AV LITERATURA FANTASTICA

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Disc.: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA   
	Aluno(a): MAXILANE ARAGÃO DA SILVA
	201902028431
	Acertos: 10,0 de 10,0
	18/08/2023
		1a
          Questão
	Acerto: 1,0  / 1,0
	
	Tzvetan Todorov foi um crítico búlgaro da corrente estruturalista. Para ele, o fantástico dura apenas o tempo da hesitação. Quando esta hesitação é desfeita, a narrativa se dirige para os gêneros fantástico-estranho ou fantástico-maravilhoso. Sobre o gênero fantástico-estranho podemos afirmar que:
		
	
	se situa num limiar entre o passado e o futuro, é considerado como um "puro limite". 
 
	
	reflete uma realidade até então ignorada, exibindo deformações e peculiaridades que dependem da fé do leitor.
	
	seus acontecimentos não são esclarecidos segundo uma lei natural, necessitando da criação de novas leis dentro da narrativa.
	
	está ligado diretamente à cultura de um povo e às manifestações religiosas.
	 
	recebe eventos inexplicáveis e sustenta a dúvida até o momento de sua resolução, que deve se decidir por uma explicação natural.
	Respondido em 18/08/2023 16:40:46
	
	Explicação:
O fantástico-estranho é considerado um gênero limítrofe do fantástico por Todorov. Ele mantém no campo fantástico através da hesitação, e se desfaz ao decidir-se pela solução natural, quando se explica racionalmente a presença dos elementos insólitos.
	
		2a
          Questão
	Acerto: 1,0  / 1,0
	
	Ao elaborar a teoria do gênero maravilhoso, Todorov concebe a modalidade de maravilhoso puro. Nele, não há uma delimitação temporal ou características particulares. A classificação de um texto como maravilhoso puro advém da presença de elementos insólitos, inseridos na realidade narrativa. Desta forma não provocam estranhamento no leitor ou narrador, como ocorre no gênero fantástico. Dentre alguns autores do gênero maravilhoso analisados por Todorov, podemos citar:
		
	
	Jacques Cazotte.
	
	Edgar Alan Poe.
	 
	Charles Perrault.
	
	Franz Kafka.
	
	Alejo Carpentier.
	Respondido em 18/08/2023 16:44:48
	
	Explicação:
Todorov cita alguns contos de Perrault, escritor francês do século XVII, famoso por contos de fadas tais como Chapeuzinho Vermelho e A Bela Adormecida, como exemplo de texto maravilhoso puro. Nele, não há reação diante de animais que falam, existências de seres mágicos e outros eventos sobrenaturais.
	
		3a
          Questão
	Acerto: 1,0  / 1,0
	
	"Uma coisa ninguém discute: se Zacarias morreu, o seu corpo não foi enterrado. A única pessoa que poderia dar informações certas sobre o assunto sou eu. Porém estou impedido de fazê-lo porque os meus companheiros fogem de mim, tão logo me avistam pela frente. Quando apanhados de surpresa, ficam estarrecidos e não conseguem articular uma palavra. Em verdade morri, o que vem de encontro à versão dos que creem na minha morte. Por outro lado, também não estou morto, pois faço tudo o que antes fazia e, devo dizer, com mais agrado do que anteriormente" (RUBIÃO, M. O pirotécnico Zacarias. São Paulo: Ática, 1974). 
Entendendo a literatura fantástica como modo, alguns autores localizam a obra de Murilo Rubião dentro desta definição. De acordo com o trecho acima, o elemento insólito manifesta-se no (a):
		
	
	relato introspectivo acerca da experiência da morte.
	 
	expressão natural do evento fantástico, realizando um jogo entre o real e o sobrenatural.
	
	separação entre realidade e delírio na experiência de morte do narrador.
	
	explicação racional do evento sobrenatural.
	
	efeito paradoxal provocado pela organização temporal.
	Respondido em 18/08/2023 16:40:12
	
	Explicação:
O fantástico como modo abarca não apenas as obras de diferentes períodos históricos, como também de regionalidades distintas. Sua premissa é a presença de eventos sobrenaturais na narrativa que respondem à um imaginário cultural a que representam. Na citação da obra de Rubião, o fantástico se manifesta no jogo entre real e sobrenatural, quando o narrador afirma está morto, mas continua fazendo as mesmas coisas de quando vivo.
	
		4a
          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, II and III.
	
	I, only.
	
	I and III, only.
	 
	II and III, only.
	
	II, only.
	Respondido em 18/08/2023 16:56:42
	
	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.
	
		5a
          Questão
	Acerto: 1,0  / 1,0
	
	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 share the premise that Magic is not the dominating trace of the fantastic in its worldbuilding, mostly rooted in our Primary World.
	
	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 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 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 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.
	Respondido em 18/08/2023 16:55:34
	
	Explicação:
If one is to be attentive to details, lowfantasy 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.
	
		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 the establishment of fantasy as a genre.
BECAUSE
II. They paved the way for a different take on fantasy.
		
	
	Affirmatives I and II are true, but II is not a correct justification of I.
	
	Affirmative I is false, and II is true.
	
	Affirmatives I and II are false.
	 
	Affirmatives I and II are true, II is a correct justification of I.
	
	Affirmative I is true, and II is false.
	Respondido em 18/08/2023 16:57:56
	
	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
	
	"The Monkey's Paw" is a classic "three wishes story" written by W. W. Jacobs. Read the statements below about Jacobs' famous short story and assess the relationship between them.
I. A view of India plays a central role in the story.
BECAUSE
II. The talisman's origin is a strong indicative of the stranger inside the US.
		
	
	Both are incorrect.
	
	Only II is correct.
	 
	I and II are correct and II correctly justifies I.
	
	I and II are correct but II does not justify I.
	
	Only I is correct.
	Respondido em 18/08/2023 16:49:24
	
	Explicação:
The talisman coming from India acts as a symbol for the strangers within the national borders of the U. S. who would, according to a xenophobic worldview, spread evil. The warning against one¿s wishes is also metaphorized by a warning against the mysterious and the strangeness of the paw, which came from India.
	
		8a
          Questão
	Acerto: 1,0  / 1,0
	
	"The Monkey's Paw" is a classic "three wishes story" written by W. W. Jacobs. Considering the discussions regarding Jacobs' "The Monkey's Paw", mark the option which correctly indicates the broadness of its influence in pop culture.
		
	
	"The Monkey's Paw" was conceived as a novel, but Jacobs decided later on to make it into a short story.
	 
	"The Monkey's Paw" was adapted into more than fifty different adaptations ranging from literature to films.
	
	"The Monkey's Paw" was not a very popular short story, so there is not much to say about its influence.
	
	"The Monkey's Paw" was not meant for every reading audience to read it.
	
	"The Monkey's Paw" is, first of all, the materialization of the consequences of defying fate.
	Respondido em 18/08/2023 16:50:01
	
	Explicação:
In 1902, William Wymark Jacobs published for the first time his famous short story, "The Monkey's Paw", which has been anthologized in collections of short stories around the world almost from the moment it first came out. It is significant how deep into United States' cultural manifestations "The Monkey's Paw" has been since its publishing. Its pop culture references include a 1991 episode from The Simpsons special "Treehouse of Horror II", in which the plot of the short story is adapted into the small screen, a 1973 episode of "Orson Welles Great Mysteries", an episode of supernatural series "The X-Files", as well as episodes from cartoons such as "Adventure Time" and "Rick and Morty".
	
		9a
          Questão
	Acerto: 1,0  / 1,0
	
	In Lewis¿ stories elements of fairy tales, medievalism, and Christian allegory are combined to create the magical land. Which biblical figure does the lion Aslan represent in The Chronicles of Narnia?
		
	
	Moses
	
	Abel.
	
	Cain
	
	Judas
	 
	God
	Respondido em 18/08/2023 16:51:56
	
	Explicação:
Aslan is a divine being, representing God/Jesus Christ. He is the founder of Narnia, the creator of its creatures, and its King. What¿s more, Lucy, Edmund, and Eustace find a lamb, who transformed into Aslan, in an obvious allusion to Jesus Christ
	
		10a
          Questão
	Acerto: 1,0  / 1,0
	
	The Harry Potter series is a phenomenon of popularity; it is conventional and to a certain extent, didactic. Which `lesson¿ may be learnt from its reading?
		
	
	Relatives may be against a family member
	
	Vengeance is acceptable
	 
	Always do the right thing, not the easiest
	
	Not all wizards are reliable people
	
	Friendship must be put above everything
	Respondido em 18/08/2023 16:52:28
	
	Explicação:
Vengeance is accepted under certain circumstances, relatives may be against a family member, as Harry Potter¿s uncle, aunt and cousin. There are reliable and unreliable wizards, and friendship and loyalty are important values. However, the `lesson¿ conveyed by the series is doing the right thing, at any cost. The idea of doing the right thing, despite the obstacles, makes the character goes on a quest, which is central to the episode