A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA simulado 2

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Disc.: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA   
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Ao elaborar a teoria do gênero maravilhoso, Todorov concebe a modalidade de maravilhoso puro. Nele, não há
uma delimitação temporal ou características particulares. A classi�cação de um texto como maravilhoso puro
advém da presença de elementos insólitos, inseridos na realidade narrativa. Desta forma não provocam
estranhamento no leitor ou narrador, como ocorre no gênero fantástico. Dentre alguns autores do gênero
maravilhoso analisados por Todorov, podemos citar:
 Franz Kafka.
Jacques Cazotte.
Edgar Alan Poe.
Alejo Carpentier.
 Charles Perrault.
Respondido em 16/04/2023 23:01:38
Explicação:
Todorov cita alguns contos de Perrault, escritor francês do século XVII, famoso por contos de fadas tais como
Chapeuzinho Vermelho e A Bela Adormecida, como exemplo de texto maravilhoso puro. Nele, não há reação diante de
animais que falam, existências de seres mágicos e outros eventos sobrenaturais.
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O fenômeno fantástico pode ser entendido de diversas formas na teoria da literatura. Em seu livro Introdução à
Literatura Fantástica Tzvetan Todorov a�rma:
"Há um fenômeno estranho que se pode explicar de duas maneiras, por meio de causas naturais e sobrenaturais.
A possibilidade de se hesitar entre os dois criou o efeito fantástico" (TODOROV, Tzvetan. Introdução à literatura
fantástica. São Paulo: Perspectiva, 1992. p. 31). 
Também nesse livro, Todorov discorre a respeito de dois gêneros limítrofes, que advém da escolha pela causa
natural ou sobrenatural, interrompendo a hesitação. Que são, respectivamente, os gêneros:
realismo mágico e real maravilhoso.
realismo fantástico e estranho.
 real maravilhoso e realismo fantástico.
 fantástico-estranho e fantástico-maravilhoso.
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estranho e fantástico maravilhoso.
Respondido em 16/04/2023 23:01:45
Explicação:
O gênero fantástico perdura apenas durante o tempo da hesitação; quando esta é solucionada, por narrador e leitor,
seja para abraçar o sobrenatural ou desfazê-lo a partir de uma explicação racional, o fantástico se desfaz. A esses
gêneros que partem de uma hesitação e �nalizam em uma solução, Todorov classi�cou de gêneros limítrofes. O
fantástico-estranho adviria da escolha natural, enquanto o fantástico-maravilhoso optaria pela incorporação do
insólito.
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Todorov separa o gênero maravilhoso puro de outras narrativas que apresentam o fenômeno maravilhoso, mas
sob algumas justi�cativas. Como exemplo utiliza a obra As mil e uma noites e faz menção ao episódio em que
uma cobra de proporções descomunais é capaz de engolir um elefante. Leia as alternativas abaixo e marque a
de�nição correta para essa forma do maravilhoso.
Maravilhoso cientí�co.
 Maravilhoso hiperbólico.
Maravilhoso exótico.
Maravilhoso puro.
Maravilhoso instrumental.
Respondido em 16/04/2023 23:01:49
Explicação:
Para Todorov, algumas manifestações do insólito, nas narrativas, não se enquadram no gênero maravilhoso puro, pois,
de alguma forma, justi�cam a presença do evento sobrenatural. No caso de As mil e uma noites, o autor exempli�ca
com a existência de seres descomunais na obra, que provocam estranhamento pelo excesso, deste exagero advém a
classi�cação como maravilhoso hiperbólico.
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Read the de�nition for High fantasy below. Then, based on it choose the alternative that contains only novels
that exemplify such genre.
Fantasy stories that are set in an imaginary world and/or are epic in nature; meaning they feature a hero on
some type of quest. This subgenre became particularly popular in the 20th century and continues to dominate
much of popular fantasy today.
Available at: https://literaryterms.net/fantasy/. Access on: July 22, 2022.
The Song of Ice and Fire, American Gods and The Chronicles of Narnia.
American Gods, The City We Became and The Song of Ice and Fire.
 The Chronicles of Narnia, The Lord of the Rings and Harry Potter.
 The City We Became, The Chronicles of Narnia, The Lord of the Rings.
The Song of Ice and Fire, Harry Potter, The Hobbit.
Respondido em 16/04/2023 23:01:52
Explicação:
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According to the de�nition, two aspects relate to High fantasy: an imaginary or secondary world and its epic nature.
For instance, in The Lord of the Rings (1954-1955), one has got a world which resembles some aspects of ours but it is
clearly another. Tolkien, therefore, crafted a secondary world, Middle Earth, where the narrative unfolds. Another
way in which this Secondary World may take place is - in The Chronicles of Narnia (1950-1956) or The Harry Potter
Saga (1997 - 2007), for example - as a world inside our world, yet hidden. Be it a wardrobe door to Narnia or a train
station in which there is a platform 9 ¾, Secondary worlds are part of each of these �ctions. The other novels,
however, relate to another subgenre: low fantasy. 
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Every magical realism novel is different, but there are certain things they all include, such as:
Realistic setting. All magical realism novels take place in a setting in this world that's familiar to the
reader.
Magical elements. From talking objects to dead characters to telepathy, every magical realism story has
fantastical elements that do not occur in our world. However, they're presented as normal within the
novel.
Limited information. Magical realism authors deliberately leave the magic in their stories unexplained in
order to normalize it as much as possible and reinforce that it is part of everyday life.
Critique. Authors often use magical realism to offer an implicit critique of society, most notably politics
and the elite. The genre grew in popularity in parts of the world like Latin America that were
economically oppressed and exploited by Western countries. Magic realist writers used the genre to
express their distaste and critique American Imperialism.
Source: Neil Gaiman's Masterclass on "The Art of Storytelling". Available at . Access on July 22, 2022.
After reading the contextualization above and the af�rmatives below, mark the only option indicating the
correct set of af�rmative(s).
I. Magical Realism is not related at all to fantasy novels like Neil Gaiman's American Gods.
II. Magical Realism might be interpreted as a version of Low fantasy.
III. Magical Realism is intended to be capable of criticizing the social reality by using fantastic means to
communicate this.
 II and III, only.
 II, only.
I, only.
I, II and III.
I and III, only.
Respondido em 16/04/2023 23:01:53
Explicação:
Magical Realism as a subgenre of novels is interestingly close to the concept of Low Fantasy, in which the Primary
World is still the setting for the novel's plot, yet Magic and the Fantastic have space to develop into an everyday
element of this reality - affecting the way people see the political and social aspects of life. Since American Gods is an
example of low fantasy, only options II and III are correct.
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Even though Tolkien is considered the father of modern fantasy, his novels, however, are subject to criticism,
especially by contemporary fantasy writers such as China Miéville. Choose the option that contains one of the
reasons for the negative assessment Tolkien's novels may receive by more contemporary readers:
Good and evil are somewhat intertwined, presenting moral ambiguities.
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The novels fail to accountfor a celebration of the status quo.
There is no belief in an absolute morality.
 Masculinity is not a major theme in the novels, as it is constantly overshadowed by female protagonists.
 It presents a paradigm which is limited and hard to unshift.
Respondido em 16/04/2023 23:01:55
Explicação:
Although Tolkien's novels consisted in major achievements for fantasy as a genre, as the fantastic elements present in
the narratives no longer needed to be apologetically explained; this paradigm shift created a model that is still
nowadays the norm. Fantasy writing would be limited, after Tolkien, to the medievalist approach of The Lord of The
Rings. What's more, criticism is also directed towards Tolkien's treatment of topics such as Good vs. Evil, the
celebration of a status-quo, the masculine party which sets foot in its warlike adventure towards Mordor, and a blind
belief in a sort of absolute morality.
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"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.
Both are incorrect.
 Only I is correct.
 I and II are correct and II correctly justi�es I.
Only II is correct.
I and II are correct but II does not justify I.
Respondido em 16/04/2023 23:01:57
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.
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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 III are correct.
I and II are correct.
I, II and III are correct.
 I and IV are correct.
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I, II, III and IV are correct.
Respondido em 16/04/2023 23:01:58
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 �ctional 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.
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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 includes elements that legitimize the veracity of magic
The author shows the impossibility of fantasy in real life
 The author creates con�icting points of view in relation to magic
 The author keeps an ironic distance but respects magic
The author advocates that magic and fantasy are part of reality
Respondido em 16/04/2023 23:01:59
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
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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?
Not all wizards are reliable people
Relatives may be against a family member
Vengeance is acceptable
 Always do the right thing, not the easiest
Friendship must be put above everything
Respondido em 16/04/2023 23:02:03
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
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