NARRATOLOGIA DA LITERATURA EM LINGUA INGLESA

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Disciplina: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA  AV
Aluno: ANA LUCIA TONOLLI 202008545366
Professor: SARAH LUCIA ALEM BARBIERI RODRIGUES VIEIRA
 
Turma: 9001
DGT0627_AV_202008545366 (AG)   20/03/2023 10:25:37 (F) 
Avaliação: 9,00 pts Nota SIA: 10,00 pts
 
03254 - TEORIA DA NARRATIVA  
 
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A tia girou a chave, empurrou a porta, Ê!, algo a emperrava, estranhou. O corpo no ombro direito, a custo cedeu,
pororoca estraçalhando, arrastando, O quê? Em algazarra, as crianças, às suas costas, espiavam-na, assustadiças,
curiosas. (...) No corredor, onde desaguavam as três salas-de-aula, gizes esmigalhados, rastros de cola colorida,
massinhas-de-modelar esmagadas, folhas de papel sul�te estragadas, (...) Em correria, gritos atravessam as telhas
francesas, olhos mendigam explicações. (...) e ela, até onde a vista alcança, observa as escandalosas casas de tijolos à
mostra, esqueletos de colunas, lajes por acabar, pipas singrando o céu cinza, fedor de esgoto, um comichão na
pálpebra superior esquerda e a solidão e o desespero.
Adaptado de: RUFFATO, Luiz. Natureza-morta. In: Eles eram muitos cavalos. São Paulo: Companhia das Letras, 2013.
O texto "Natureza-morta" pode ser lido como um conto, pois, como características, apresenta:
Uma ação, personagens anônimos e espaço reduzido.
 Um con�ito, limitação do espaço e poucas personagens.
Descrição do espaço e poucos diálogos.
Diversas ações, narrador em terceira pessoa e descrição de sentimentos.
Um con�ito, personagens indeterminados e descrição detalhada do espaço.
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Narrador, personagem, tempo e espaço compõem uma narrativa. Entretanto, assim como há diferentes tipos de
narrador e personagem, espaço e tempo são também classi�cados de formas distintas. Analise o trecho a seguir,
levando em consideração seus elementos constituintes:
 
Voltava a adormecer, e às vezes só despertava por um breve instante, o su�ciente para ouvir os estalos orgânicos da
madeira dos móveis, para abrir os olhos e olhar ao caleidoscópio da escuridão, para saborear, graças a um
momentâneo resplendor de consciência, o sonho em que estavam sumidos os móveis, o quarto, tudo aquilo do que
eu não era mais que uma ín�ma parte, tudo a cuja insensibilidade voltava eu muito em breve a me somar. Outras
vezes, ao dormir, tinha retrocedido sem esforço a uma época para sempre acabada de minha vida primitiva, tinha-me
encontrado novamente com um de meus medos de menino, como aquele de que meu tio me atirasse dos cachos de
cabelo, e que se dissipou. Data que para mim assinala uma nova era. O dia que me cortaram isso. Este acontecimento
havia esquecido durante o sonho, e voltava para minha lembrança logo que acertava em despertar para escapar das
mãos de meu tio: mas, por via de precaução, envolvia a cabeça com o travesseiro antes de voltar ao mundo dos
sonhos.
 
Adaptado de: PROUST, Marcel. Em busca do tempo perdido 1 ¿ No caminho de Swann. Trad. Fernando Py. Rio de
Janeiro: Nova Fronteira, 2016.
Com base no texto apresentado, assinale alternativa correta:
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O espaço e o tempo não se misturam na consciência do narrador apenas quando desperta.
A memória e o esquecimento atuam no sentido de confundir o narrador sobre sua versão dos fatos.
O mundo dos sonhos é apenas um re�exo do mundo real, assim como o tempo.
As digressões do narrador revelam a capacidade da narrativa em descrever recordações.
 As relações entre sonho, esquecimento, memória e despertar no texto se dão em um tempo psicológico.
 
03255 - NARRATIVAS DE ORDEM CLÁSSICA  
 
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Other worlds with strange inhabitants have been numerous in human mythologies and literatures. I'd speculate that,
including all the fantasylands devised by children that never see publication, there are many more imaginary
locations than there are real ones. Whether they are places we go after death "good or bad" or homes of the gods or
supernatural, or lost civilizations, or planets in a galaxy far, far away, they all have this in common: they aren't here
and now. (...) All myths are stories, but not all stories are myths: among stories, myths hold a special place.
(ATWOOD, 2011, p. 27 & 47)
Source: ATWOOD, Margaret. In Other Worlds: SF and the Human Imagination. New York: Doubleday,
2011.According to Margaret Atwood, myths hold a special place among stories. That is because:
 ... myths offer a foundation for repeating narrative structures that have prevailed across the centuries in
various cultures.
... myths offer a catalog of variations that only the great storytellers of our times will have access to.
... myths work as narrative superstition across storytellers, retrieving something unknown every time we tell
our stories.
... myths have been studied by scholars more than any other narrative form and are thus more proper to tell
stories.
... myths set a series of narrative rules that no story must disobey in order to be successful.
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Allegory, a symbolic �ctional narrative that conveys a meaning not explicitly set forth in the narrative. Allegory,
which encompasses such forms as fable, parable, and apologue, may have meaning on two or more levels that the
reader can understand only through an interpretive process.
Source: https://www.britannica.com/art/allegory-art-and-literature
 
Around the XIX century and towards the XX century, fables became once again a rather popular means of narrating
stories. Their allegories, however, not always aged well. Choose the alternative that correctly explains why Rudyard
Kipling's stories, for instance, may not suit contemporary readers:
Allegories, due to their moral purposes, usually have religious undertones.
Because allegories do not allow for multiple interpretations.
Talking animals became less and less popular with the advent of Arti�cial Intelligence.
 Because of colonialist and racist worldviews.
Fables are genres that could not be revamped and eventually died out.
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Fables and allegories are usually correlated. Read the statements below about the nature of allegories, then, choose
the correct option:
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I- An allegorical story demands no interpretative effort on the part of the reader.
II- An allegory brings a microcosm- macrocosm relationship.
III- An allegory usually has some moral signi�cance.
Only I is correct
Only II is correct
I and III are correct
I, II and III are correct.
 II and III are correct
 
03256 - NARRATIVAS DE BASE POPULAR E RELIGIOSA  
 
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Folktales can easily be compared to biological species which evolve through transformations leaving little evidence
for posterior studies. Fossil records are inconsistent and insuf�cient, just as written folktales, so the reconstruction
of history occurs, many times, without proper physical evidence.
Select the alternative which explains the claim above:
The reconstruction of the original folktales is considered irrelevant because the important study comes from
the forms they have taken after undergoing the alterations each generation has produced.
The evolution of folktales, like that of biological species, is a necessary process because it improves the
stories �rst told making them develop into superior narratives.
Folktales,unlike biological species, will never be precisely understood due to the lack of evidence, destroyed
by the passage of time. Interpreters must make their own reconstructions of the original stories, producing a
great number of diverging materials.
 Folktales get told and retold with minor alterations, through oral tradition. These modi�cations sum up
because every time they are passed on to the next generation without written documentation, they undergo
changes, and their original form can end up being lost.
Biologists should be utilized in the process of reconstructing original folktales due to their understanding of
fossil records and ability to rebuild history without suf�cient physical evidence.
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The folktale "The Tortoise and the Hare", attributed to Aesop portrays a hare who makes fun of a slow tortoise and
decides to challenge him to a race. The hare rushes ahead, but, con�dent of his inevitable victory, takes a nap during
the course and wakes up to �nd that his competitor, slowly and steadily, had won the dispute.
 
By de�ning the story of the hare and the tortoise as a folktale, and considering the characteristics of this genre, it is
correct to af�rm that there is a moral behind it.  However, its moral teaching is open to interpretation. Which of the
following lessons cannot be considered adequate?
Be careful with over-con�dence.
 Never compare yourself to others.
Be slow and steady rather than quick and careless.
 Have enough rest to relinquish naps.
Do not doubt your opponents.
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03257 - NARRATIVAS DE CUNHO LITERÁRIO  
 
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The novel is a very �exible genre, encompassing within it other genres and materials, as poetry, news, essays and so
on. The traditional novel, however, has conventions and a particular story-telling method. There are experimental
works of �ction that break with those conventions. What do we call these works?
graphic novel
micro �ction
 antinovels
novelettes
�ash �ction
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Short stories are concise, and every word is important for the purpose of it. Precision and economy of words are
characteristics of short stories. The dramatic unit is what is relevant in the story, and only characters and events
involved in it matter. In terms of time, past and future keep lower or no signi�cance. Why is this true?
Short stories do not mention past or future. 
Past is known through the digressions.
Past and future are told by the narrator.
 Short stories portray a moment in time.
Short stories have a predictable future.
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The work of Vladimir Propp, The Morphology of the Folktale (1928), was fundamental for the studies of fairy tales as
a genre. He identi�ed 31 functions that de�ned a paradigm for this kind of short �ction. How did he de�ne `function¿
in his work?
 The acts of the characters.
The mission designed for the hero.
The relation between events.
The magical elements in the story.
The relationship of the characters.
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