NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA 1

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Disc.: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA   
Aluno(a): MARINES ADIERS ALVES PEREIRA 202103257976
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Observe a história em quadrinhos:
 
 Questão1
a
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Laerte Coutinho. Instagram: @laertegenial. Disponível em: https://www.instagram.com/p/CU8f6iiM6IX/?
utm_medium=copy_link
 
A partir do desenho e da estrutura narrativa em que ele se constrói, podemos a�rmar que:
A função do sonho é promover digressões sobre o verdadeiro lugar em que estamos, independentemente de nossa
condição.
Há três personagens distintas, uma deitada na cama, outra que desperta esta e uma terceira que está em situação de
rua.
As personagens que estão deitadas se recordam, simultaneamente, uma da outra. A primeira é despertada pela
lembrança.
 O sonho, enquanto narrativa, ao mesmo tempo transcende e desvela a condição real vivida pela personagem.
A história ressalta a importância de estarmos conscientes do espaço em que estamos inseridos.
Respondido em 21/04/2023 10:56:30
Explicação:
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Há duas narrativas justapostas, a do sonho e da realidade, que parecem, em princípio apenas uma. Com o �m de uma história, temos o
�m da outra e, consequentemente, a sua existência simultânea desde o início. Apenas ao despertar, sabemos que o menino, na verdade,
não estava deitado em uma cama, mas que se encontrava em situação de rua.
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 �no 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) �ores 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 texto apresentado, 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.
 Questão2
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A respeito dessas asserções, marque a opção correta.
As asserções I e II são proposições falsas.
 As asserções I e II são proposições verdadeiras, e a II é uma justi�cativa correta da I.
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 justi�cativa correta da I.
A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
Respondido em 21/04/2023 10:59:14
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 so�sticação, há uma in�nidade 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.
Acerto: 1,0  / 1,0
(ENADE - 2021) Contemplada pelo Edital Cultura Dendicasa, da Secretaria de Cultura do Ceará (Secult) na categoria
"Audiovisual", "Rotina familiar - Crônica visual" submerge o público no barulho da rede que balança na sala, nos passos da avó
que cozinha e trabalha e nas brincadeiras das crianças. A rotina desta família durante o período de isolamento cria uma crônica
visual.
 
"A ideia surgiu durante a quarentena, nas primeiras semanas de março. Estava a fotografar minha casa, e também a gravar
pequenos takes", diz o diretor do �lme.
 
Segundo ele, a obra é, ao mesmo tempo, um �lme, um curta, uma crônica. "Traz uma movimentação de tempo e espaço dessa
casa. Claro que ela nem sempre é assim, pois muitas das vezes todos estão em suas correrias. Foi necessário um certo momento
de olharmos. Vermos ao redor e percebermos essa sintonia, essa pequena correria que, querendo ou não, está carregada de
afeto".
 
Disponível em: . Acesso em: 19 jun. 2020 (adaptado).
 Questão3
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Supondo-se que o �lme seja do gênero crônica e considerando-se as características desse gênero, é correto a�rmar que essa
obra apresenta seus recursos de linguagem organizados de forma a:
escrever com detalhes as ações da família ao longo do período de um ano.
ilustrar, por meio de sátira, os acontecimentos atuais mais recentes.
evidenciar situações especiais, com foco em personagens típicos da região.
 narrar cenas cotidianas sob um ponto de vista particular e criativo.
expor determinado ponto de vista sobre um assunto novo e polêmico.
Respondido em 21/04/2023 11:00:47
Explicação:
A capacidade de transformar episódios simples do cotidiano em uma história envolvente é próprio da crônica, que é tão efêmera
quanto as notícias de jornal e, ao mesmo tempo, tão duradoura quanto as grandes aventuras. Pela sua natureza híbrida, ela se ajusta às
narrativas audiovisuais, não se limitando, portanto, em termos estruturais, à forma verbal. Com essa combinação, entre o verbal e o
não-verbal, o cotidiano despretensioso se transforma em uma narrativa "carregada de afeto".
Acerto: 1,0  / 1,0
Fascinated by the Ireland of centuries past, Yeats wrote poems about Irish history and �gures 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 de�nition, 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 websitePoetry 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 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.
 Questão4
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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' 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' 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.
Respondido em 21/04/2023 11:06:53
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 of�cial 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.
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
 Questão5
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Of Oreb, or of Sinai, didst inspire
That Shepherd, who �rst 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 �ow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle �ight 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 use of unrhymed verses
 The invocation of the Muse
The exposition and con�ict
The climax
Alliteration
Respondido em 21/04/2023 11:10:27
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 �rst 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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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 �esh 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 only source to create all his plays; he actually had the only known copy of Metamorphoses found
during his time.
... 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.
Respondido em 21/04/2023 11:12:21
Explicação:
Ovid's Metamorphoses �rst 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 in�uential 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".
Acerto: 1,0  / 1,0
 Questão6
a
 Questão
7
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According to Jacques Le Goff, in his "In Search of Sacred Time: Jacobus de Voragine and The Golden Legend", to have a more
precise understanding of the meaning and extent of Tiagode Varazze's work, it is necessary to end a notion that affects not only
the "Golden Legend" but a great deal of works from medieval cultural. Many scholars treat such productions as compilations;
however, this term carries, since the 18th Century, a pejorative connotation almost as strong as "plagiarism". Nonetheless, back
in Tiago de Varazze¿s time, the term had an extremely positive value for it was understood that he who compiled, merged things
said by others with his own.
 
Adapted from: GOFF, Jacques Le. In Search of Sacred Time: Jacobus de Voragine and The Golden Legend. Tradução: Lydia G.
Cochrane. New Jersey: Princeton University Press, 2014.
Based on the text above, it is correct to af�rm that:
Compilers are not writers, thus, the changes the legends of the saints have undergone have nothing to do with the
compilations, but rather with the passage of time.
 Compilers are also writers and the legends of the saints have undergone numerous changes due to the merging of
writings from different authors.
Compilers are disguised plagiarists who should be informed against.
Compilers are not writers, they simply organize works into books, facilitating the comprehension of readers.
Compilers are writers, but their capacity of merging works by distorting them cannot be underestimated.
Respondido em 21/04/2023 11:17:39
Explicação:
The legends of the saints have undergone uncountable transformations due to adaptations, translations and compilations. It is almost
impossible to preserve works from such a long time ago without any kind of modi�cation. Alterations are always made in an attempt to
re�ne, adapt and attract the public. Compilers can be considered writers because their choices in the compilation have a major
in�uence in the �nal piece, like editors in the process of �lm making; many people believe editors basically create new movies.
Acerto: 0,0  / 1,0
Consider the following comic strip:
 Questão8
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Jeffrey Smith. Available at: Matthew 25 - Parable Of The Virgins - Christian Cartoons From Prayer Pups Christian Comics. Date
of access: 17/02/2022
Assess the following claims:
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I. The comic strip shows how parables are not accessible to everyone since their literary devices can easily be misunderstood.
II. The cartoon uses humor to refers to a parable of Jesus by illustrating how they make use of �gures of speech to deliver their
messages.
III. The "Parable of the Ten Virgins" has allegorical elements, but it is not an allegory because its objective is not to represent
something else but to generate a response in its audience.
 
The only correct statements are:
 I, II and III.
 II and III.
Only III.
Only II.
Only I
Respondido em 21/04/2023 11:24:11
Explicação:
The cartoon uses humor to deliver the "Parable of the Ten Virgins" which serves as a reminder to be prepared for the unexpected
second coming of Christ, when humans will face eternal judgment. The message is spiritual, but like all parables, it has the objective of
stimulating the audience to change certain habits and to re�ect about certain things. It uses symbols and the cartoon plays with the
fact that it is necessary to analyze the story and incorporate it to one¿s life �guratively, not literally like the poodle does.
Acerto: 1,0  / 1,0
The characters of a narrative present certain characteristics. The main character experiences con�icts, and its fate is followed
closely by readers. That is also a character who acts against the main character, creating obstacles, complications, and con�icts
to him/her. What do we call this latter character?  
Hero
Principal character
Supporting character
Protagonist
 Questão9
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 Antagonist
Respondido em 21/04/2023 11:21:02
Explicação:
The main character or principal character is the protagonist or the hero (sometimes antihero) of a story. The character who acts
against the main character is the antagonist. The supporting characters are the secondary characters.
Acerto: 0,0  / 1,0
A short story author chooses between telling the story using the voice of one of the characters or assuming a detached,
omniscient perspective that gives �exibility in describing the story's situations, setting and characters. The use of dialogues is
also present in short stories. Why is the use of dialogues informing readers about characters' opinions, attitudes, and facts
important in the short story form?
Direct narration is a more dynamic mode.
 Dialogues successfully introduce characters.
Dialogues usually express more details.
 Direct narration is much more concise.
Dialogues present more colloquial language.
Respondido em 21/04/2023 11:23:00
Explicação:
The use of dialogues, the direct narration of characters' speech in quotation marks, allows the author to convey information in a
concise manner, which is important in the short story form. Through dialogues the reader is informed about characters' opinions and
attitudes, as well as facts necessary for the development of the plot. Dialogues may or may not express more details about a subject, as
well as colloquial language; dialogues might be laconic, and even extremely formal, depending on the situation they deal with.
Dynamism does not have to do with the use of dialogues and introducing characters may be even more successful by employing a
third-person narrator's voice.
 Questão10
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