AV NOTA 10 LITERATURA INGLESA I

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AV NOTA 10 LITERATURA INGLESA I
	
	 1a Questão (Ref.: 202013025071)
	Over the years, Elizabeth I learned to use her single state as a political tool. Choose the alternative that best explains why that was possible: 
		
	
	She claimed to have married her nation.  
	
	This way she could be perceived as the Virgin Queen, by being associated with biblical models.  
	
	This raised questions of succession. 
	
	A woman could only raise to the throne at that time if unmarried.  
	
	The possibility of marrying the queen of England became a bait either to draw in enemies, or to frighten them by suggesting Elizabeth would marry one of their enemies. 
	
	
	 2a Questão (Ref.: 202013040015)
	Which alternatives are true about the religious divide and subsequent settlement England went through? 
I. Under Edward VI, England turned to Catholicism  
II. Under Mary I, England turned to Catholicism  
III. Under Elizabeth I, England turned to Protestantism  
IV. Under Henry VIII, England was first Catholic and then turned Protestant  
		
	
	Only alternatives II and III are true 
	
	Alternatives I, II and III are true 
	
	Only alternatives II and III are true. 
	
	Alternatives I and III are true 
	
	Alternatives II, III and IV are true. 
	
	
	 3a Questão (Ref.: 202012891900)
	Why was the restauration of the monasteries intended by Mary I very difficult to accomplish?  
		
	
	none of the above 
	
	because it would involve getting back the lands already given to other people under Henry VIII and Edward VI
	
	because Spain wanted to keep England a protestant country
	
	because the majority of people of England were Puritans 
	
	because Rome did not want to receive England back in the Catholic faith  
	
	
	 4a Questão (Ref.: 202012995104)
	Along with the players, both the Admiral's and Chamberlain's Men [founded in 1594] were also supplied with a good stock of plays from the two major playwrights of the period. William Shakespeare became a member of the Lord Chamberlain's Men, which acquired his seven or more existing plays for its repertory, while at least five and probably all six of the late Christopher Marlowe's known plays were allocated to the Admiral's Men. Edward Alleyn had already become famous as the player of Tamburlaine, Dr Faustus, and Barabbas, the 'Jew of Malta'. Those plays along with Thomas Kyd's Spanish Tragedy formed the staple repertory that the Admiral's Men staged for over thirty years, first at the Rose and then at its successor, the Fortune Theatre in Cripplegate from 1600. Built by Peter Street, who had only recently erected the Globe for the Lord Chamberlain's Men, the Fortune, too, was outside the city's jurisdiction.
Source: GURR, Andrew.  https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-95598 
Considering the text above, and the fact that Christopher Marlowe died in 1593, only six years into his theatrical career in London, mark the alternative which correctly describes his contribution to The Admiral's Men.
		
	
	Marlowe's early death never allowed for him to be an associate of The Admiral's Men, but the company's biggest successes came from his plays.
	
	Marlowe was an associate to The Admiral's Men during his lifetime and contributed with one big hit for the company at the time.
	
	Marlowe's plays were only used by The Admiral's Men during his lifetime, afterwards they looked for other playwrights.
	
	Marlowe came out of the university to the theatrical profession because of an invitation posed by Edward Alleyn.
	
	Marlowe's drinking and fighting habits made him an unwelcome presence among The Admiral's Men as well as other theatrical companies of the period.
	
	
	 5a Questão (Ref.: 202013040013)
	The triumphant march of English drama began with the first manifestations of the Elizabethan Tragedy. Between 1559 and 1566 five of Seneca¿s tragedies were published and the body of work attributed to him was published in 1581 in the historical volume of the Ten Tragedies. Furthermore, way before that time, Seneca was already familiar to the Elizabethans who knew Latin. His deeply rhetorical and full of blood, lightnings and thunder style, his seriousness and melodramatic plots offered the first models for dramatic writing in which passions unfolded, despite theater still being mostly commanded by medieval influences (...). (GASSNER, 2010, p. 227-228)
Source: (adapted from) GASSNER, John. ''Christopher Marlowe''. In: GASSNER, John. Mestres do Teatro I. São Paulo: Editora Perspectiva, 2010.
After reading the contextualization above and the affirmatives below, mark the only option indicating the correct set of affirmative(s).
I. Seneca was only read in the original Latin throughout England.
II. Seneca was one of the most prominent Roman influences for the playwrights of that time.
III. Seneca¿s publishing record reveals that it was not as popular as scholars once believed.
		
	
	II, only.
	
	I and III, only.
	
	II a III, only.
	
	I, II and III.
	
	I, only.
	
	
	 6a Questão (Ref.: 202012891897)
	Read the following excerpt from Christopher Marlowe's narrative poem, Hero and Leander:
It lies not in our power to love or hate,
For will in us is over-rul'd by fate.
When two are stript, long ere the course begin,
We wish that one should lose, the other win;
And one especially do we affect
Of two gold ingots, like in each respect:
The reason no man knows, let it suffice,
What we behold is censur'd by our eyes.
Where both deliberate, the love is slight:
Who ever lov'd, that lov'd not at first sight?
(Hero and Leander, v.167-176)
Source: https://www.poetryfoundation.org/poems/44674/hero-and-leander
This excerpt can be considered as an example of a rather common trope in Marlowe's work. Mark the alternative which correctly describes this trope.
		
	
	The power of human sight as it captures the outside world.
	
	God's relevance to the phenomena of love between humans.
	
	Human's capacity to transcend the material world when it comes to love.
	
	Human's incapacity to redesign fate and change its course of action.
	
	Human's capacity to fall in love by merely beholding the beloved.
	
	
	 7a Questão (Ref.: 202012891894)
	As you have come to realize in the previous modules, William Shakespeare's life events have had a considerable impact on his writings. Bearing this in mind, reread the words printed in his father's ''coat of arms'' grant received in 1596 and label the statements as either True (T) or False (F): ''non sanz droict'' (''not without right'').
(1) These words allude to John Shakespeare's lifelong prestige and wealthness in his hometown.
(2) Even though the document was granted to John Shakespeare, it probably refers to his son¿s fame after years of theatrical work.
(3) As many geniuses who leave their mark in History, Shakespeare had a posthumous recognition of his merits, unlike his father's.
		
	
	(1) F/ (2) T/ (3) F
	
	(1) T/ (2) T/ (3) F
	
	(1) T/ (2) T/ (3) T
	
	(1) F/ (2) F/ (3) T
	
	(1) F/ (2) T/ (3) T
	
	
	 8a Questão (Ref.: 202013025065)
	Reread the following extract retrieved from The Merchant of Venice, in which the character Shylock comments on his daughter's elopement wedding with a Christian, and choose the most appropriate option about it. ''I would my daughter were dead at my foot, and the jewels in her ear: would she were hearsed at my foot and the ducats in her coffin'' (3.1.69-71)
		
	
	Such line conveys Shylock's despair on the mere possibility of his daughter's death after she runs away.
	
	The reference to his jewels and ducats might function as a way of stimulating the audience's sympathy for Shylock, since he had been cruely stolen by his beloved daughter.
	
	Later in the play, the audience finds out that these lines were purely a knee-jerk reaction to his daughter's evil betrayal, for he truly cared about her.
	
	Shylock too is a blocking father figure, but his dual morality leads to hisdaughter's forgiveness.
	
	The frigid allusion to his daughter's death and capital accounts for the construction of the protagonist under the derogatory stereotypes of Jews as evil and tighfisted.
	
	
	 9a Questão (Ref.: 202013279997)
	Having tantalized us by delaying the actual meeting of the two lovers until the end of Act I, Shakespeare gives to this moment and aura both of high romantic sensibility and of exciting danger; romantic comedy and the threat of tragedy meet at an instant. The lovers' first conversation is intensely poetic, so much so that it takes the form of a sonnet. (...) Their first kiss thus appears to come at the end of the fourteen-line sonnet stanza, with its concluding couplet bringing the music of their first duet to a cadenced resolution:
Juliet
Saints do not move, though grant for prayers' sake.
Romeo
Then move not, while my prayer's effect I take.
-from Act 1, Scene 5, Lines 116-117
Source: BEVINGTON, David. How to Read a Shakespearean Play. Oxford: Blackwell, 2006.
According to the passage above, Shakespeare¿s delay of Romeo and Juliet's meeting until Act II makes him offer us'
		
	
	... a first conversation that cannot distinguish itself from the Capulet ball in which they are.
	
	... a first conversation filled with jokes and prosed lines, detached from other poetic moments of the play.
	
	... a first conversation in which they are always being interrupted by others.
	
	... a first conversation structured like a sonnet, in which the culminating couplet result on their kiss.
	
	... a first conversation in which they are out of tune with each other.
	
	
	 10a Questão (Ref.: 202013279994)
	There is also the further, related matter of the strange, painful love plot that shadows the whole [of the sonnet sequence]. First mentioned in Sonnets 40-43, a triangle emerges linking the poet, the young man (or men), and the 'dark lady¿ in an unseemly and, to the speaker, an especially humiliating relationship. The material seems more appropriate for the stage - think Othello, for example - than for a book of Elizabethan sonnets written in the footsteps of Petrarch. For all their reputed sugariness, life and love in Shakespeare's Sonnets keep welling up from below, bringing the sour along with the sweet (...).
Source: POST, Jonathan F. Shakespeare's Sonnets and Poems: a very short introduction. Oxford: Oxford University Press, 2017.
I. Shakespeare's plays were a direct influence on the sonnet sequence's plotline.
BECAUSE
II. The sonnets' suggested plotline involves falling in love with the fair youth, his betrayal, and an eventual lust for the, so called, 'dark lady'.
About these affirmatives, mark the correct option.
		
	
	Affirmatives I and II are false. 
	
	Affirmatives I and II are true, but II is not a correct justification of I.
	
	Affirmatives I and II are true, II is a correct justification of I.
	
	Affirmative I is true, and II is false.
	
	Affirmative I is false, and II is true.