A LITERATURA FANTASTICA EM LINGUA INGLESA

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Disciplina: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA  AV
Aluno: OLAMILEKAN SAHEED ADEYEMI 202101002903
Professor: SARAH LUCIA ALEM BARBIERI RODRIGUES VIEIRA
 
Turma: 9001
EEL0006_AV_202101002903 (AG)   18/09/2023 09:34:58 (F) 
Avaliação: 8,00 pts Nota SIA: 8,00 pts
 
4570 - FUNDAMENTOS FILOSÓFICOS E CRÍTICOS DO CONCEITO DE FANTÁSTICO  
 
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Uma das principais características do gênero fantástico e condição primordial para seu estabelecimento é a presença de
hesitação. Para Todorov, hesitar signi�ca:
duvidar do sobrenatural e entendê-lo como delírio.
 ser surpreendido por situações inexplicáveis e vacilar em aceitar ou negar o que se vê.
decidir, na presença de um elemento sobrenatural, se ele faz parte da imaginação ou da realidade.
negar o insólito em detrimento de uma explicação racional.
entender que o elemento sobrenatural faz parte da verdade narrativa.
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A classi�cação do fantástico como gênero, proposto por Todorov, sofreu grandes críticas. Para esses autores, o
fantástico deveria ser entendido como modo literário. De acordo com essa a�rmação, diga qual das sentenças abaixo
justi�ca o fantástico como modo literário.
A função social do fantástico serve para barrar uma censura, daí a importância de entendê-lo como manifestação
de uma época especí�ca.
A literatura fantástica é um modo de expressão de uma época estranha, mais precisamente do século XIX.
O fantástico está inserido numa categoria delimitada pela presença de um elemento crucial que o de�ne como
modo, esse elemento é a hesitação.
 O fantástico supõe uma lógica narrativa formal e temática, re�etindo, na �cção, as metamorfoses da razão e do
imaginário coletivo.
O domínio do fantástico não deve ser determinado culturalmente, visto que são universais os temas
metaempíricos.
 
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
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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 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 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 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.
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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 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.
 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.
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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:
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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.
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 false.
Af�rmative I is false, and II is true.
Af�rmatives I and II are true, II is a correct justi�cation of I.
 
4598 - LITERATURAFANTÁSTICA: 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 of their ability to tell stories even though
they were illiterate.
German's countryfolk were idealized by the brothers Grimms because of their capacity to relax through tough
times.
 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 necessity to talk about a speci�c
national identity.
 7. Ref.: 7711155 Pontos: 1,00  / 1,00
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.
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 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.
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 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 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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According to the character Roderick in the tale ''The Fall of the House of Usher,'' his mansion controls people¿s lives.
After all the weird facts that happened in the story, the narrator �ees the house. What does he witness at the end of the
tale?  
Sounds coming from a book
Winds and an ongoing storm
 The collapse of the house
 The madness of Roderick
The suicide of his friend
 9. Ref.: 7784961 Pontos: 1,00  / 1,00
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 is based on science and technology along with magic
Fantasy accepts supernatural elements as part of the real world
Sci-� is based on magic and contains many supernatural elements
 Sci-� traditionally deals with the impossible that may become possible in the future
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American Gothic Fiction differs from the European mostly due to Poe¿s writings. Which subgenre de�nes the gothic
tales by Edgar Allan Poe?
Science Fiction
Mystery tales
 Fantasy tales
 Horror tales.
Detective tales
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