A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA simulado 1

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Disc.: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA   
Aluno(a): FERNANDA DE OLIVEIRA VIANA MACHADO 202001150481
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"Uma coisa ninguém discute: se Zacarias morreu, o seu corpo não foi enterrado. A única pessoa que poderia dar
informações certas sobre o assunto sou eu. Porém estou impedido de fazê-lo porque os meus companheiros
fogem de mim, tão logo me avistam pela frente. Quando apanhados de surpresa, �cam estarrecidos e não
conseguem articular uma palavra. Em verdade morri, o que vem de encontro à versão dos que creem na minha
morte. Por outro lado, também não estou morto, pois faço tudo o que antes fazia e, devo dizer, com mais agrado
do que anteriormente" (RUBIÃO, M. O pirotécnico Zacarias. São Paulo: Ática, 1974). 
Entendendo a literatura fantástica como modo, alguns autores localizam a obra de Murilo Rubião dentro desta
de�nição. De acordo com o trecho acima, o elemento insólito manifesta-se no (a):
separação entre realidade e delírio na experiência de morte do narrador.
 expressão natural do evento fantástico, realizando um jogo entre o real e o sobrenatural.
explicação racional do evento sobrenatural.
efeito paradoxal provocado pela organização temporal.
relato introspectivo acerca da experiência da morte.
Respondido em 16/04/2023 22:25:50
Explicação:
O fantástico como modo abarca não apenas as obras de diferentes períodos históricos, como também de
regionalidades distintas. Sua premissa é a presença de eventos sobrenaturais na narrativa que respondem à um
imaginário cultural a que representam. Na citação da obra de Rubião, o fantástico se manifesta no jogo entre real e
sobrenatural, quando o narrador a�rma está morto, mas continua fazendo as mesmas coisas de quando vivo.
Acerto: 1,0  / 1,0
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) a�rmativa(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 �nal, todas as possibilidades, naturais e insólitas.
iv. O fantástico não deve se limitar à temporalidade da dúvida.
 Questão1
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 Questão2
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Apenas I e II estão corretas.
Apenas I, II e III estão corretas.
 Apenas II, III e IV estão corretas.
Apenas II e IV estão corretas.
Apenas I, III e IV estão corretas.
Respondido em 16/04/2023 22:26:13
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.
Justi�ca ainda por obras que não se resolvem ou sequer oferecem esta possibilidade.
Acerto: 1,0  / 1,0
Todorov elaborou a teoria do gênero fantástico a partir de ideias estruturalistas, logo, é realizada a delimitação
estrutural e temporal da narrativa. Contudo, algumas obras se aproximam e exibem estruturas semelhantes,
mas não são concebidas como obras fantásticas pelo crítico. Marque a alternativa que apresenta os gêneros que
não se enquadram no fantástico, embora apresentem alguns de seus elementos.
Tragédia e Comédia.
Estranho e Épico.
 Estranho e Maravilhoso.
Épico e Lírico.
Dramático e Maravilhoso.
Respondido em 16/04/2023 22:27:37
Explicação:
Os gêneros estranho e maravilhoso compartilham de alguns elementos fantásticos, como a presença de eventos
insólitos. Contudo se diferem do gênero tanto no corte temporal, proposto por Todorov, quanto pela ausência do
elemento fundamental da narrativa fantástica: a hesitação. Os gêneros épico, lírico, dramático, tragédia e comédia
não são gêneros do fantástico.
Acerto: 1,0  / 1,0
One of the best-known theoretical approaches to the fantastic has been that of Tzvetan Todorov, in his The
Fantastic: A Structural Approach to a Literary Genre (1973). The extract below was retrieved from his famous
study:
In a world which is indeed our world, the one we know, a world without devils, sylphides, or vampires, there
occurs an event which cannot be explained by the laws of this same familiar world. The person who experiences
the event must opt for one of two possible solutions: either he is the victim of an illusion of the senses, of a
product of the imagination - and laws of the world then remain what they are; or else the event has indeed taken
place, it is an integral part of reality - but then- this reality is controlled by laws unknown to us. Either the devil is
an illusion, an imaginary being; or else he really exists, precisely like other living beings - with this reservation,
that we encounter him infrequently (TODOROV, 1973, p. 25).
SOURCE: TODOROV, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre. London: The Press of
Case Western Reserve University, 1973.
Which alternative best describes Todorov's concept of the fantastic?
 Questão3
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 Questão4
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Todorov sees the fantastic as an unlimited realm of artistic possibilities, not grounded by any rules of
explanation.
Todorov sees the fantastic as pure explanation of an otherwise strange event.
 Todorov sees the fantastic as this moment between the amazement with the unknown and its
explanation.
Todorov sees the fantastic as a deep dive into the Magical aspects of its instances.
Todorov sees the fantastic as an open potentiality of narratives, totally guided by the way in which
language creates metaphors.
Respondido em 16/04/2023 22:29:01
Explicação:
The structure he is designing for the fantastic element in literature is shaped as a relational glimpse, meaning that
whoever faces the fantastic must stand between the real and the imaginary. Keeping the fantastic between the real
and the imaginary is also a strategy for the critics to properly acknowledge it as a legitimate narrative tool. The
fantastic maintains at least one foot in reality, while the other makes a desperate attempt to reach the full power of
imagination without ever managing to be fully recognized as capable of such. What fascinates Todorov is the
possibility that the fantastic event might be somehow explained. Since for the critic the fantastic is still circumscribed
by the limits and limitations of reality, the only correct answer is "Todorov sees the Fantastic as this moment between
the amazement with the unknown and its explanation."
Acerto: 1,0  / 1,0
The Hobbit by Tolkien was published in 1937 and received wide critical acclaim. Choose the alternative that
contains a true statement about the novel.
Brie�y, the story of The Hobbit is about Gandalf's adventures and how the wizard was intercepted by
the warlike hobbits.
The novel is a clear example of a low fantasy novel, since the setting is our ordinary world.
The novel as a whole does not relate to the genre of high fantasy as it does not entail a quest.
 Tolkien collects a series of symbolic and cultural references of the Western world to compose his
secondary world.
The novel fails to account for the epic nature demanded by high fantasy as a genre.
Respondido em 16/04/2023 22:27:56
Explicação:
The only correct answer is:"Tolkien collects a series of symbolic and cultural references of the Western world to
compose his secondary world", as the novel is full of mythological recoveries, as exempli�ed by Smaug, the dragon.
The other alternatives, however,do not conceive the novel as an example of the genre of high fantasy when, in fact, it
contains all the elements required by the genre: a quest, a fully developed secondary world, it is epic in nature. What's
more, The Hobbit, as the title suggests revolves around a hobbit: Bilbo Baggins.
Acerto: 1,0  / 1,0
Tolkien is considered the father of modern fantasy. Below you will �nd the opening paragraph of Tolkien's The
Hobbit. After reading the excerpt below, read af�rmatives below and then mark the option indicating the
correct set of af�rmatives.
In a hole in the ground, there lived a hobbit. Not a nasty, dirty, wet hole, �lled with the ends of worms and an
oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to wat: it was a hobbit-hole, and
that means comfort (TOLKIEN, 2012, p. 1).
Source: TOLKIEN, J. R. R. The Hobbit. New York: Ballantine Books, 2012.
 Questão5
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I. The �rst paragraph of The Hobbit gives an account of a Secondary World, fully established as such.
II. In this paragraph, Tolkien fails to present from the start a moral dilemma which would explain the character's
quest throughout the book.
III. This paragraph is a good example of how Tolkien used both Coleridge's notions of "fancy" and "imagination".
 
 II a III, only.
I and III, only.
I, II and III.
II, only.
I, only.
Respondido em 16/04/2023 22:37:37
Explicação:
Not only in this paragraph are we set in a Secondary world, unlike our Earth, in which some kind of creature (the
hobbits) live cozily in a hole, but also the ground hole is apparently the organizing domestic space of the community
where a hobbit lives. After all, in this narrative there is something linguistically recognizable as a "hobbit-hole", named
and identi�ed as such in relation to comfort. Therefore, the opening paragraph introduces this Secondary World,
where the action will take place, establishing, this way a point of departure for the narrative. The only correct option
is "The �rst paragraph of The Hobbit gives an account of a Secondary World, fully established as such".
Acerto: 1,0  / 1,0
"The Monkey's Paw" is a classic "three wishes story" written by W. W. Jacobs. Considering the discussions
regarding Jacobs' "The Monkey's Paw", mark the option which correctly indicates the broadness of its in�uence
in pop culture.
"The Monkey's Paw" was conceived as a novel, but Jacobs decided later on to make it into a short story.
"The Monkey's Paw" was not a very popular short story, so there is not much to say about its in�uence.
"The Monkey's Paw" is, �rst of all, the materialization of the consequences of defying fate.
"The Monkey's Paw" was not meant for every reading audience to read it.
 "The Monkey's Paw" was adapted into more than �fty different adaptations ranging from literature to
�lms.
Respondido em 16/04/2023 22:29:17
Explicação:
In 1902, William Wymark Jacobs published for the �rst time his famous short story, "The Monkey's Paw", which has
been anthologized in collections of short stories around the world almost from the moment it �rst came out. It is
signi�cant how deep into United States' cultural manifestations "The Monkey's Paw" has been since its publishing. Its
pop culture references include a 1991 episode from The Simpsons special "Treehouse of Horror II", in which the plot
of the short story is adapted into the small screen, a 1973 episode of "Orson Welles Great Mysteries", an episode of
supernatural series "The X-Files", as well as episodes from cartoons such as "Adventure Time" and "Rick and Morty".
Acerto: 0,0  / 1,0
Now all their cares were at an end, and they lived happily together.
My tale is done, 
A mouse has run.
And whoever catches it can make for himself from it a large, large fur cap.
 Questão7
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 Questão8
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Source: GRIMM, Wilhelm & Jacob. "Hansel and Gretel". Access at: https://sites.pitt.edu/~dash/grimm015.html.
Access on: September 22nd, 2022.
Based on the quote above, assess the following statements and the relationship between them.
I. The Brothers Grimm collected folk tales in their search for the essence of the German identity.
BECAUSE
II. They believed in an idealized image of the hardworking nation's countryfolk as the true German citizen.
I is true, and II is false.
 I and II are true, but II is not a correct justi�cation of I.
 I and II are true, II is a correct justi�cation of I.
I and II are false.
I is false, and II is true.
Respondido em 16/04/2023 22:37:22
Explicação:
The Grimms (and Jacob particularly) believed that the hardworking people living in German's countryside were
supposed to be idealized for the means through which they guided their lives. Even though both sentences are
correct, the fact that the idealization of the countryfolk was part of their intent, it does not explain their search for the
essence of the German identity. Because their searched for the essence of the German identity was that they could
idealize the hardworking countrymen.
Acerto: 1,0  / 1,0
Alice¿s Adventures in the Wonderland is divided into twelve brief chapters, each one divided into isolated
episodes. Alice has wonderful and bizarre adventures with strange creatures. What is a possible metaphorical
meaning of Alice¿s adventures in Alice¿s Adventures in the Wonderland?
 The search for experience
The �ght against reality
The curiosity for the future. 
The wish to overcome boredom
The need for excitement
Respondido em 16/04/2023 22:29:28
Explicação:
Alice is a child, but the experiences she goes through teach her how to behave and make decisions in different
situations, some of them potentially dangerous. She grows more mature throughout the novel
Acerto: 1,0  / 1,0
In Lewis¿ stories elements of fairy tales, medievalism, and Christian allegory are combined to create the magical
land. Which biblical �gure does the lion Aslan represent in The Chronicles of Narnia?
 God
Judas
Moses
Cain
Abel.
 Questão9
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Respondido em 16/04/2023 22:29:35
Explicação:
Aslan is a divine being, representing God/Jesus Christ. He is the founder of Narnia, the creator of its creatures, and its
King. What¿s more, Lucy, Edmund, and Eustace �nd a lamb, who transformed into Aslan, in an obvious allusion to
Jesus Christ