AVS LITERATURA FANTÁSTICA EM LÍNGUA INGLESA (9,00)

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Disc.: EEL0006 - A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA
	
	
	
	 1a Questão (Ref.: 202011414562)
	O conceito "Realismo Mágico" aparece pela primeira vez em uma obra Venezuelana intitulada Letras y hombres de Venezuela. De acordo com as alternativas abaixo, marque a opção correta que corresponda ao autor da obra citada.
		
	
	Gabriel García Márquez.
	
	Alejo Carpentier.
	
	Arturo Uslar Pietri.
	
	Ricardo Piglia.
	
	Julio Cortázar.
	
	
	 2a Questão (Ref.: 202011414561)
	Leia a seguinte fala de Carpentier, idealizador do conceito de real maravilhoso e depois marque a sentença que melhor a justifica.
"O extraordinário não é belo forçosamente. Não é bonito nem feio; é antes de tudo surpreendente pelo insólito" (CARPENTIER, Alejo. Prólogo in: O Reino deste mundo. 2007, p. 143).
		
	
	Nesta sentença, Carpentier faz um elogio ao movimento surrealista, cuja premissa era a comunicação com o irracional e ilógico.
	
	Nesta sentença, Carpentier faz uma crítica ao movimento latino-americano denominado por Pietri de Realismo Mágico.
	
	Nesta sentença, Carpentier faz um elogio ao movimento realista europeu e seu descritivismo.
	
	Nesta sentença, Carpentier faz uma crítica ao movimento surrealista, cujo elemento maravilhoso se dava por uma falsificação.
	
	Nesta sentença, Carpentier faz uma crítica ao gênero fantástico de Todorov e à valorização do insólito na narrativa.
	
	
	 3a Questão (Ref.: 202011412711)
	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 difficult 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 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.
	
	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 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 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.
	
	
	 4a Questão (Ref.: 202011412800)
	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 finalities 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 figure 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 challenge of creating a world believable enough for readers to both locate it historically and also picture it in their minds.
	
	the impossibility of depicting a realistic drawing of the world through fiction, thus turning to the fantastic.
	
	the possibility of a full realization of the human imaginative potential in works of fiction.
	
	the possibility of creating a world completely other than our own, with no reference to actual reality.
	
	the natural mode of storytelling, encompassing all the major stories ever told, be it through metaphors, allegories or else.
	
	
	 5a Questão (Ref.: 202011412803)
	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 the mystery 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.
		
	
	Affirmative I is true, and II is false.
	
	Affirmatives I and II are true, II is a correct justification of I.
	
	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 false.
	
	
	 6a Questão (Ref.: 202011414717)
	Read the quote below and then answer the question that follows:
"Hansel and Gretel is a fairy tale written by Brothers Grimm. This is a story about a brother and sister abandoned in the woods, after which they fall into the hands of an evil witch who lives in a candy house. The story is a gentle reminder of the value of compassion and charity".
Retrieved from: https://www.booksummary.net/hansel-and-gretel-brothers-grimm/ Access on: September 22nd, 2022.
How is the structure of the hero's journey present in the story?
		
	
	The story does not reflect the social conditions of the time, since it is a timeless tale.
	
	The story is a clear example of a riches to rags situation.
	
	There's a progressive element in the story which is clearly perceived by its happy end.
	
	There is no moral element to the story.
	
	The story resorts to a structure which is not recurrent in fairy tales and myths.
	
	
	 7a Questão (Ref.: 202011414764)
	Even though vampirestories abound and are quite famous until nowadays, the nineteenth century witnessed the birth of a new vampire. Choose the option that contains characteristics of this "new vampire".
		
	
	Its animalistic nature, akin to bats.
	
	Its inhuman nature.
	
	Its lack of education.
	
	Its seductive nature.
	
	Its impoverished background.
	
	
	 8a Questão (Ref.: 202011488617)
	The Harry Potter series has characteristics of a novel of formation (Bildungsroman); thus, readers follow the life and adventures of the protagonist Harry Potter from his discovery of being a wizard at 11 to his being a young adult at 17. This fact is corroborated by one element, which one?
		
	
	He discovers his parents¿ nature
	
	He makes friends with other wizards.  
	
	He decides to avenge his parents¿ deaths
	
	He enrolls in Hogwarts school
	
	He mistreats his uncle, aunt, and cousin
	
	
	 9a Questão (Ref.: 202011488528)
	In the genre of magical realism, the supernatural is embedded in the real world. Whose point of view is presented in such a work?
		
	
	The perspective of people who experience a different reality.
	
	The point of view of a third person omniscient narrator
	
	The perspective of a young, unexperienced narrator
	
	A feminist perspective
	
	A psychoanalytic perspective.
	
	
	 10a Questão (Ref.: 202011488491)
	C.S. Lewis wrote The Chronicles of Narnia. Which innovation is associated with his stories?
		
	
	There is a portal between the real and the fantasy worlds.
	
	Narnia is a world where years are counted differently
	
	Children go to Narnia to save it for more than once
	
	Children are the central characters in the plot
	
	There are talking animals in the story