NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA Simulado 2

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Disc.: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA 
Aluno(a): FERNANDA DE OLIVEIRA VIANA MACHADO 202001150481
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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:
Diversas ações, narrador em terceira pessoa e descrição de sentimentos.
Um conflito, personagens indeterminados e descrição detalhada do espaço.
Uma ação, personagens anônimos e espaço reduzido.
 Um conflito, limitação do espaço e poucas personagens.
Descrição do espaço e poucos diálogos.
Respondido em 30/10/2022 01:46:31
 
 
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.
 
 
Acerto: 0,0 / 1,0
No filme Batman: o Cavaleiro das Trevas (2008), dirigido por Christopher Nolan, o protagonista enfrenta um
de seus maiores desafios, em um momento em que pretendia sair de cena como o homem-morcego e ajudar a
cidade de Gotham como cidadão comum, não precisando mais agir fora dos limites institucionais. No entanto,
o surgimento de um de seus principais antagonistas, o Coringa, altera o curso dos eventos. Quase nada se
sabe a seu respeito, de onde vem e para onde quer ir. De natureza anárquica e incendiária, o Coringa não
apenas coloca a cidade de pernas para o ar, mas também revira do avesso as principais personagens dessa
narrativa, fazendo emergir o que elas têm de mais monstruoso.
 Questão1
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 Questão2
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Com base no exposto na análise estruturalista de Roland Barthes, é correto afirmar que:
As personagens são descritas pelo que são e não pelo que fazem.
O espaço é que determina as ações da narrativa.
 A função do protagonista não está relacionada as suas ações.
No nível da narração apenas as funções das personagens são relevantes.
 A função do antagonista é colocar as virtudes das personagens à prova.
Respondido em 30/10/2022 01:47:31
 
 
Explicação:
Toda personagem em uma narrativa exerce um determinado papel, a fim de movimentar a história por meio de
suas ações. É o que Barthes chama de "nível das funções" e "nível das ações", respectivamente. No filme citado,
o Coringa tem como função levar tanto o protagonista quanto as outras personagens ao reexame de seus
limites. Coringa, portanto, enquanto antagonista, revirando ao avesso os principais personagens - Batman
sendo um deles ¿ coloca à prova as virtudes de todos, ao fazer emergir o que cada qual possui de monstruoso.
 Para Barthes, os papéis de personagens e suas ações se integram em uma narração construída para um leitor.
A resposta correta é, portanto, "A função do antagonista é colocar as virtudes das personagens à prova".
 
 
Acerto: 1,0 / 1,0
Texto I
No serviço de auto-falante
Do morro do Pau da Bandeira
Quem avisa é o Zé do Caroço
Que amanhã vai fazer alvoroço
 
 
Leci Brandão. Zé do Caroço. In: Leci Brandão. Rio de Janeiro: Copacabana, 1985. LP.
 
Texto II
Abre a porta para o gueto, gueto
Brota ouro lá no gueto, gueto
Ninguém cala a voz do gueto, gueto
Ela é cria lá do gueto, gueto
 
IZA. Gueto. In: Gueto. Rio de Janeiro: Warner Music Brasil, 2021. Spotify; Deezer; YouTube Music.
 
A partir dos textos apresentados, avalie as afirmações a seguir.
 
I. A letra de canção Zé do Caroço, de Leci Brandão, é a narração de um cotidiano específico, em um tempo e
um espaço determinados, mas reflete sobre condições mais amplas e atuais.
II. A letra de canção Gueto, de IZA, por meio da reiteração da palavra que a intitula ao longo dos versos
contribui para reforçar a valorização do seu pertencimento ao espaço em que se dá a narração de sua história.
III. As duas canções são relatos cotidianos sobre a luta da população negra e periférica no Brasil na construção
de seu protagonismo.
 
É correto apenas o que se afirma em:
II, apenas.
 Questão3
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II e III.
 I, II e III.
I, apenas.
III, apenas.
Respondido em 30/10/2022 01:47:51
 
 
Explicação:
Os dois textos apresentados possuem grande narratividade em sua composição, evidenciando elementos
básicos do gênero, como personagem, ação, espaço e tempo. Ainda que estejam inscritas em períodos bem
distintos, as canções ressaltam questões fundamentais para a compreensão da história do país, como o lugar da
população negra, principalmente dos subúrbios e periferias, na formação da sociedade brasileira. Para
abordagem o tema, as compositoras lançam mão de recursos narrativos de linguagem verbal variados, tomados
da crônica, da memória e do retrato literário, entre outros tipos de narrativa.
 
 
Acerto: 1,0 / 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 has been written as an alliterative verse.
... that it follows an altogether modern metric system.
... that it follows the Homerian epic using the dactylic hexameter.
... that it has been written in iambic pentameter.
... that it has been written without any regard for the original in Old English.
Respondido em 30/10/2022 01:49:00
 
 
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".
 
 
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:
 Imaginative reconstructionsof the past by means of blending legend and history.
Legendary accounts passed down from generation to generation about certain indigenous populations.
Icelandic folktales since the genre became circumscribed to very specific geographic and historical
circumstances.
Stories that trace back origins of kingdoms.
Realistic accounts of life in the Middle Ages.
Respondido em 30/10/2022 01:49:23
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 Questão5
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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".
 
 
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 invocation of the Muse
Alliteration
The exposition and conflict
The use of unrhymed verses
The climax
Respondido em 30/10/2022 01:49:32
 
 
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".
 
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Acerto: 1,0 / 1,0
"The Legend of Sleepy Hollow resurfaces every year around Halloween. Washington Irving's 1820 tale of a
headless horseman who terrorizes the real-life village of Sleepy Hollow is considered one of America's first
ghost stories, and one of its scariest.
 
But Irving didn¿t invent the idea of a headless rider. Tales of headless horsemen can be traced to the Middle
Ages, including stories from the Brothers Grimm and the Dutch and Irish legend of the Dullahan or Gan
Ceann, a Grim Reaper-like rider who carries his head. (...)
 
Retrieved from: KENNEDY, Lesley. What Inspired 'The Legend of Sleepy Hollow'?. In: EDITORS, History.com.
History. [S. l.], 15 out. 2020. Available at: https://www.history.com/news/legend-sleepy-hollow-headless-
horseman. Date of access: 1/2/2022.
 
In relation to Washington Irving's Legend of the Sleepy Hollow, choose the correct option:
Irving inaugurated a new genre by merging folklore with history.
The fact that tales of headless horsemen can be traced to the Middle Ages proves that Irving's short
story cannot be considered a legend.
Irving's short story has the purpose of teaching people to be aware of the past and the revenge it
eternally seeks.I
The Legend of the Sleepy Hollow is based on the true story of a headless rider.
 The Legend of the Sleepy Hollow is a short story based on a famous legend about a headless rider,
which cannot be classified as entirely fiction or not, given that it functions within the realm of
ambiguity.
Respondido em 30/10/2022 01:50:47
 
 
Explicação:
The Legend of the Sleepy Hollow is based on the ancient legend of the headless rider. Like other forms of
folklore, this genre undergoes variations to suit the demands of the culture and tradition it belongs to. Still,
legends can be considered a reflection of folk belief shaped by communal experiences, addressing real
psychological pressures, fears and desires. Nonetheless, it cannot be considered a folktale because it has the
historical element in it.
 
 
Acerto: 1,0 / 1,0
Saint Joan of Arc was canonized on the 16th of May 1920. She is a French national heroine, who led the army
of France believing she was acting under divine guidance. One year later she was captured and burned to
death accused of heresy. Posterior generations have distorted St. Joan's story and the importance of her
mission according to their own political and religious beliefs, excluding the understanding of the troubled
period of history she lived in.
 
With the text in mind, pick the correct statement:
Joan of Arc existed but it is impossible to prove she was the heroine people claim; there are many
religious and political interests involved.
The story of Joan of Arc has been told so many times she has become a fictious character.
 The study of the lives of saints is complex and requires a lot of caution for many versions of the legend
were told so it is important to focus on the contexts of every narrative.
The legend of Joan of Arc, like that of all saints, should not be used as historiographical evidence, but
only as mere fiction, given the numerous alterations made to corroborate the viewpoints of the author.
The lives of saints should be studied as pure works of fiction because there is no proof that they did all
that is attributed to them.
Respondido em 30/10/2022 01:51:37
 
 
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Explicação:
The legend of Joan of Arc, like that of other saints, can be studied by artists and by historians. Many of it can't
be proven, but a great part of it can. The historical and topographical elements are fundamental for the
reconstruction of the time; however, it has undergone many changes and it shouldn't be considered pure
history. Still, it is not only fiction.
 
 
Acerto: 0,0 / 1,0
Folktales and literary fairy tales have many aspects in common and came into being because of the human
necessity of telling stories. Folktales are anonymous tales which belong to the oral tradition of storytelling, and
they were modified and embellished according to the storyteller. Literary fairy tales, also influenced by the oral
tradition, were born as written texts, with defined authors and meant to be read. This context explains the
differences between folktales and literary fairy tales, in terms of form and content. Which option expresses one
of these differences? 
Characters are supernatural.
 Themes are appropriate for children.
Magical elements are present.
There are many transformations. 
 Texts are more polished.
Respondido em 30/10/2022 01:54:06
 
 
Explicação:
Literary fairy tales were written by educated authors, who wished to demonstrate their literary skill and please a
literary audience. Supernatural characters, magical elements and transformations are elements common to oral
and written fairy tales; themes appropriate for children were not a reality in the first literary fairy tales. This was
a change that occurred gradually, following changes in society and in the concept of childhood.
 
 
Acerto: 1,0 / 1,0
Le Morte D'Arthur (1485) by Thomas Malory, tells the legend of King Arthur and Queen Guinevere, the knights
of the Round Table and theirquest for the mystical Holy Grail. In 21 books, the story covers the founding of
Arthur¿s kingdom and the setting of the Round Table; the adventures of individual knights; the quest for the
Holy Grail; the death of Arthur and the fall of his kingdom. Malory worked on a French poem from the
fourteenth century, adding material from other sources to enrich his prose translation. This possibility of
adding more materials to a narrative after its end is a characteristic of a novella. Why it is possible to do this? 
Because events are less elaborated.
Because it portrays a specific moment in time.
Because its structure is closed.
Because its structure is circular.
 Because its structure is linear.
Respondido em 30/10/2022 01:53:10
 
 
Explicação:
As the novella's structure is linear and open, it is possible to add episodes, characters and events to it, without
causing any harm to the development of the narrative. The circular and closed structure of a novel does not
allow this kind of alteration. The fact that events are less elaborated than in a novel, for example, does not
explain the impossibility of adding components after the end; the same applies to the characteristic of a short
story, that portrays a specific moment in time. 
 
 
 
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