Simulado A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA

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1a
          Questão
	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.
		
	
	Estranho e Épico.
	
	Tragédia e Comédia.
	 
	Estranho e Maravilhoso.
	
	Épico e Lírico.
	
	Dramático e Maravilhoso.
	Respondido em 11/05/2023 18:18:10
	
	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.
	
		2a
          Questão
	Acerto: 1,0  / 1,0
	
	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:
		
	
	Arturo Uslar Pietri e J. J. Veiga.
	 
	Arturo Uslar Pietri e Alejo Carpentier.
	
	Jacques Cazotte e Charles Perrault.
	
	Gabriel García Marquez e Alejo Carpentier.
	
	Julio Cortázar e Arturo Uslar Pietri.
	Respondido em 11/05/2023 18:18:20
	
	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.
	
		3a
          Questão
	Acerto: 1,0  / 1,0
	
	Todorov separa o gênero maravilhoso puro de outras narrativas que apresentam o fenômeno maravilhoso, mas sob algumas justificativas. 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 definição correta para essa forma do maravilhoso.
		
	
	Maravilhoso instrumental.
	 
	Maravilhoso hiperbólico.
	
	Maravilhoso exótico.
	
	Maravilhoso puro.
	
	Maravilhoso científico.
	Respondido em 11/05/2023 18:19:44
	
	Explicação:
Para Todorov, algumas manifestações do insólito, nas narrativas, não se enquadram no gênero maravilhoso puro, pois, de alguma forma, justificam a presença do evento sobrenatural. No caso de As mil e uma noites, o autor exemplifica com a existência de seres descomunais na obra, que provocam estranhamento pelo excesso, deste exagero advém a classificação como maravilhoso hiperbólico.
	
		4a
          Questão
	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?
		
	
	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.
	
	Todorov sees the fantastic as an unlimited realm of artistic possibilities, not grounded by any rules of explanation.
	 
	Todorov sees the fantastic as this moment between the amazement with the unknown and its explanation.
	
	Todorov sees the fantastic as pure explanation of an otherwise strange event.
	Respondido em 11/05/2023 18:20:34
	
	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."
	
		5a
          Questão
	Acerto: 1,0  / 1,0
	
	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 affirmatives below, mark the only option indicating the correct set of affirmative(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.
		
	
	I, only.
	
	II, only.
	
	I, II and III.
	
	I and III, only.
	 
	II and III, only.
	Respondido em 11/05/2023 18:31:07
	
	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.
	
		6a
          Questão
	Acerto: 1,0  / 1,0
	
	Samuel Taylor Coleridge, in 1817, famously elaborated on the difference between "fancy" and "imagination". Bearing this information in mind, assess the following statements:
I. His discussions on "fancy" and "imagination" were fundamental for theestablishment of fantasy as a genre.
BECAUSE
II. They paved the way for a different take on fantasy.
		
	
	Affirmatives I and II are false.
	
	Affirmative I is true, and II is false.
	
	Affirmative I is false, and II is true.
	
	Affirmatives I and II are true, but II is not a correct justification of I.
	 
	Affirmatives I and II are true, II is a correct justification of I.
	Respondido em 11/05/2023 18:31:33
	
	Explicação:
Coleridge's discussions on "fancy" and "imagination" found in his Biographia Literaria helped, alongside the Romantics who followed his thoughts, pave the way for a distinct conceptualization for fantasy fiction and the role of the fantastic in narratives. Prior to his thoughts, fantasy was perceived as a form of "escapism". Coleridge and the other romantics, therefore, elevated the status of fantasy. Nevertheless, it was not merely the creation and defense of the concepts of "fancy" and "imagination" that resolved the problems that critics had with the fantastic in literature, but it definitely paved the way for a new take on fantasy.
	
		7a
          Questão
	Acerto: 1,0  / 1,0
	
	"Years later, I thought about this when I left Nigeria to go to university in the United States. I was 19. My American roommate was shocked by me. She asked where I had learned to speak English so well, and was confused when I said that Nigeria happened to have English as its official language. She asked if she could listen to what she called my "tribal music," and was consequently very disappointed when I produced my tape of Mariah Carey. (Laughter) She assumed that I did not know how to use a stove. What struck me was this: She had felt sorry for me even before she saw me. Her default position toward me, as an African, was a kind of patronizing, well-meaning, pity. My roommate had a single story of Africa". 
Source:  ADICHIE, Chimamanda Ngozie. "The Dangers of a Single Story". Access at:  https://www.hohschools.org/cms/lib/NY01913703/Centricity/Domain/817/English%2012%20Summer%20Reading%20-%202018.pdf.  Access on: September 22nd, 2022.
Considering the quotation above and W. W. Jacobs association between the Indian origins of the monkey's paw in his short story and its evil powers, mark the correct alternative.
		
	
	The single story behind the monkey's paw was that of a deep hatred of the British colonizers towards monkeys.
	
	The single story behind the monkey's paw was that of India as a culture whose spirituality should be valued just as much as Western spirituality.
	
	The single story behind the monkey's paw was that of India as a partner in crime of the British, giving them evil talisman's and getting something in exchange.
	 
	The single story behind the monkey's paw was that of the British comprehension of Indian spirituality as the radical (fearsome) other.
	
	The single story behind the monkey's paw was that of Britain as the place where all evil happens.
	Respondido em 11/05/2023 18:32:32
	
	Explicação:
Non-surprisingly as well, the talisman materialized in the monkey's paw is a strong mark of the stranger inside American borders - the warning against one's wishes is also metaphorized by a warning against the mysterious and the strange of the paw, which came from India. The idea that Indian spirituality is connected to the dark arts, impossible to be understood by those outside of its practices and also stereotyped so they can be labelled as murderous mysticism, is imprinted in this short story in terms of how it resorts to the kind of 'magic' symbolized by the paw to argue that one should also be careful with another nation's objects or superstitious item.
	
		8a
          Questão
	Acerto: 1,0  / 1,0
	
	"You will think me cruel, very selfish, but love is always selfish; the more ardent the more selfish. How jealous I am you cannot know. You must come with me, loving me, to death; or else hate me, and still come with me, and hating me through death and after. There is no such word as indifference in my apathetic nature" (LEFANU, 1872, p. 25)
Source: LEFANU, Sheridan. "Carmilla. IN: The Best Ghost Stories. London: Dover Publications, 2019.
After reading the excerpt above, mark the option indicating the correct set of affirmatives.
I. Sheridan Le Fanu's "Carmilla" is a variation on the portrayal of "the New Vampire" inasmuch as she is a seductive aristocrat.
II. In this paragraph, lesbian desire is also associated with other feelings so far unacknowledged in the tradition of the vampire narrative.
III. "Carmilla" is part of a tradition of vampires which were strictly animalized portrayals of men.
		
	
	I and III, only.
	 
	II and III, only.
	
	II, only.
	
	I, only.
	
	I, II and III.
	Respondido em 11/05/2023 18:33:41
	
	Explicação:
LeFanu's "Carmilla" belongs to the renewal of the vampire character as achieved by Polidori, Bram Stoker, not to mention Anne Rice in Interview with a Vampire (1976). The shift from the animalesque bloodsucking creature - the vampire character was popular in German folklore and widely regarded as a bloodsucking creature, inhuman in all its aspects - took place throughout the nineteenth century. By the time writers such as John Polidori, Sheridan Le Fanu or even Bram Stoker take up the subject, there happens a radical change: it becomes associated with royalty and aristocracy, its slyness is compensated by a sense of seductive qualities surrounding this mysterious individual, and the ambiguous relationship towards the vampire placed between lust and fear.
	
		9a
          Questão
	Acerto: 1,0  / 1,0
	
	Ambrose Bierce¿s short story ''The Death of Halpin Frayser,'' is a macabre ghost tale. There is one surprising element about the character¿s mother who is dead. Choose the option which brings this element.
		
	
	It is a friendly zombie
	
	His mother saves him from death
	
	It is Halpin himself
	
	His mother does not recognize him
	 
	It is a ghost body without a soul.
	Respondido em 11/05/2023 18:33:55
	
	Explicação:
In the tale, from the epigraph it is stated that some dead people return as evil zombies, bodies without soul, which is the case of Frayser¿s mother. The mother recognizes and kills him; so, it is not a `friendly zombie.¿ 
	
		10a
          Questão
	Acerto: 1,0  / 1,0
	
	Alice¿s Adventures in Wonderland tells the story of a seven-year-old girl whose name is Alice. Alice falls down a rabbit-hole while chasing a White Rabbit. What is the role of the rabbit-hole in Alice¿s Adventures in the Wonderland?
		
	 
	It is a portal to the Wonderland
	
	It is a place where Alice takes a nap
	
	It is part of Alice¿s backyard
	
	It is the territory of magic animals
	
	It is a fantasy world
	Respondido em 11/05/2023 18:34:03
	
	Explicação:
 The rabbit-hole is the opening of a fantasy world, where there are talking animals, unknown creatures, and a different world logic applies. The fantasy world is named Wonderland, and magic animals live there. However, the hole is just a portal to this land. Alice takes a nap in a riverbank near to her house, and as she falls asleep she sees a rabbit with a waistcoat and a watch, and decides to follow him, which leads her to fall down the rabbit-hole and find a fantasyland.