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A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA
	
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	4570FUNDAMENTOS FILOSÓFICOS E CRÍTICOS DO CONCEITO DE FANTÁSTICO
	 
		
	
		1.
		O realismo mágico e o real maravilhoso são movimentos contemporâneos, que respondem a um desejo criativo e, acima de tudo, libertário. Leia as sentenças abaixo a respeito do realismo mágico e real maravilhoso e, em seguida, marque a alternativa correta.
I. Resposta à literatura fantástica europeia.
II. Reação à ideologia do colonizador.
III. Característica principal é a hesitação.
IV. Afirmação da cultura nacional.
	
	
	
	Apenas I, II e III estão corretas.
	
	
	Apenas II, III e IV estão corretas.
	
	
	Apenas I e II estão corretas.
	
	
	Apenas I, II e IV estão corretas.
	
	
	Apenas II e III estão corretas.
	Data Resp.: 11/05/2023 18:00:53
		Explicação:
A hesitação diante de um evento insólito era um elemento fundamental para conceber o fantástico como gênero, segundo a teoria de Todorov. Para os autores do realismo mágico e real maravilhoso, o insólito estava inserido na realidade latino-americana, não provocando estranhamento ou hesitação. Esses movimentos nascem justamente como reação aos modelos fantásticos europeus, se posicionando contra a ideologia dominante do colonizador e em busca da afirmação da cultura nacional.
	
	
	 
		
	
		2.
		O fenômeno fantástico pode ser entendido de diversas formas na teoria da literatura. Em seu livro Introdução à Literatura Fantástica Tzvetan Todorov afirma:
"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:
	
	
	
	real maravilhoso e realismo fantástico.
	
	
	realismo mágico e real maravilhoso.
	
	
	fantástico-estranho e fantástico-maravilhoso.
	
	
	realismo fantástico e estranho.
	
	
	estranho e fantástico maravilhoso.
	Data Resp.: 11/05/2023 18:03:07
		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 finalizam em uma solução, Todorov classificou de gêneros limítrofes. O fantástico-estranho adviria da escolha natural, enquanto o fantástico-maravilhoso optaria pela incorporação do insólito.
	
	
	 
		
	
		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 e IV estão corretas.
	
	
	Apenas I, II e III estão corretas.
	
	
	Apenas I, III e IV estão corretas.
	
	
	Apenas I e II estão corretas.
	
	
	Apenas II, III e IV estão corretas.
	Data Resp.: 11/05/2023 18:05:24
		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.
		Magical realism is a genre of literature that depicts the real world as having an undercurrent of magic or fantasy. Magical realism is a part of the realism genre of fiction. Within a work of magical realism, the world is still grounded in the real world, but fantastical elements are considered normal in this world. Like fairy tales, magical realism novels and short stories blur the line between fantasy and reality.
Source: Neil Gaiman's Masterclass on "The Art of Storytelling". Available at Access on July 22, 2022.
Considering the definition above, mark the correct affirmative regarding the possible connections between Magical Realism and the idea of Low fantasy.
	
	
	
	Magical Realism is similar to the concept of Low fantasy because both want to divest Magic of its power, showing how important it is that a moral conflict be the premise of a book, like realist writers do.
	
	
	Magical Realism is similar to the concept of Low fantasy because both develop into worlds of their own, deriving from our own world as a Secondary reality, created in order to fit their narratives.
	
	
	Magical Realism is similar to the concept of Low fantasy because both share the ideas that realist novels are the best form for literature to express itself, deeming High fantasy books as exaggerated versions of a simple idea.
	
	
	Magical Realism is similar to the concept of Low fantasy because both approach a Secondary World such as Tolkien's with the intention of leaving Magic aside as a mere detail.
	
	
	Magical Realism is similar to the concept of Low fantasy because both share the premise that Magic is not the dominating trace of the fantastic in its worldbuilding, mostly rooted in our Primary World.
	Data Resp.: 11/05/2023 18:07:26
		Explicação:
If one is to be attentive to details, low fantasy may include novels such as Neil Gaiman's American Gods (2001), where the main setting is the recognizable contemporary landscape of the United States of America, but - through the narrative tool of mythological/ religious characters hiding-in-plain-sight - there is a subtle setting of the divine understood to be there in each and every corner despite being almost unnoticeable. Humans still inhabit these worlds of low-fantasy - at least as the most populous race of creatures -, unlike novels such as The Lord of the Rings in which the world of Middle-Earth is rather divided amongst elves, dwarves, and many other fantastical creatures. Therefore, similar to magical realism, magic in low fantasy novels is not the main feature, and the setting is still our recognizable reality.
	
	
	 
		
	
		5.
		Tolkien is considered the father of modern fantasy. Below you will find the opening paragraph of Tolkien's The Hobbit. After reading the excerpt below, read affirmatives below and then mark the option indicating the correct set of affirmatives.
In a hole in the ground, there lived a hobbit. Not a nasty, dirty, wet hole, filled 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.
I. The first 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".
 
	
	
	
	I, only.
	
	
	II, only.
	
	
	II a III, only.
	
	
	I, II and III.
	
	
	I and III, only.
	Data Resp.: 11/05/2023 18:08:59
		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 identified 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 first paragraph of The Hobbit gives an account of a Secondary World, fully established as such".
	
	
	 
		
	
		6.
		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 popularity of gothic novels.
	
	
	The rise of the short story.
	
	
	The dismissal of folk and fairy tales during Romanticism.
	
	
	The rise of the epic genre.
	
	
	The boom of poetry writing in Victorian Age.
	Data Resp.: 11/05/2023 18:09:28
		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.
	
	
	UMA QUESTÃO DE CONTOS
	 
		
	
		7.
		"The traits of modern-day vampires are pretty well established. They have fangs, drink human blood, and can't see themselves in mirrors. They can be warded off with garlic, or killed with a stake through the heart. Some, like Dracula, are aristocrats who live in castles.
But vampires didn't start out so clearly defined (...)
Often, these legends arose from a misunderstanding of how bodies decompose. As a corpse's skin shrinks, its teeth and fingernails can appear to have grown longer. And as internal organs break down, a dark "purge fluid" can leak out of the nose and mouth. People unfamiliar with this process would interpret this fluid to be blood and suspect that the corpse had been drinking it from the living."
Source: Becky Little at https://www.nationalgeographic.com/science/article/vampires-europe-new-england-halloween-history Access on: September 22nd, 2022.
Becky Little's reflections upon the subject of the vampire as a nurtured myth, involved acknowledging that:
	
	
	
	vampire tales came from the conflicts of class and power emerging already during the Middle Ages.
	
	
	vampire tales came from the Catholic discourse regarding demons threading upon the Earth.
	
	
	vampire tales came from the wish that people would be able to, eventually, become bats or werewolves.
	
	
	vampire tales came from overtly fake stories regarding social problems faced during the Middle Ages.
	
	
	vampire tales came from the unknown aspects of biological as well as pathological life in the Middle Ages.
	Data Resp.: 11/05/2023 18:11:24
		Explicação:
The vampire stories emerged within a cultural context in which the lack of understanding regarding the pathologized body as well as the unexplained deaths witnessed by whole communities led people to try and make an understanding grow through storytelling, shaped by themselves.
	
	
	 
		
	
		8.
		Vampires are created as a reflection of cultural and societal conditions. They are capable of instigating introspection into the human condition through contrast and comparison. Vampires' sexual connotation has evolved through time, just as the understanding of sexuality and gender has advanced, especially since the civil movements of the 1960s. If the role of the vampire is synonymous with the cultural other, the application of subverted social structure invents a parallel to human society. It, therefore, becomes apparent that the vampire can aid in challenging social constructs, acting as a tool to destabilize contemporary notions specific to gender and sexuality. 
Source: VINCENT, Renee. "Vampires as a Tool to Destabilize Contemporary Notions of Gender and Sexuality". University of New Orleans, 2015.
Renee Vincent argues that vampires are cultural products which:
	
	
	
	stress the normality with which our societies deal with issues such as gender and sexuality, for instance.
	
	
	stress how deeply connected to the medical norm vampires are, always reinforcing it.
	
	
	stress the crisis within normative comprehensions of the cultural other.
	
	
	operate through literature in order to provide the maintenance required by the status quo.
	
	
	operate through cinema in order to provide the maintenance required by the status quo.
	Data Resp.: 11/05/2023 18:12:16
		Explicação:
Between fear or hate and the desire to inhabit its freedom, our relationship with the monstrous and the monster itself is one of strong emotional attachment to the outside of the boundaries of our commonly shared knowledge of the world. Reading the monster as a cultural product is precisely attempting to reach out, through literature, towards this outside, striving to live in it beyond the framework of hatred surrounding the abject body of the monster. As cultural products, vampires stress the crisis within normative comprehensions of the cultural other.
	
	
	4599LITERATURA FANTÁSTICA EM INGLÊS
	 
		
	
		9.
		In Anglophone contexts, Gothic literature can be traced back to the eighteenth century. Which are some conventions of the Gothic genre?
	
	
	
	Archaic settings, haunted castles.
	
	
	Realistic settings, supernatural as reality
	
	
	Political critique, author keeps ironic distance
	
	
	Dangerous quests, mythical creatures.
	
	
	Talking animals, the presence of magic
	Data Resp.: 11/05/2023 18:12:46
		Explicação:
The characteristics of the Gothic are the use of archaic settings, emphasis on portraying the scary and dreadful, the presence of the supernatural, characters who experience fear, hysteria and even madness, and the use of techniques to generate literary suspense and fear on the readers. Dangerous quests, the presence of mythical creatures, talking animals and magic characterize the fantasy genre, and realistic settings, supernatural as part of reality, political critique and authors keeping ironic distance from the supernatural in the plot are characteristics of the magic realism.
	
	
	 
		
	
		10.
		Tzvetan Todorov-s structuralist study on the fantastic provides one the of the most important frameworks to approach the genre. How does the literary theorist Tzvetan Todorov define the fantastic in literature?
	
	
	
	The supernatural element is resolved by a rational explanation
	
	
	The hesitation between the laws of this and the other worlds
	
	
	The supernatural is understood as part of the real everyday life
	
	
	The hesitation between belief and disbelief of the supernatural
	
	
	The supernatural is accepted as impossible in the real world
	Data Resp.: 11/05/2023 18:13:12
		Explicação:
The fantastic, according to Todorov, is related to the hesitation experienced by a person who knows the laws of nature, confronting an apparently supernatural event. Thus, the concept of the fantastic is defined in relation to those of the real and the unreal and presupposes the presence of the supernatural. For Todorov, when the supernatural is accepted as impossible in this world, and only possible in a different world, the genre is defined as marvelous, and is synonymous with fantasy. When the supernatural is resolved by a rationalexplanation, as a manifestation of the person¿s imagination, the genre is the uncanny. The genre that presents the supernatural as part of reality is named magic realism.