data Resp.: 05/11/2021 14:40:15
 
Explicação:
A resposta certa é: The Bard has probably used the mixture of different discourse genres to raise the audiences'
expectations and contextualize the dramatis personae's social spheres.
 
 
 
 
8.
Both extracts help convey a peaceful atmosphere. However, in (1) peace derives from mourning and in (2) it results
from Benedict's request.
The first quote is professed by Prince Escalus so as to describe his feeling of grief which stemmed from the tragic
ending of the play, despite the humorous lines and comedy structure from its beginning. The second, in contrast,
consists of a scene conveying an affectionate reciprocity and levity between the lovers after mishaps.
Both scenes summarize the happy closures of the plays: in (1), evil characters would be either ''punished'' or
''pardoned'', and in (2) the two lovers affectionately joke about their relationship and kiss each other.
Both scenes describe problematic relationships and tragic endings, for the first plot involves terrible deaths and in the
second one Beatrice feels impelled to be with Benedict, pitying him.
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We studied how the Petrarchan sonnet was transplanted to England with the help of poets such as Sir Philip Sidney and
Thomas Wyatt on the 1590s. Later, Edmund Spenser, on the pages of his Astrophel and Stella, explored the sonnet form by
using new rhyme schemes - which distinguished himself from an objective reproduction of the Petrarchan sonnet. However,
almost every sonneteer inscribes the same general topic on their poems.
Source: (adapted from) GUEIROS, Nehemias. ''Estudo: Mistério do Soneto Shakespeariano''. In: SHAKESPEARE, William. 50
Sonetos (trad. Ivo Barroso). Rio de Janeiro: Nova Frontera, 2015.
Mark the option which correctly describes this topic.
So suggestive, in fact, are the circumstances described here (and elsewhere) [about the Sonnets] that readers will be
forever tempted to posit a 'story' for the Sonnets. But if there is a larger story, it is of interest because it is realized in the
particular, which is not to say that the Sonnets altogether lack an element of narrative, but that narrative is embedded in
the recognition of newly intense emotional exchanges and changes in the imagined relationship.
Source: POST, Jonathan F. Shakespeare's Sonnets and Poems: a very short introduction. Oxford: Oxford University Press,
2017.
After reading the contextualization above, read the affirmative below.
I. Together, the sonnets in Shakespeare's sequence sketch a storyline about the sonneteer.
II. Alone, each sonnet reveals a state of mind (and heart) sprung out from the suggested series of events.
III. Reading in between sonnets is helpful to establish new connections among the sequence.
The first and the second extracts convey the tragic endings of both plays, and in the second quote, even though the
former lovers remain alive, Benedict expressess aggressiveness towards Beatrice, demanding her to be quiet.
Data Resp.: 05/11/2021 14:38:10
 
Explicação:
A resposta certa é: The first quote is professed by Prince Escalus so as to describe his feeling of grief which
stemmed from the tragic ending of the play, despite the humorous lines and comedy structure from its beginning.
The second, in contrast, consists of a scene conveying an affectionate reciprocity and levity between the lovers
after mishaps.
 
 
 
 
9.
The speaker of the sonnet most commonly scorns other poets.
The speaker of the sonnet most commonly talks about his family.
The speaker of the sonnet most commonly praises the church.
The speaker of the sonnet most commonly praises his editor.
The speaker of the sonnet most commonly praises his beloved.
Data Resp.: 05/11/2021 14:38:25
 
Explicação:
A resposta certa é: The speaker of the sonnet most commonly praises his beloved.
 
 
 
 
10.
II, only.
I, only.
I, II and III.
II a III, only.
I and III, only.
Data Resp.: 05/11/2021 14:38:37
 
Explicação:
A resposta certa é: I, II and III.
 
 
 
 
 
 
 
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Exercício inciado em 05/11/2021 14:32:23.