NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA

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NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA
	
		Lupa
	 
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	DGT0627_202003414573_TEMAS
	
	
	
		Aluno: 
	Matr.: 
	Disc.: NARRATOLOGIA DAS L 
	2022.3 EAD (G) / EX
		Prezado (a) Aluno(a),
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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.
	03254TEORIA DA NARRATIVA
	 
		
	
		1.
		Também chamado de flashbacks, a utilização de analepses nas narrativas é muito comum, não apenas na literatura, mas também em outras expressões artísticas, como no teatro e no cinema. Basicamente, se refere a um recurso narrativo que permite inserir uma lembrança do passado no presente da narração, promovendo uma ruptura em sua cronologia. Chamamos as narrativas que fazem uso de tal recurso de não linear pois não seguem uma sequência direta na descrição dos acontecimentos.
Em relação ao exposto, marque a alternativa correta.
	
	
	
	As personagens se comportam de maneiras diferentes em cada volta ao passado em uma narrativa, uma das principais características do gênero.
	
	
	Não há como descrever um espaço físico com fidelidade em uma narrativa que faça uso de recuos ao passado.
	
	
	Em uma história construída por meio de recordações, o domínio do tempo e de suas possibilidades de variação é fundamental.
	
	
	O espaço e o tempo não se misturam nas narrativas que fazem uso do flashback, apenas nas históricas.
	
	
	O narrador e o tempo são os únicos elementos narrativos que se transformam em uma narrativa que recorra ao passado.
	Data Resp.: 09/10/2022 17:52:49
		Explicação:
O tempo é um dos elementos principais de uma narrativa. Em uma história que recorra ao flashback, o tempo é classificado como psicológico, pois ele transcorre na interioridade da personagem, sendo, portanto, subjetivo. Por essa razão, ele não segue o mesmo fluxo do tempo cronológico, que é linear e igual para todos, mas o da memória, mais diversificado e transgressor.
	
	
	 
		
	
		2.
		O trecho abaixo traz uma definição para um tipo de narrativa: o conto.
 
O conto é um relato que encerra um relato secreto. Não se trata de um sentido oculto que dependa de interpretação: o enigma não é outra coisa senão uma história contada de um modo enigmático. A estratégia do relato é posta a serviço dessa narrativa cifrada. Como contar uma história enquanto se conta outra? Essa pergunta sintetiza os problemas técnicos do conto.
 
Adaptado de: PIGLIA, Ricardo. Formas breves. Trad. José Marcos Mariani de Macedo. São Paulo: Companhia das Letras, 2004, p. 91.
 
A partir da definição acima, avalie as asserções a seguir e a relação proposta entre elas:
 
I. O conto é um dos gêneros narrativos mais modernos, considerando o conceito dado pelo autor do texto.
 
PORQUE
 
II. Assim como os demais tipos de narrativa, o conto é construído de acordo com as expectativas do leitor, seja para atendê-la ou surpreendê-la.
	
	
	
	As asserções I e II são proposições verdadeiras, e a II é uma justificativa correta da I.
	
	
	As asserções I e II são proposições falsas.
	
	
	A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
	
	
	A asserção I é uma proposição falsa, e a II é uma proposição verdadeira.
	
	
	As asserções I e II são proposições verdadeiras, mas a II não é uma justificativa correta da I.
	Data Resp.: 09/10/2022 17:51:54
		Explicação:
O gênero do conto é um dos mais antigos da literatura, podendo ser identificado em um período anterior à própria invenção da escrita. No entanto, com o passar do tempo, sofreu transformações na sua forma. Embora o texto de Piglia apresente uma definição de uma concepção moderna do gênero, ele mantém características em sua estrutura que remontam aos clássicos. Como todo gênero literário, o conto busca seguir um determinado horizonte de expectativa, ou seja, é construído de acordo com as expectativas do leitor.
	
	
	 
		
	
		3.
		Alguns elementos constituem as narrativas. São eles: tempo, espaço, narrador e personagem. Leia o trecho a seguir, retirado da obra Crime e Castigo, e o analise com base em seus elementos constitutivos:
 
Ao cair da tarde de um início de julho, calor extremo, um jovem deixou o cubículo que subalugava de inquilinos na travessa S., ganhou a rua e, ar meio indeciso, caminhou a passos lentos em direção à ponte K.
 
            Saiu-se bem, evitando encontrar a senhoria na escada. Seu cubículo ficava bem debaixo do telhado de um alto prédio de cinco andares, e mais parecia um armário que um apartamento. Já a senhoria, de quem ele subalugava o cubículo com cama e mesa, ocupava um apartamento individual um lanço de escada abaixo, e toda vez que ele saía para a rua tinha de lhe passar forçosamente ao lado da cozinha, quase sempre de porta escancarada para a escada. E cada vez que passava ao lado o jovem experimentava uma sensação mórbida e covarde, que o envergonhava e levava a franzir o cenho. Estava encalacrado com a senhoria e temia encontrá-la.
 
Adaptado de: DOSTOIÉVSKI, Fiódor. Crime e castigo. Trad. Paulo Bezerra. São Paulo: Ed. 34, 2009.
 
Considerando os elementos da narrativa presentes no texto, avalie as seguintes afirmações:
 
I. O narrador onisciente mergulha nos sentimentos e na consciência das personagens, mas, ao mesmo tempo, conta a história de uma perspectiva distanciada.
II. O tempo é sempre preciso em narrativas em terceira pessoa, pois o narrador sabe exatamente onde e quando estão todas as personagens.
III. O espaço físico não apenas registra o movimento das personagens, mas serve também como recurso para caracterizar suas ações.
IV. O espaço físico apresenta uma síntese das ações que vão se desenvolver em toda a história, pois indica que não sofrerá alterações até o fim.
 
Estão corretas as afirmativas:
 
	
	
	
	I e III.
	
	
	I, II e IV.
	
	
	I e II.
	
	
	I e IV.
	
	
	II e III.
	Data Resp.: 09/10/2022 17:52:02
		Explicação:
O narrador está em terceira pessoa, pois relata como alguém que enxerga as ações de um ângulo distanciado, mas amplo. No entanto, ele tem total conhecimento sobre as personagens, já que descreve suas intenções e sentimentos, descritos por meio de expressões como "indeciso" e "sensação mórbida e covarde". Ao acompanharmos o deslocamento dele pelos espaços físicos, percebemos que eles são descritos para acentuar o desejo de não encontrar a senhoria. Nesse sentido, o espaço é mais do que cenário, ele é também reflexo das ações da narrativa.
	
	
	03255NARRATIVAS DE ORDEM CLÁSSICA
	 
		
	
		4.
		Fascinated by the Ireland of centuries past, Yeats wrote poems about Irish history and figures of Celtic mythology, including "To the Rose upon the Rood of Time", "To Ireland in the Coming Times,", and "The Song of Wandering Aengus".These poems in particular engage in legends and folklore while evoking traditional ballads and songs. Yeats¿s endeavors into the Irish Literary Revival movement were not limited to poetry alone: he founded the National Literary Society in 1892, cofounded the Irish Literary Theatre in 1899, and years later founded and wrote plays for the Abbey Theatre, which showcased works of contemporary Irish playwrights and authors and found great success. Some of his plays, including Ego Dominus Tuus, appeared in Poetry magazine. Source: GALTON, Francis. "Eugenics: its definition, scope and aims".
Access in: https://www.poetryfoundation.org/articles/70241/william-butler-yeats-101
Relate the excerpt above, from a biographical article written by the editors of the website Poetry Foundation, with the alternative that correctly points out the historical connections between Yeats¿ interest in Irish Folklore and the Nationalist Movement in Ireland.
	
	
	
	Yeats' relationship with IrishNationalism is directly related to the way he has been imparted the responsibility as a writer to be only and exclusively a Gaelic writer, calling tradition and folklore forth as a political strategy.
	
	
	Yeats' connections with Irish Nationalism came from the family in which he was raised, who shaped his political views and deemed him, inevitably, as an author singularly Irish.
	
	
	Yeats' connections with the Irish Literary Revival implied his commitment to the writing of a particularly Irish literature, so did his wish not to be recognized as a ¿cosmopolitan poet¿, but rather and Irish one.
	
	
	Yeats' relationship with his countrymen and women was so deeply rooted in tradition that he used folklore as his major source to please the Irish population living in the countryside.
	
	
	Yeats' connection with other poets from England deemed his relationship with the Irish Nationalist movement complicated and rather abusive, being pressured into political views that did not correspond to his beliefs.
	Data Resp.: 09/10/2022 17:52:42
		Explicação:
During the early nineteenth century, Ireland - its historical past and folkloric imaginary - was the stage and source material for what would turn into the literary movement called the Irish Cultural Revival. By that time, Gaelic (understood by nationalists as the original Irish language) was dying out as a spoken language. English was the official national and literary language as far as anyone could tell. However, the nationalist movement reclaimed Gaelic as an important language since most of Irish's Ancient literature was written in and needed to be translated from Gaelic. Philologists' research on the topic revealed heroic and mythical narratives particularly Irish dating from before the year 900. This was fundamental for renewing the interest in Irish literature and history as an autonomous cultural heritage, independent from the British cultural past. Within this context, many were the Anglo-Irish poets who, like Yeats, explored the rhythms and legendary imagery found in those ancient texts, attempting to echo a mythical past true to Ireland's history. Thus, "Yeats" connections with the Irish Literary Revival implied his commitment to the writing of a particularly Irish literature, so did his wish not to be recognized as a "cosmopolitan poet", but rather and Irish one.
	
	
	 
		
	
		5.
		SHAKESPEARE AND OVID. "Amongst the direct sources of Shakespeare's works, after North's Plutarch and Holinshed, probably the most important was Ovid. The Fastiy the Heroides, and the Metamorphoses were just such works as would be most likely to impress a young mind; and Shakespeare's early ambition seems to have been to be the English Ovid, whilst accident made him a dramatist. Thus, in his Lucrece and his Venus and Adonis he directly challenges comparison. His themes are of the same romantic and imaginative stuff; his method the same rich and picturesque description; and the motto upon the title of the Venus and Adonis shows that he took the attempt seriously. In this respect he judged truly of his powers, although he enormously underestimated them. Other dramatists have portrayed the doings and the fate of men so as to move our souls; but no other has taken us into fairy land, and made imps and fays live before us as Shakespeare has done. Ben Jonson and Middleton have done something for demons and witches; Goethe has realized a devil; but with Shakespeare alone the world of faery seems to be real and reasonable as flesh and blood. (OVID, 1904, p. i)
 
Source: OVID. Metamorphoses. GOLDING, Arthur (translator). London: The De La More Press, 1904.Based on the excerpt above, Ovid's Metamorphoses was"
	
	
	
	... Shakespeare's most important reference of what an author should not do in his writing, be it technically as well as imaginatively.
	
	
	... Shakespeare's only source to create all his plays; he actually had the only known copy of Metamorphoses found during his time.
	
	
	... a rather obscure text for the largest part of the Renaissance, being hardly ever used by anyone outside the university.
	
	
	... a highly popular novel written in French and published in English for the purposes of assimilating another culture.
	
	
	... not only one of Shakespeare's most preferred sources, but also that whose rendering of myths and the fantastic provided a singular set of images for many different authors.
	Data Resp.: 09/10/2022 17:52:36
		Explicação:
Ovid's Metamorphoses first verse English translation was written by Arthur Golding in 1567, since William Caxton - the important Elizabethan printer - had already published a prose translation of the French text of Metamorphoses known as Ovide Moralisé, in 1480. Nevertheless, it is Golding's rendition of Ovid's book that became widely famous in England and was eventually read by many Elizabethan poets such as Edmund Spenser and William Shakespeare. Ovid's depiction of the Greek myths as short stories which challenge the imagination was largely influential not only in the imagery it provided for such poets, but also with its many plotlines directly appropriated by Shakespeare in his plays. The correct answer is then: "not only one of Shakespeare's most preferred sources, but also that whose rendering of myths and the fantastic provided a singular set of images for many different authors".
	
	
	 
		
	
		6.
		Joseph Campbell, in The Hero with a Thousand Faces (1949), develops a very important theory: that mythological narratives share the same basic structure. Choose the alternative that contains a true statement about Campbell¿s theory:
	
	
	
	The "hero's maturity" is a representation of a villain who finally becomes a hero at the end of a story.
	
	
	The "hero's Travel" is a narrative structure that is organized by the main character's constant travels. It unravels as the protagonist moves from one place to the other.
	
	
	The "hero's Journey" is a historiographical method used by early poets to enshrine their culture's heroes.
	
	
	The structure also called "monomyth" is only related to classical narratives such as Home's epics.
	
	
	The "hero's Journey" is a narrative structure that relies on the movement of a character from tranquility to peril and challenge to gain maturity.
	Data Resp.: 09/10/2022 17:52:30
		Explicação:
Mythologist Joseph Campbell's famous rendering of the heros journey or monomyth in his book The Hero with a Thousand Faces (1949) explains how the hero's journey consists of a cycle, which recurrently reappears, where the main character of a story begins an adventure - either by answering to a call or by choice; crosses a threshold after which he (or she) begins to face their transformation; faces a series of challenges necessary for them to overcome; reaches the abyss of literal or symbolic death as well as their rebirth; is effectively transformed and atoned; finally returning to the stability in which they had started their journey, as undoubtedly a changed person. The correct answer is thus: "The hero's Journey is a narrative structure that relies on the movement of a character from tranquility to peril and challenge to gain maturity".
	
	
	03256NARRATIVAS DE BASE POPULAR E RELIGIOSA
	 
		
	
		7.
		The parables of Jesus, as found in the Gospels, are considered the most important source for studies on how Jesus taught and transmitted his message. Such stories have been analyzed numerous times and still, new insights are constantly revealed through fresh debates and approaches by biblical scholars. New methods of literary reading have been fundamental for the understanding of the metaphors and symbols present in the parables.
Adapted from: GOWLER, David B. What Are They Saying About the Parables'. New Jersey: Paulist Press, 2000.
Considering the text, mark the correct alternative:
	
	
	
	The parables of Jesus are a very specific form of parable because they do not intend to stimulate the audienceto think, thus they are very objective and purposely lack figures of speech.
	
	
	There is no consensus regarding the parables of Jesus because they can only be applied to the Christian faith so laic scholars have no mechanisms to analyze them.
	
	
	The parables of Jesus function like other forms of art that test our minds through their ambiguity, hence, interpreters must be careful when studying so that the true meaning isn't destroyed.
	
	
	The parables told by Jesus can only be studied by Christian scholars and given the different branches of the religion, researchers with different understandings of faith will interpret the narratives differently.
	
	
	The parables, as found in the Gospels, originated such literary genre and Jesus was the creator of this form of narrative.
	Data Resp.: 09/10/2022 17:52:24
		Explicação:
The parables of Jesus are used by many for preaching, since parallels can be traced between the stories and the listeners¿ lives, serving as guidance. Jesus used analogies neither as straightforward tales with obvious lessons nor as incomprehensible stories with impenetrable messages. With real-life events, parables were told to grasp the listener¿s attention and stimulate a reaction. Throughout the history of the church, debate over how much of a parable is an allegory has been constant, but modern scholarship has rejected the practice of interpreting parables as allegories, because their objective is not to represent something else but to generate a response. Thus, interpretation must be careful and meticulous due to the dubiousness of the narratives.
	
	
	 
		
	
		8.
		The subject of ballads, books and films, Robin Hood has proven to be one of popular culture¿s most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs from the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture¿and one of the most versatile. But how has the legend of Sherwood Forest¿s merry outlaws evolved over time, and did a real Robin Hood inspire these classic tales?
 
Retrieved from:
EDITORS, History.com. The Real Robin Hood. In: History. [S. l.]: A&E Television Networks, LLC, 5 maio 2010. Disponível em: https://www.history.com/topics/british-history/robin-hood. Accessed Feb.12, 2022.
Bearing the text above in mind, it is possible to affirm that Robin Hood is not a folktale because:
	
	
	
	The narrative doesn't have an introduction, a development and a conclusion
	
	
	It is a story about an unproven and undocumented person told as a historical fact
	
	
	It is about a person who has gained saint-like characteristics
	
	
	It has supernatural events as part of its narrative
	
	
	It is an inspiration to many classic tales
	Data Resp.: 09/10/2022 17:52:18
		Explicação:
The story of Robin Hood is a legend and not a folktale because it is partly true. Robin Hood features real people from history without magic or monsters but based on reality. It lies between a myth and a historical fact presented in an informal manner, demonstrating on a psychological level a symbolic representation of folk belief and collective experiences and serving as a restatement of commonly held principles of the group whose tradition it is a part of.
	
	
	03257NARRATIVAS DE CUNHO LITERÁRIO
	 
		
	
		9.
		The fictional narrative tells a story, a sequence of facts, in which characters move in a certain space as time passes. Its structure encompasses presentation, development climax and denouement. How can denouement be defined?
	
	
	
	The series of events in the story.
	
	
	The resolution of the conflict in a story.
	
	
	A dramatic turning point in a narrative.
	
	
	The introduction of the theme.
	
	
	The first part of a narrative.
	Data Resp.: 09/10/2022 17:52:12
		Explicação:
Denouement is the point in a story in which the conflict is resolved. It occurs after the climax, in the final part of a story¿s narrative arc. The introduction of theme, some characters and sometimes setting and time compose the presentation of the story, in the first part of a narrative. The series of events define the development of the narrative. The dramatic turning point is the climax.  
	
	
	 
		
	
		10.
		Fairy tales, as we know them nowadays, have two elements peculiar to the genre. Which ones?
	
	
	
	Beautiful princesses and colloquial language.
	
	
	Life reflections and talking animals.
	
	
	Royal characters and a simple plot.
	
	
	Supernatural elements and metaphors.
	
	
	Happy endings and a moral lesson.
	Data Resp.: 09/10/2022 17:52:09
		Explicação:
Happy endings and a moral lesson, along with the presence of magic and transformations form the paradigm for modern short stories. The other options express elements sometimes present in fairy tales, but they cannot be considered a recurrent pattern.
		Disc.: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA   
	Aluno(a): 
	
	Acertos: 7,0 de 10,0
	09/10/2022
		1a
          Questão
	Acerto: 0,0  / 1,0
	
	 (ENADE - 2014) Na literatura de cordel, o texto narrativo funciona como um recurso de sociabilização dos ¿causos¿ populares contados através da oralidade e transcritos, com engenhosidade artesanal, pelos ¿poetas do povo¿, os quais procuram evidenciar situações que levam tanto à reflexão quanto ao riso, transformando a mentalidade das pessoas e tornando-as mais humanas. O texto a seguir ratifica essa ideia.
 
O poeta é um repórter
De pensamento ligado
Ouvindo o que o povo diz
Fazendo todo apanhado
E sai contando na rua
Tudo quanto foi passado.
 
SILVA, M.C. Manuel Caboclo. São Paulo: Hedra, 2000.
 
Com base no exposto, avalie as afirmações a seguir.
 
I. A literatura de cordel apresenta estrutura formal bem articulada.
II. No excerto, o poeta de cordel é comparado ao repórter por trazer informações sobre os fatos cotidianos.
III. Por apresentar elementos narrativos, os recursos poéticos são pouco explorados na literatura de cordel.
 
É correto o que se afirma em:
		
	
	III, apenas.
	 
	I e II, apenas.
	
	I, apenas.
	 
	II e III, apenas.
	
	I, II e III.
	Respondido em 09/10/2022 18:21:24
	
	Explicação:
O ritmo dos versos denota uma busca por uma estrutura determinada, que atenda às convenções próprias do gênero. Isso contribui para o processo de "sociabilização" de que fala o texto, pois seduz o ouvinte e/ou leitor pela sua musicalidade. Por apresentar uma narratividade, o cordel se aproxima dos eventos do cotidiano, provocando a identificação do leitor/ouvinte de acordo com os fatos narrados, assim como um repórter ao noticiar um acontecimento.
	
		2a
          Questão
	Acerto: 1,0  / 1,0
	
	O trecho a seguir trata da prática de fazer cerâmica no norte do Estado de Minas Gerais:
 
Cavar o barro e transportá-lo até um local de depósito; deixá-lo ao sol para secar e, depois, estocá-lo; pegá-lo novamente em porções menores, socar e peneirar; ao fino pó misturar de volta os grãos, agora amolecidos em água e que não passaram pelos crivos da peneira; amassar bem, formando uma pasta uniforme para, só então, dar início à modelagem da peça. Fazê-la bem, por etapas, para que a pressa não ponha a perder todo o trabalho. Com calma, paciência, ritmo. Interno e externo. No peito e nas mãos.
 
Assim se faz a cerâmica de Candeal, no município de Cônego Marinho, no norte do Estado de Minas Gerais. Lá, seguindo a tradição doméstica e familiar, geração após geração, as mulheres, em especial, desenham com o tauá (pigmento mineral de coloração vermelha) flores e arabescos em potes, moringas, travessas, pratos e muitos outros objetos que modelam e queimam nos fornos de barro erguidos nos quintais das casas.
 
A cerâmica de Candeal é, ao mesmo tempo, um depoimento vivo de modos de viver do passado e do presente, de saberes acumulados e de tradições que nelas se materializam.
 
Adaptado de: Projeto Candeal/MG. Artesanato Solidário - Artesol. Disponível em: .
 
Com base no textoapresentado, avalie as asserções a seguir e a relação proposta entre elas:
 
I. O artesanato em cerâmica é mais do que uma atividade econômica para o artesão e sua comunidade.
PORQUE
II. Na fabricação dos objetos de uso cotidiano, da sua forma aos ornamentos, eles fabricam e compartilham histórias.
A respeito dessas asserções, marque a opção correta.
		
	
	A asserção I é uma proposição falsa, e a II é uma proposição verdadeira.
	
	A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
	
	As asserções I e II são proposições verdadeiras, mas a II não é uma justificativa correta da I.
	 
	As asserções I e II são proposições verdadeiras, e a II é uma justificativa correta da I.
	
	As asserções I e II são proposições falsas.
	Respondido em 09/10/2022 14:48:19
	
	Explicação:
A narratividade presente no trabalho artesanal é um dos principais aspectos de sua transmissão e do fortalecimento dos laços comunitários. Mesmo em um objeto aparentemente sem sofisticação, há uma infinidade de histórias que podem ser contadas, seja sobre os métodos de fabricação, escolha de materiais e acondicionamento, seja sobre as vidas das pessoas mobilizadas para que aquela panela, moringa ou travessa ganhem um novo lar.
	
		3a
          Questão
	Acerto: 1,0  / 1,0
	
	A tia girou a chave, empurrou a porta, Ê!, algo a emperrava, estranhou. O corpo no ombro direito, a custo cedeu, pororoca estraçalhando, arrastando, O quê? Em algazarra, as crianças, às suas costas, espiavam-na, assustadiças, curiosas. (...) No corredor, onde desaguavam as três salas-de-aula, gizes esmigalhados, rastros de cola colorida, massinhas-de-modelar esmagadas, folhas de papel sulfite estragadas, (...) Em correria, gritos atravessam as telhas francesas, olhos mendigam explicações. (...) e ela, até onde a vista alcança, observa as escandalosas casas de tijolos à mostra, esqueletos de colunas, lajes por acabar, pipas singrando o céu cinza, fedor de esgoto, um comichão na pálpebra superior esquerda e a solidão e o desespero.
Adaptado de: RUFFATO, Luiz. Natureza-morta. In: Eles eram muitos cavalos. São Paulo: Companhia das Letras, 2013.
O texto "Natureza-morta" pode ser lido como um conto, pois, como características, apresenta:
		
	 
	Um conflito, limitação do espaço e poucas personagens.
	
	Uma ação, personagens anônimos e espaço reduzido.
	
	Um conflito, personagens indeterminados e descrição detalhada do espaço.
	
	Descrição do espaço e poucos diálogos.
	
	Diversas ações, narrador em terceira pessoa e descrição de sentimentos.
	Respondido em 09/10/2022 14:47:22
	
	Explicação:
O conto é um gênero narrativo de extensão curta que possui, em geral, um conflito, uma ação, poucos personagens e com limitada variação de tempo e de espaço. São as características que vão distingui-lo da novela e do romance, por exemplo, sendo a primeira uma espécie de ¿meio-termo¿ entre o conto e o romance. No texto de Ruffato, o conflito, que leva a situação inicial, ou começo, para o desenvolvimento da narrativa, está no momento em que a personagem consegue abrir a porta com o peso do corpo. Pela descrição, o espaço principal é uma sala de aula, destruída por alguma invasão. Há também um quintal e a vista das casas pela janela da sala de aula. As personagens são a tia e as crianças.
	
		4a
          Questão
	Acerto: 0,0  / 1,0
	
	"Heroic Beowulf and his band of men
crossed the wide strand, striding along
 the sandy foreshore; the sun shone (...)" (ll. 1963 -1965).
 
Source: HEANEY, Seamus (trans.). Beowulf. London: W. W. Norton & Company, 2001.
After reading the verses above out loud, it is possible to identify...
		
	
	... that it follows an altogether modern metric system.
	 
	... that it has been written without any regard for the original in Old English.
	
	... that it follows the Homerian epic using the dactylic hexameter.
	
	... that it has been written in iambic pentameter.
	 
	... that it has been written as an alliterative verse.
	Respondido em 09/10/2022 18:21:16
	
	Explicação:
It is very common in Anglo-Saxon poetry to find what is deemed alliterative verses, that is to say, verses that rely not on rhyme but rather on repeating consonant sounds such as the recurrent s and st at the beginning of the words on the verses above. The verses above were retrieved from Heaney¿s translation which followed the Anglo-Saxon metric scheme to structure Beowulf's tale. Old English verses such as those featuring in Beowulf usually are made up of two leveled halves, each containing two stressed syllables and a heavy pause in the middle of the verse. The only correct answer is: "that it has been written as an alliterative verse".
	
		5a
          Questão
	Acerto: 1,0  / 1,0
	
	The word Saga comes from the German word: sagen, which is synonymous with "say" or "tell"; originally, then, it used to refer to all types of histories or stories, such as: biographies, hagiographies, or historiographies, for instance. As a literary genre, however, it became popular as:
		
	
	Legendary accounts passed down from generation to generation about certain indigenous populations.
	 
	Imaginative reconstructions of the past by means of blending legend and history.
	
	Stories that trace back origins of kingdoms.
	
	Icelandic folktales since the genre became circumscribed to very specific geographic and historical circumstances.
	
	Realistic accounts of life in the Middle Ages.
	Respondido em 09/10/2022 18:15:53
	
	Explicação:
The term's specific meaning, as a narrative genre, would be an imaginative reconstruction of the mythical past, usually blending it with historical fiction, according to a particular aesthetic structural choice. Medieval Icelandic narrative fiction can be classified as kings' sagas, legendary sagas, and sagas of Icelanders. The genre, despite its Icelandic origins, was not circumscribed to medieval Iceland and even contemporary takes on the genre can be found nowadays. The correct answer is then: "Imaginative reconstructions of the past by means of blending legend and history".
	
		6a
          Questão
	Acerto: 1,0  / 1,0
	
	John Milton's Paradise Lost opens with the following verses.
 
OF Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal tast
Brought Death into the World, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful Seat,
Sing Heav'nly Muse, that on the secret top
Of Oreb, or of Sinai, didst inspire
That Shepherd, who first taught the chosen Seed,
In the Beginning how the Heav'ns and Earth
Rose out of Chaos: or if Sion Hill
Delight thee more, and Siloa's brook that flow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle flight intends to soar
Above th' Aonian Mount, while it pursues
Things unattempted yet in Prose or Rhime
(MILTON, Paradise Lost, Book I)
Source: https://www.poetryfoundation.org/poems/45718/paradise-lost-book-1-1674-version
 
The verses exemplify one of the most common features of epic poems. Which feature is this?
		
	
	The exposition and conflict
	
	Alliteration
	
	The use of unrhymed verses
	
	The climax
	 
	The invocation of the Muse
	Respondido em 09/10/2022 14:57:13
	
	Explicação:
In the verses above the poet asks for the Muse's aid in his attempt of composing verses never yet written: about the Fall of Man, about Man's first disobedience. The epic's most common opening usually asks a Muse to inspire the poet to tell his tale and guide him through the narrative which he needs to share with his audience. The verses hence exemplify "The invocation of the Muse".
	
		7a
          Questão
	Acerto: 1,0  / 1,0
	
	Read the comic strip below, then, bearing it in mind, choose the best alternative:
KAL (Kevin Kallaugher) Available at: Buy! Buy! Sell! Sell! signed Kal print ¿ The Economist Store. Date of access: 16/02/2022.
Having in mind the changes folktales undergo with the passageof time, we can affirm that:
		
	
	Folktales are purposely altered by people so that the stories can fit into their realities. The comic strip shows how a message can be manipulated according to people¿s needs and interests.
	
	Folktales are preserved from generation to generation, however, due to the changes in social, historical, political, religious and geographical contexts, their messages end up being distorted.
	
	Folktales depend on their transmission, and this will be altered according to geographical factors, as illustrated by the line of people in the comic strip.
	 
	Folktales today are significantly different from their original ones because they are passed on from generation to generation by word of mouth. Unlike the comic strip, although narratives can alter substantially with time, their original meaning is, in the majority of cases, preserved.
	
	The original folktales can never be transcribed due to the degree of transformation these stories go through with the passage of time, as illustrated in comic strip.
	Respondido em 09/10/2022 14:49:52
	
	Explicação:
Folktales are passed on from person to person, so the narratives undergo changes as a result of either mishearing, misinterpreting, failure of memory and/or the desire to make alterations. Messages undertake transformations by the simple act of being passed on orally, just as the comic strip shows how simple misinterpretations can lead to completely distinct instructions. Still, folktales preserve their essence and moral lessons even with the passage of time.
	
		8a
          Questão
	Acerto: 1,0  / 1,0
	
	Saint 9/11, by Glenn Holsten, depicts the life of a gay priest who struggled with alcoholism and had his life interrupted by the September 11 attacks. The documentary describes the restless spiritual journey of Father Mychal Judge, an adored Fire Department Chaplain, compassionate of the needy and forgotten in the city of New York. Like Father Michael, the lives of many other saints have been transformed into movies, combining fact and fiction in a way comparable to the legend of the saints.
Bearing this in mind, hagiography contributes to history by:
		
	
	producing unique biographies of important historical figures, necessary to the study of religious institutions and personalities.
	
	precisely depicting the rivalry between saints and their followers, clarifying the distinction between contemporary devotion to different holy figures.
	
	providing historical evidence about the Church and its devotees through evidence-based accounts.
	
	exposing the author's mentality, purpose and materials used as sources, all of which are essential for the work of a historian.
	 
	explaining about places, origins of certain saints, giving reasons for the construction of a church or elucidating motives for a pilgrimage.
	Respondido em 09/10/2022 15:00:48
	
	Explicação:
Legends, unlike myths and tales, presuppose a historical fact as basis. They are not entirely historical but should not be excluded as important historiographical sources. Although the intention is not to recount history, places can sometimes be described, as well as the origin or importance of a saint. Other elements may include intentions behind the building of a church or motivations for a pilgrimage. Nonetheless, depending on the author, many historical facts may be distorted since the aim is to praise a particular saint in detriment of others. What is factually useful must be questioned alongside the author¿s mentality, purpose and materials used as source, so that all that is valuable is carefully extracted
	
		9a
          Questão
	Acerto: 1,0  / 1,0
	
	The novella has its origins in the Middle Ages, around the twelfth and thirteen centuries in France. This narrative form, dealing with themes as chivalry and courtly love is called 'chivalric romance'. There are other different types of novellas, depending on their themes and literary conventions. As an example, which type of novella may be considered a chivalric romance?
		
	
	The Murders in the Rue Morgue
	
	Archadia
	
	The Castle of Otranto
	
	Decameron
	 
	Sir Gawain and the Green Knight
	Respondido em 09/10/2022 18:19:52
	
	Explicação:
Sir Gawain and the Green Knight is an example of chivalric romance, with its literary conventions. The Murders in the Rue Morgue is an example of detective novella, The Castle of Otranto an example of a gothic novella, Decameron is a collection of tales and Archadia a pastoral novella.
	
		10a
          Questão
	Acerto: 0,0  / 1,0
	
	Contemporary novels show its times, form, and pressure. Either against the values of a society or in praise of them, the novel presents society as the individual must confront it, explains that society to itself and even helps society to define itself. They have reflective characters, and many styles are present. Which is one of the characteristics of these novels?
		
	
	Novels are published in installments.
	 
	Respect to traditional conventions of the novel
	
	Emphasis on the influence of the environment.
	 
	Playfulness of language used in the novels.
	
	Great attention to epistolary forms of the novel.
	Respondido em 09/10/2022 18:21:02
	
	Explicação:
Contemporary novels (postmodern) exhibit a playfulness of language, experimentation, and less reliance on traditional values. Besides, they deal with the growing ethnic diversity. The serialization of novels (published in installments) is a trend of Victorian works; the influence of environment is more felt in naturalist works, and the attention to epistolary forms is more common in the eighteenth and nineteenth centuries.
		Disc.: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA   
	Aluno(a): 
	
	Acertos: 9,0 de 10,0
	19/10/2022
		1a
          Questão
	Acerto: 1,0  / 1,0
	
	 (ENADE - 2014) Na literatura de cordel, o texto narrativo funciona como um recurso de sociabilização dos ¿causos¿ populares contados através da oralidade e transcritos, com engenhosidade artesanal, pelos ¿poetas do povo¿, os quais procuram evidenciar situações que levam tanto à reflexão quanto ao riso, transformando a mentalidade das pessoas e tornando-as mais humanas. O texto a seguir ratifica essa ideia.
 
O poeta é um repórter
De pensamento ligado
Ouvindo o que o povo diz
Fazendo todo apanhado
E sai contando na rua
Tudo quanto foi passado.
 
SILVA, M.C. Manuel Caboclo. São Paulo: Hedra, 2000.
 
Com base no exposto, avalie as afirmações a seguir.
 
I. A literatura de cordel apresenta estrutura formal bem articulada.
II. No excerto, o poeta de cordel é comparado ao repórter por trazer informações sobre os fatos cotidianos.
III. Por apresentar elementos narrativos, os recursos poéticos são pouco explorados na literatura de cordel.
 
É correto o que se afirma em:
		
	
	I, apenas.
	
	II e III, apenas.
	
	I, II e III.
	 
	I e II, apenas.
	
	III, apenas.
	Respondido em 19/10/2022 19:52:45
	
	Explicação:
O ritmo dos versos denota uma busca por uma estrutura determinada, que atenda às convenções próprias do gênero. Isso contribui para o processo de "sociabilização" de que fala o texto, pois seduz o ouvinte e/ou leitor pela sua musicalidade. Por apresentar uma narratividade, o cordel se aproxima dos eventos do cotidiano, provocando a identificação do leitor/ouvinte de acordo com os fatos narrados, assim como um repórter ao noticiar um acontecimento.
	
		2a
          Questão
	Acerto: 1,0  / 1,0
	
	Também chamado de flashbacks, a utilização de analepses nas narrativas é muito comum, não apenas na literatura, mas também em outras expressões artísticas, como no teatro e no cinema. Basicamente, se refere a um recurso narrativo que permite inserir uma lembrança do passado no presente da narração, promovendo uma ruptura em sua cronologia. Chamamos as narrativas que fazem uso de tal recurso de não linear pois não seguem uma sequência direta na descrição dos acontecimentos.
Em relação ao exposto, marque a alternativacorreta.
		
	
	O narrador e o tempo são os únicos elementos narrativos que se transformam em uma narrativa que recorra ao passado.
	
	As personagens se comportam de maneiras diferentes em cada volta ao passado em uma narrativa, uma das principais características do gênero.
	 
	Em uma história construída por meio de recordações, o domínio do tempo e de suas possibilidades de variação é fundamental.
	
	O espaço e o tempo não se misturam nas narrativas que fazem uso do flashback, apenas nas históricas.
	
	Não há como descrever um espaço físico com fidelidade em uma narrativa que faça uso de recuos ao passado.
	Respondido em 19/10/2022 19:59:02
	
	Explicação:
O tempo é um dos elementos principais de uma narrativa. Em uma história que recorra ao flashback, o tempo é classificado como psicológico, pois ele transcorre na interioridade da personagem, sendo, portanto, subjetivo. Por essa razão, ele não segue o mesmo fluxo do tempo cronológico, que é linear e igual para todos, mas o da memória, mais diversificado e transgressor.
	
		3a
          Questão
	Acerto: 1,0  / 1,0
	
	O trecho a seguir desenvolve conceitos importantes para a Teoria da Narrativa, tais como gênero literário, a relações entre discurso, história e horizonte de expectativa. Analise o trecho de Eduardo Galeano tendo como base os conceitos estudados:
 
Diego não conhecia o mar. O pai, Santiago Kovadloff, levou-o para que descobrisse o mar. Viajaram para o Sul. Ele, o mar, estava do outro lado das dunas altas, esperando.
 
Quando o menino e o pai enfim alcançaram aquelas alturas de areia, depois de muito caminhar, o mar estava na frente de seus olhos. E foi tanta a imensidão do mar, e tanto seu fulgor, que o menino ficou mudo de beleza.
 
E quando finalmente conseguiu falar, tremendo, gaguejando, pediu ao pai: ¿ Me ajuda a olhar!
 
Adaptado de: GALEANO, Eduardo. A função da arte/1. In: O livro dos abraços. Trad. Eric Nepomuceno. Porto Alegre: L&PM, 2002.
 
Com base no texto apresentado, avalie as asserções a seguir e relação proposta entre elas:
 
I. Assim como o pedido feito pelo filho ao pai, no texto de Eduardo Galeano, a escolha de um gênero literário é um pedido de ajuda para olhar.
 
PORQUE
 
II. O discurso define a história que se quer compreender, independentemente do que o leitor e o escritor esperam.
 
A respeito dessas asserções, marque a alternativa correta:
 
		
	
	A asserção I é uma proposição falsa, e a II é uma proposição verdadeira.
	
	As asserções I e II são proposições verdadeiras, e a II é uma justificativa correta da I.
	
	As asserções I e II são proposições verdadeiras, mas a II não é uma justificativa correta da I.
	 
	A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
	
	As asserções I e II são proposições falsas.
	Respondido em 19/10/2022 20:12:12
	
	Explicação:
Segundo Anatol Rosenfeld, em sua "Teoria dos gêneros" (1985), o gênero literário surge da necessidade de comunicar o mundo imaginário, ou seja, a realidade transfigurada em nossa consciência e depois codificada por meio da linguagem artística. Por isso, definir um gênero literário de um texto é uma forma de olhar, ou seja, de apreender e refletir o mundo. E é o discurso que vai fornecer o ¿como¿, isto é, os modos de olhar a história, seguindo o horizonte de expectativas do leitor e do escritor.
	
		4a
          Questão
	Acerto: 0,0  / 1,0
	
	Fascinated by the Ireland of centuries past, Yeats wrote poems about Irish history and figures of Celtic mythology, including "To the Rose upon the Rood of Time", "To Ireland in the Coming Times,", and "The Song of Wandering Aengus".These poems in particular engage in legends and folklore while evoking traditional ballads and songs. Yeats¿s endeavors into the Irish Literary Revival movement were not limited to poetry alone: he founded the National Literary Society in 1892, cofounded the Irish Literary Theatre in 1899, and years later founded and wrote plays for the Abbey Theatre, which showcased works of contemporary Irish playwrights and authors and found great success. Some of his plays, including Ego Dominus Tuus, appeared in Poetry magazine. Source: GALTON, Francis. "Eugenics: its definition, scope and aims".
Access in: https://www.poetryfoundation.org/articles/70241/william-butler-yeats-101
Relate the excerpt above, from a biographical article written by the editors of the website Poetry Foundation, with the alternative that correctly points out the historical connections between Yeats¿ interest in Irish Folklore and the Nationalist Movement in Ireland.
		
	
	Yeats' connections with Irish Nationalism came from the family in which he was raised, who shaped his political views and deemed him, inevitably, as an author singularly Irish.
	 
	Yeats' connections with the Irish Literary Revival implied his commitment to the writing of a particularly Irish literature, so did his wish not to be recognized as a ¿cosmopolitan poet¿, but rather and Irish one.
	 
	Yeats' connection with other poets from England deemed his relationship with the Irish Nationalist movement complicated and rather abusive, being pressured into political views that did not correspond to his beliefs.
	
	Yeats' relationship with his countrymen and women was so deeply rooted in tradition that he used folklore as his major source to please the Irish population living in the countryside.
	
	Yeats' relationship with Irish Nationalism is directly related to the way he has been imparted the responsibility as a writer to be only and exclusively a Gaelic writer, calling tradition and folklore forth as a political strategy.
	Respondido em 19/10/2022 20:13:19
	
	Explicação:
During the early nineteenth century, Ireland - its historical past and folkloric imaginary - was the stage and source material for what would turn into the literary movement called the Irish Cultural Revival. By that time, Gaelic (understood by nationalists as the original Irish language) was dying out as a spoken language. English was the official national and literary language as far as anyone could tell. However, the nationalist movement reclaimed Gaelic as an important language since most of Irish's Ancient literature was written in and needed to be translated from Gaelic. Philologists' research on the topic revealed heroic and mythical narratives particularly Irish dating from before the year 900. This was fundamental for renewing the interest in Irish literature and history as an autonomous cultural heritage, independent from the British cultural past. Within this context, many were the Anglo-Irish poets who, like Yeats, explored the rhythms and legendary imagery found in those ancient texts, attempting to echo a mythical past true to Ireland's history. Thus, "Yeats" connections with the Irish Literary Revival implied his commitment to the writing of a particularly Irish literature, so did his wish not to be recognized as a "cosmopolitan poet", but rather and Irish one.
	
		5a
          Questão
	Acerto: 1,0  / 1,0
	
	SHAKESPEARE AND OVID. "Amongst the direct sources of Shakespeare's works, after North's Plutarch and Holinshed, probably the most important was Ovid. The Fastiy the Heroides, and the Metamorphoses were just such works as would be most likely to impress a young mind; and Shakespeare's early ambition seems to have been to be the English Ovid, whilst accident made him a dramatist. Thus, in his Lucrece and his Venus and Adonis he directly challenges comparison. His themes are of the same romantic and imaginative stuff; his method the same rich and picturesque description; and the motto upon the title of the Venus and Adonis shows that he took the attempt seriously. In this respect he judged truly of his powers, although he enormously underestimated them. Other dramatists have portrayed the doings and the fate of men so as to move our souls; but no other has taken us into fairy land, and made imps and fays live before us as Shakespeare has done. Ben Jonsonand Middleton have done something for demons and witches; Goethe has realized a devil; but with Shakespeare alone the world of faery seems to be real and reasonable as flesh and blood. (OVID, 1904, p. i)
 
Source: OVID. Metamorphoses. GOLDING, Arthur (translator). London: The De La More Press, 1904.Based on the excerpt above, Ovid's Metamorphoses was"
		
	
	... Shakespeare's most important reference of what an author should not do in his writing, be it technically as well as imaginatively.
	
	... a highly popular novel written in French and published in English for the purposes of assimilating another culture.
	
	... a rather obscure text for the largest part of the Renaissance, being hardly ever used by anyone outside the university.
	 
	... not only one of Shakespeare's most preferred sources, but also that whose rendering of myths and the fantastic provided a singular set of images for many different authors.
	
	... Shakespeare's only source to create all his plays; he actually had the only known copy of Metamorphoses found during his time.
	Respondido em 19/10/2022 20:01:44
	
	Explicação:
Ovid's Metamorphoses first verse English translation was written by Arthur Golding in 1567, since William Caxton - the important Elizabethan printer - had already published a prose translation of the French text of Metamorphoses known as Ovide Moralisé, in 1480. Nevertheless, it is Golding's rendition of Ovid's book that became widely famous in England and was eventually read by many Elizabethan poets such as Edmund Spenser and William Shakespeare. Ovid's depiction of the Greek myths as short stories which challenge the imagination was largely influential not only in the imagery it provided for such poets, but also with its many plotlines directly appropriated by Shakespeare in his plays. The correct answer is then: "not only one of Shakespeare's most preferred sources, but also that whose rendering of myths and the fantastic provided a singular set of images for many different authors".
	
		6a
          Questão
	Acerto: 1,0  / 1,0
	
	Joseph Campbell, in The Hero with a Thousand Faces (1949), develops a very important theory: that mythological narratives share the same basic structure. Choose the alternative that contains a true statement about Campbell¿s theory:
		
	
	The structure also called "monomyth" is only related to classical narratives such as Home's epics.
	
	The "hero's maturity" is a representation of a villain who finally becomes a hero at the end of a story.
	
	The "hero's Journey" is a historiographical method used by early poets to enshrine their culture's heroes.
	
	The "hero's Travel" is a narrative structure that is organized by the main character's constant travels. It unravels as the protagonist moves from one place to the other.
	 
	The "hero's Journey" is a narrative structure that relies on the movement of a character from tranquility to peril and challenge to gain maturity.
	Respondido em 19/10/2022 20:03:17
	
	Explicação:
Mythologist Joseph Campbell's famous rendering of the heros journey or monomyth in his book The Hero with a Thousand Faces (1949) explains how the hero's journey consists of a cycle, which recurrently reappears, where the main character of a story begins an adventure - either by answering to a call or by choice; crosses a threshold after which he (or she) begins to face their transformation; faces a series of challenges necessary for them to overcome; reaches the abyss of literal or symbolic death as well as their rebirth; is effectively transformed and atoned; finally returning to the stability in which they had started their journey, as undoubtedly a changed person. The correct answer is thus: "The hero's Journey is a narrative structure that relies on the movement of a character from tranquility to peril and challenge to gain maturity".
	
		7a
          Questão
	Acerto: 1,0  / 1,0
	
	The parables of Jesus, as found in the Gospels, are considered the most important source for studies on how Jesus taught and transmitted his message. Such stories have been analyzed numerous times and still, new insights are constantly revealed through fresh debates and approaches by biblical scholars. New methods of literary reading have been fundamental for the understanding of the metaphors and symbols present in the parables.
Adapted from: GOWLER, David B. What Are They Saying About the Parables'. New Jersey: Paulist Press, 2000.
Considering the text, mark the correct alternative:
		
	
	There is no consensus regarding the parables of Jesus because they can only be applied to the Christian faith so laic scholars have no mechanisms to analyze them.
	
	The parables of Jesus are a very specific form of parable because they do not intend to stimulate the audience to think, thus they are very objective and purposely lack figures of speech.
	
	The parables, as found in the Gospels, originated such literary genre and Jesus was the creator of this form of narrative.
	 
	The parables of Jesus function like other forms of art that test our minds through their ambiguity, hence, interpreters must be careful when studying so that the true meaning isn't destroyed.
	
	The parables told by Jesus can only be studied by Christian scholars and given the different branches of the religion, researchers with different understandings of faith will interpret the narratives differently.
	Respondido em 19/10/2022 20:04:26
	
	Explicação:
The parables of Jesus are used by many for preaching, since parallels can be traced between the stories and the listeners¿ lives, serving as guidance. Jesus used analogies neither as straightforward tales with obvious lessons nor as incomprehensible stories with impenetrable messages. With real-life events, parables were told to grasp the listener¿s attention and stimulate a reaction. Throughout the history of the church, debate over how much of a parable is an allegory has been constant, but modern scholarship has rejected the practice of interpreting parables as allegories, because their objective is not to represent something else but to generate a response. Thus, interpretation must be careful and meticulous due to the dubiousness of the narratives.
	
		8a
          Questão
	Acerto: 1,0  / 1,0
	
	The subject of ballads, books and films, Robin Hood has proven to be one of popular culture¿s most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs from the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture¿and one of the most versatile. But how has the legend of Sherwood Forest¿s merry outlaws evolved over time, and did a real Robin Hood inspire these classic tales?
 
Retrieved from:
EDITORS, History.com. The Real Robin Hood. In: History. [S. l.]: A&E Television Networks, LLC, 5 maio 2010. Disponível em: https://www.history.com/topics/british-history/robin-hood. Accessed Feb.12, 2022.
Bearing the text above in mind, it is possible to affirm that Robin Hood is not a folktale because:
		
	
	The narrative doesn't have an introduction, a development and a conclusion
	
	It is about a person who has gained saint-like characteristics
	
	It is an inspiration to many classic tales
	 
	It is a story about an unproven and undocumented person told as a historical fact
	
	It has supernatural events as part of its narrative
	Respondido em 19/10/2022 20:05:21
	
	Explicação:
The story of Robin Hood is a legend and not a folktale because it is partly true. Robin Hood features real people from history without magic or monsters but based on reality. It lies between a myth and a historical fact presented in an informal manner, demonstrating on a psychological level a symbolic representation of folk belief and collective experiences and serving as a restatement of commonly held principles of the group whose tradition it is a part of.
	
		9a
          Questão
	Acerto: 1,0  / 1,0
	
	A narrative text is a text in whichan agent or subject tells a story to a reader, viewer, or listener, in a medium such as visual images or verbal language. Choose the option that contains only a narrative¿s constituent components:  
		
	 
	Space and Time
	
	Conflict and denouement
	
	Narrator and climax
	
	Presentation and Character
	
	Development and plot
	Respondido em 19/10/2022 19:57:48
	
	Explicação:
A fictional narrative has as its constituent components: narrator, plot, characters, space, and time. All the other elements refer to the structure of a narrative. A narrative presents a certain structure: presentation, development, climax, and denouement. Therefore, the only option which contains only a narrative¿s constituents is: space and time.
	
		10a
          Questão
	Acerto: 1,0  / 1,0
	
	The fictional narrative tells a story, a sequence of facts, in which characters move in a certain space as time passes. Its structure encompasses presentation, development climax and denouement. How can denouement be defined?
		
	
	The introduction of the theme.
	
	The first part of a narrative.
	 
	The resolution of the conflict in a story.
	
	The series of events in the story.
	
	A dramatic turning point in a narrative.
	Respondido em 19/10/2022 20:06:23
	
	Explicação:
Denouement is the point in a story in which the conflict is resolved. It occurs after the climax, in the final part of a story¿s narrative arc. The introduction of theme, some characters and sometimes setting and time compose the presentation of the story, in the first part of a narrative. The series of events define the development of the narrative. The dramatic turning point is the climax.