A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA - PROVA

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Disciplina: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA  AV
Aluno: RAFAEL LOURENÇO DA SILVA 202004007084
Professor: SARAH LUCIA ALEM BARBIERI RODRIGUES VIEIRA
 
Turma: 9001
EEL0006_AV_202004007084 (AG)   05/06/2023 19:55:31 (F) 
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4570 - FUNDAMENTOS FILOSÓFICOS E CRÍTICOS DO CONCEITO DE FANTÁSTICO  
 
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A partir dos estudos de Todorov, entende-se que haveria um limite para o fantástico. Extrapolar tais limites
implicaria adentrar gêneros vizinhos: o estranho e o maravilhoso. Leia as sentenças abaixo e, em seguida, assinale a
alternativa correta acerca do gênero maravilhoso.
I.  Presença de alegorias e de personagens que podem ser: monstros, fantasmas, seres invisíveis, mágicos,
mitológicos ou folclóricos, dentre outros. 
II. Realidade ilógica distante da realidade humana, composta de elementos maravilhosos, inverossímeis, imaginários,
extraordinário, bem como a presença de magias e poderes sobrenaturais. 
III. Não provocam sensações de "estranhamento" no leitor, por meio da ruptura realidade-�cção. 
IV.  Os elementos insólitos são revelados ao �nal da narrativa de modo racional.
 Apenas I, II e III estão corretas.
 Apenas I está correta.
Apenas III e IV estão corretas.
Apenas I, II e IV estão corretas.
I, II, III e IV estão corretas.
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"Eu era ainda muito criança, mas sabia uma in�nidade de coisas que os adultos ignoravam. Sabia que não se deve
responder aos cumprimentos dos glimerinos, aquela raça de anões que a gente encontra quando menos espera e que
fazem tudo para nos distrair de nossa missão; sabia que nos lugares onde a mãe-do-ouro aparece à �or da terra não
se deve abaixar nem para apertar os cordões dos sapatos, a cobiça está em toda parte e morde manso; sabia que ao
ouvir passos atrás ninguém deve parar nem correr, mas manter a marcha normal, quem mostrar sinais de medo
estará perdido na estrada. A estrada é cheia de armadilhas, de alçapões, de mundéus perigosos, para não falar em
desvios tentadores, mas eu podia percorrê-la na ida e na volta de olhos fechados sem cometer o mais leve deslize"
(VEIGA, José J. Fronteira. Os cavalinhos de Platiplanto: Contos. 18. Ed. Rio de Janeiro: Beirrand Brasil, 1989. p. 61).
José J. Veiga é um escritor representativo da corrente denominada realismo mágico. Assinale a alternativa que
contém uma assertiva verdadeira acerca de tal gênero.
Visava produzir uma literatura que funcionasse como a�rmação da universalidade da realidade da América
hispânica.
Questiona as fronteiras estabelecidas entre o real e o imaginário.
Buscava seguir à risca os moldes da literatura europeia.
 Não apresenta a inversão da ordem natural das coisas.
 O elemento sobrenatural emerge do real.
 
4597 - VERTENTES FICCIONAIS DO FANTÁSTICO EM LÍNGUA INGLESA  
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Ursula K. Le Guin's question - Why are Americans afraid of Dragons? - was posed as a provocation as her
homonymous essay makes it explicit. Read the extract below, retrieved from Le Guin's famous essay, and then,
choose the alternative that best completes the sentence:
So I believe that we should trust our children. Normal children do not confuse reality and fantasy - they confuse
them much less often than we adults do (as a certain great fantasist pointed out in a story called "The Emperor's
New Clothes"). Children know perfectly well that unicorns aren't real, but they also know that books about unicorns,
if they are good books, are true books. All too often, that's more than Mummy and Daddy know; for, in denying their
childhood, the adults have denied half their knowledge, and are left with the sad, sterile little fact: "Unicorns aren't
real." And that fact is one that never got anybody anywhere (except in the story "The Unicorn in the Garden," by
another great fantasist, in which it is shown that a devotion to the unreality of unicorns may get you straight into the
loony bin). It is by such statements as, "Once upon a time there was a dragon," or "In a hole in the ground there lived a
hobbit" - it is by such beautiful non-facts that we fantastic human beings may arrive, in our peculiar fashion, at the
truth. (LE GUIN, 1974, p. 4)
Source: LE GUIN, Ursula. "Why are Americans Afraid of Dragons?". 1974. Available at:
https://w3.ric.edu/faculty/rpotter/temp/waaaod.pdf Access on: July 22, 2022.
Le Guin believes that we should trust our children because
there is a reality which is dif�cult to be apprehended by a child's imagination and the adults guiding them
should let only realist novels reach their hands, in order for this reality to properly unfold.
there is a clear connection between a child who is interested in the reality of our own world and an adult
who dislikes fantasy novels and, therefore, forbids children to read them.
there is a difference between a childish approach to the fantasy genre and a mature approach to the genre
which should be introduced to the discussions regarding what children should or should not read.
 there is no difference between a child who reads fantasy and an adult who reads fantasy, being both
perfectly aware of the true effects that the fantastic may have upon them.
 there is a difference clearer to children than to adults that tell them what they can or cannot read, the
difference between what is real and what is not, between what is true and what is not.
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Fredric Jameson's view on the fantastic does not quite resonate with Todorov's perspective. Read the quote below
and then choose the option which best completes the sentence that follows:
If SF is the exploration of all the constraints thrown up by history itself - the web of counter �nalities and anti-
dialectics which human production has itself produced - then fantasy is the other side of the coin and a celebration
of human creative power and freedom which becomes idealistic only by virtue of the omission of precisely those
material and historical constraints. Magic, then, may be read, not as some facile plot device (which it no doubt
becomes in the great bulk of mediocre fantasy production), but rather as a �gure for the enlargement of human
powers and their passage to the limit, their actualization of everything latent and virtual in the stunted human
organism of the present (JAMESON, 2005, p. 66).
Source: JAMESON, Fredric. Archaeologies of the Future: A Desire Called Utopia and other Science Fictions. New
York: Verso, 2005.
Fredric Jameson is a materialist literary critic who pictures the fantastic as
 the possibility of a full realization of the human imaginative potential in works of �ction.
the possibility of creating a world completely other than our own, with no reference to actual reality.
 the challenge of creating a world believable enough for readers to both locate it historically and also picture
it in their minds.
the natural mode of storytelling, encompassing all the major stories ever told, be it through metaphors,
allegories or else.
the impossibility of depicting a realistic drawing of the world through �ction, thus turning to the fantastic.
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Fantasy writer Lloyd Alexander published an essay entitled "High-fantasy and Heroic Romance"  in 1971. For him,
high fantasy, to use his own terms, should be regarded as contemporary literature. Read the extract below and
assess the statements that relate high fantasy, the genre, and Campbell's ideas:
The journey of the hero is about the courage to seek the depths; the image of creative rebirth; the eternal cycle of
change within us; the uncanny discovery that the seeker is themystery which the seeker seeks to know (CAMPBELL,
2008, p. 16).
Source: Campbell, Joseph, 1904-1987, The Hero With a Thousand Faces. Novato, California: New World Library,
2008.
I. Campbell's conception of the journey of the hero is not at all relatable to the notion of High fantasy.
BECAUSE
II. The subgenre of High fantasy dealt with topics of the everyday world, despite having a fantastical twist.
 Af�rmatives I and II are false.
Af�rmative I is false, and II is true.
 Af�rmatives I and II are true, but II is not a correct justi�cation of I.
Af�rmative I is true, and II is false.
Af�rmatives I and II are true, II is a correct justi�cation of I.
 
4598 - LITERATURA FANTÁSTICA: UMA QUESTÃO DE CONTOS  
 
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Jacob and Wilhelm Grimm, also known as the Brothers Grimm, published their �rst book of fairy tales in 1812. Their
fairy tales include stories of kings, magic, talking animals. Mark the option which correctly indicates how they
idealized the German people.
 German's countryfolk were idealized by the brothers Grimms because they saw them as hardworking
people.
 German's countryfolk were idealized by the brothers Grimms because of their tales �lled with many
different kinds of magical creatures.
German's countryfolk were idealized by the brothers Grimms because of their ability to tell stories even
though they were illiterate.
German's countryfolk were idealized by the brothers Grimms because of their necessity to talk about a
speci�c national identity.
German's countryfolk were idealized by the brothers Grimms because of their capacity to relax through
tough times.
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The literary fairy tale is a relatively young and modern genre. Though there is a great deal of historical evidence that
oral wonder tales were written down in India and Egypt thousands of years ago, and all kinds of folk motifs of
magical transformation became part and parcel of national epics and myths throughout the world, the literary fairy
tale did not really establish itself as a genre in Europe and later in North America until some new material and socio-
cultural conditions provided fruitful ground for its formation. (ZIPES, 2000, p. xx) 
Source: ZIPES, Jack (ed.). The Oxford Companion to Fairy Tales. Oxford: Oxford University Press, 2000. 
Considering the excerpt above, mark the correct af�rmative regarding the literary fairy tale as a modern genre.
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The literary fairy tale has no space in the modern university organization of literary analysis since its themes
and narrative approaches are not recognized by the academy as valuable cultural products.
 The literary fairy tale has only been accepted as a valuable genre of �ction after the standardization of
national languages and the growth of the short narrative as a literary form.
The literary fairy tale has sometimes been neglected as being rather childish for the purposes of the
university, but it has been part of some book clubs in order to compensate for that lack of space in the
academy.
The literary fairy tale has never been a written genre, its singular tradition has been established through
word of mouth, being constantly rejected as a written genre, even nowadays.
 The literary fairy tale has always been regarded as a minor form, reaching the status of mere educational
tool for people to learn words and sounds in English.
 
4599 - LITERATURA FANTÁSTICA EM INGLÊS  
 
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C.S. Lewis wrote The Chronicles of Narnia. Which innovation is associated with his stories?
Narnia is a world where years are counted differently
 There are talking animals in the story
There is a portal between the real and the fantasy worlds.
Children go to Narnia to save it for more than once
 Children are the central characters in the plot
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In Anglophone contexts, Gothic literature can be traced back to the eighteenth century. What characterizes this
type of literature? 
Realistic settings
 Stereotyped characters who experience fear
 Absence of the supernatural
Modern settings
Emphasis on rational explanations
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The fantastic encompasses sub-genres such as fantasy, sci-�, magical realism. What is the difference between
science �ction (sci-�) and fantasy?
Sci-� shows scenarios that are totally impossible to be true
 Fantasy accepts supernatural elements as part of the real world
 Sci-� traditionally deals with the impossible that may become possible in the future
Sci-� is based on magic and contains many supernatural elements
Fantasy is based on science and technology along with magic
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