A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA - Teste de conhecimento

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1.
		"Não era um jogo da imaginação, mas um realismo que refletia fielmente uma realidade até então invisível" (PIETRI, Arturo Uslar. Godos, Insurgentes y Visionarios. Barcelona: Seix Barral, 1986, p.135).
Nesta sentença, Arturo Pietri resume o movimento que revolucionou a literatura na América Latina. Assinale a alternativa que contém a pretensão dos autores.
	
	
	
	Reescrever a história do continente americano sob o olhar do colonizador.
	
	
	Expandir o conceito de mimesis literária para abraçar o que havia de universal na América latina.
	
	
	Buscar no cotidiano mágico a identidade latino-americana.
	
	
	Aproximar-se do modelo surrealista, considerado um modelo adequado.
	
	
	Reafirmar a cultura colonialista através da reprodução fiel da realidade.
	Data Resp.: 08/03/2023 11:12:58
		Explicação:
Os movimentos literários de meados do século XX na América Latina procuravam romper com os modelos europeus, mergulhando na cultura nacional, onde a magia se fazia presente no cotidiano. Logo, a sentença "Buscar no cotidiano mágico a identidade latino-americana" é a única alternativa correta.
	
	
	 
		
	
		2.
		Os movimentos literários denominados "Realismo Mágico" e "Real Maravilhoso" foram mobilizados por um grupo de intelectuais latino-americanos, tendo como ponte de partida os seguintes autores:
	
	
	
	Gabriel García Marquez e Alejo Carpentier.
	
	
	Arturo Uslar Pietri e Alejo Carpentier.
	
	
	Julio Cortázar e Arturo Uslar Pietri.
	
	
	Jacques Cazotte e Charles Perrault.
	
	
	Arturo Uslar Pietri e J. J. Veiga.
	Data Resp.: 08/03/2023 11:13:39
		Explicação:
Arturo Uslar Pietri e Alejo Carpentier estavam a frente dos movimentos que revolucionaram a literatura latino-americana do século XX. Pietri cunhou o termo realismo mágico e Carpentier a expressão real maravilhoso. Ambos movimentos procuraram representar a história e a cultura dos povos da América Latina através da mística que se expressava no real.
	
	
	 
		
	
		3.
		Irene Bessière, crítica francesa e defensora do fantástico como modalidade, discorda de Todorov quanto à resolução e dissolução do fenômeno fantástico no momento da decisão narrativa pelo sobrenatural ou pela explicação natural. Assinale a alternativa que contém a(s) afirmativa(s) correta(s) acerca da tese defendida pela autora.
i.  A escolha pelo sobrenatural ou pela racionalidade deve ser efetivada somente pelo leitor.
ii. O objetivo principal do fantástico é produzir a incerteza, não devendo evanescer mediante resolução.
iii. A narrativa fantástica pode abraçar, ao final, todas as possibilidades, naturais e insólitas.
iv. O fantástico não deve se limitar à temporalidade da dúvida.
	
	
	
	Apenas II, III e IV estão corretas.
	
	
	Apenas I, II e III estão corretas.
	
	
	Apenas II e IV estão corretas.
	
	
	Apenas I e II estão corretas.
	
	
	Apenas I, III e IV estão corretas.
	Data Resp.: 08/03/2023 11:14:27
		Explicação:
Uma das críticas à teoria de Todorov se dirige à sua dissolução. Para Bessière, o fantástico permanece após a escolha natural ou sobrenatural, que poderá ser feito por leitor ou narrador, não estando limitado ao tempo da hesitação. Justifica ainda por obras que não se resolvem ou sequer oferecem esta possibilidade.
	
	
	4597VERTENTES FICCIONAIS DO FANTÁSTICO EM LÍNGUA INGLESA
	 
		
	
		4.
		The historical moment between the eighteenth and nineteenth centuries was fundamental for the establishment of the fantasy novel as a proper genre in fiction. This was a moment in which three traditions came together. Bearing this information in mind, choose the option which contains one of these traditions.
	
	
	
	The boom of poetry writing in Victorian Age.
	
	
	The rise of the short story.
	
	
	The rise of the epic genre.
	
	
	The dismissal of folk and fairy tales during Romanticism.
	
	
	The popularity of gothic novels.
	Data Resp.: 08/03/2023 11:15:45
		Explicação:
Three different traditions came together to provide the necessary impulse for the definite understanding of the fantastic as a genre: firstly, the rise of the novel with particular emphasis to the boom of the Victorian novel in England; secondly, the popularity of Gothic novels such as Ann Radcliffe's The Mysteries of Udolpho (1794) and Mathew Lewis' The Monk (1796); and finally, the revival of folk and fairy tales during Romanticism, when they began to be considered, especially in Germany, as an art form. Therefore, the only option which contains one of these traditions is: the popularity of gothic novels.
	
	
	 
		
	
		5.
		John Clute and Grant's Encyclopedia of Fantasy provides helpful concepts aimed at categorizing High Fantasy. This structuralist approach, however, tends to overlook works that do not fit it 100%. Read the statements below about A Song of Ice and Fire and then choose the one that correctly justifies why the Clute's and Grant's concepts fail to provide an accurate account of the novels:
	
	
	
	Because the wrongness of Westeros is corrected by a quest.
	
	
	The heroes of the novels embark on a grandiose quest.
	
	
	There are no heroes in the novels, only complex characters.
	
	
	The novels are epic in tone and nature.
	
	
	Because at the end good prevails and morality is finally reestablished.
	Data Resp.: 08/03/2023 11:16:53
		Explicação:
A Song of Ice and Fire are novels that contain characteristics related to both high fantasy and low fantasy. Therefore, in order to fit Clute's and Grant's concepts, such concepts would have to be stretched so as to encompass moral ambiguity, characters who are sometimes loyal and sometimes treacherous, the lack of quests or heroes. The novels do not present grandiose quests, or even heroes embarking on quests. Therefore, the only correct option is "There are no heroes in the novels, only complex characters".
	
	
	 
		
	
		6.
		Frankenstein by Mary Shelley was first published in 1818. In that same year John Wilson claimed that fantastic elements should be sparingly used. The critic's point of view resonated with others', as the extract below shows. Read the extract and then choose the option that best completes the sentence.
"The fantastic, in other words, was inappropriate for an age of science and morality, and the values of realism came to dominate literary discourse, despite the fact that the Victorian age itself was one of the great periods in the development of fantasy literature" (WOLFE, 2012, p. 12).
Source: WOLFE, Gary K. "Fantasy from Dryde to Dunsany". IN: JAMES, Edward & Mendlesohn, Farah. The Cambridge Companion to Fantasy Literature.  Cambridge: Cambridge University Press, 2012.
Gary Wolfe's assertion in his text about the historical context of English Fantasy is referring to
	
	
	
	one of the many moments throughout the history of the West in which Fantasy become the predominant literary discourse.
	
	
	one of the few absolute truths in Victorian studies, particularly regarding Fantasy as a genre.
	
	
	a stereotypical approach to the complex Victorian Age, when the fantastic was seen with both amazement and fear.
	
	
	a specific historical period in which the fantastic in literature was not well seen.
	
	
	a particular moment in time, when the scientific essays were published rather than fictional books.
	Data Resp.: 08/03/2023 11:18:47
		Explicação:
Despite remaining clearly suspect during the Victorian Age, the fantastic thrived as Frankenstein clearly exemplifies. As science advanced and moral standards remained high, fantasy did not seem to be the most appropriate genre for such scientific age, critics pointed out. Directly derived, though, from the historical context in which authors such as Mary Shelley lived, science which is mingled with fiction has proven itself as one of the most popular combinations in all history of literature - giving birth not only to one of the most famous fantastical creatures of all time, but also to ScienceFiction as a genre. The discussions in the XIX century, however, concerning this kind of novel, kept a close eye on the suspicious narrative tool the fantastic embodied. Wolfe, therefore, refers to "a specific historical period in which the fantastic in literature was not well seen".
	
	
	UMA QUESTÃO DE CONTOS
	 
		
	
		7.
		"The Monkey's Paw" is a classic "three wishes story" written by W. W. Jacobs. Read the statements below about Jacobs' famous short story and assess the relationship between them.
I. A view of India plays a central role in the story.
BECAUSE
II. The talisman's origin is a strong indicative of the stranger inside the US.
	
	
	
	Only I is correct.
	
	
	I and II are correct and II correctly justifies I.
	
	
	Only II is correct.
	
	
	Both are incorrect.
	
	
	I and II are correct but II does not justify I.
	Data Resp.: 08/03/2023 11:19:29
		Explicação:
The talisman coming from India acts as a symbol for the strangers within the national borders of the U. S. who would, according to a xenophobic worldview, spread evil. The warning against one¿s wishes is also metaphorized by a warning against the mysterious and the strangeness of the paw, which came from India.
	
	
	 
		
	
		8.
		Jeffrey Jerome Cohen was the editor of the book "Monster Theory: Reading Culture". In it, concepts of Western monstrosity are explored and analyzed. Regarding Cohen's study, it is correct to state that:
I. the monster is a symbol of the crisis of our identity.
II. the monster does not allow us to look directly into our fears.
III. the monster is completely unrelated to social phobias and taboos.
IV. there is a transgressive quality to the monster.
	
	
	
	I and II are correct.
	
	
	I, II, III and IV are correct.
	
	
	I, II and III are correct.
	
	
	I and III are correct.
	
	
	I and IV are correct.
	Data Resp.: 08/03/2023 11:20:40
		Explicação:
The monster should be understood as a symbol, as a social particularity, as it embodies our fears and forces us to look directly into them. The monstrous fictional character seems to repeatedly approach social phobias and taboos and also the personal traumas of a given reader or community of readers. There is a transgressive quality in the monster.
	
	
	4599LITERATURA FANTÁSTICA EM INGLÊS
	 
		
	
		9.
		In the genre of magical realism, the supernatural is embedded in the real world. What is the author¿s attitude in such a work? 
	
	
	
	The author advocates that magic and fantasy are part of reality
	
	
	The author includes elements that legitimize the veracity of magic
	
	
	The author shows the impossibility of fantasy in real life
	
	
	The author creates conflicting points of view in relation to magic
	
	
	The author keeps an ironic distance but respects magic
	Data Resp.: 08/03/2023 11:21:04
		Explicação:
The author keeps a distance from the extraordinary and fantasy in the work. Supernatural, magic and fantasy are elements that are not questioned in the works, which belong to magical realism. The questions dealt in these works are other ones, and the magic underlies those questions, serving as an embodiment of metaphors
	
	
	 
		
	
		10.
		The Harry Potter series is a phenomenon of popularity; it is conventional and to a certain extent, didactic. Which `lesson¿ may be learnt from its reading?
	
	
	
	Always do the right thing, not the easiest
	
	
	Not all wizards are reliable people
	
	
	Relatives may be against a family member
	
	
	Friendship must be put above everything
	
	
	Vengeance is acceptable
	Data Resp.: 08/03/2023 11:21:52
		Explicação:
Vengeance is accepted under certain circumstances, relatives may be against a family member, as Harry Potter¿s uncle, aunt and cousin. There are reliable and unreliable wizards, and friendship and loyalty are important values. However, the `lesson¿ conveyed by the series is doing the right thing, at any cost. The idea of doing the right thing, despite the obstacles, makes the character goes on a quest, which is central to the episode