Simulado Literatura Fantástica

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Teste seu conhecimento acumulado
Disc.: A LITERATURA FANTÁSTICA EM LÍNGUA INGLESA   
Aluno(a): ELISA JORGE DE LEMOS 202001097181
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Acerto: 1,0  / 1,0
Irene Bessière, crítica francesa e defensora do fantástico como modalidade, discorda de Todorov quanto à
resolução e dissolução do fenômeno fantástico no momento da decisão narrativa pelo sobrenatural ou pela
explicação natural. Assinale a alternativa que contém a(s) a�rmativa(s) correta(s) acerca da tese defendida pela
autora.
i.  A escolha pelo sobrenatural ou pela racionalidade deve ser efetivada somente pelo leitor.
ii. O objetivo principal do fantástico é produzir a incerteza, não devendo evanescer mediante resolução.
iii. A narrativa fantástica pode abraçar, ao �nal, todas as possibilidades, naturais e insólitas.
iv. O fantástico não deve se limitar à temporalidade da dúvida.
 Apenas II, III e IV estão corretas.
Apenas I, III e IV estão corretas.
Apenas II e IV estão corretas.
Apenas I e II estão corretas.
Apenas I, II e III estão corretas.
Respondido em 25/03/2023 14:26:17
Explicação:
Uma das críticas à teoria de Todorov se dirige à sua dissolução. Para Bessière, o fantástico permanece após a escolha
natural ou sobrenatural, que poderá ser feito por leitor ou narrador, não estando limitado ao tempo da hesitação.
Justi�ca ainda por obras que não se resolvem ou sequer oferecem esta possibilidade.
Acerto: 1,0  / 1,0
O fenômeno fantástico pode ser entendido de diversas formas na teoria da literatura. Em seu livro Introdução à
Literatura Fantástica Tzvetan Todorov a�rma:
"Há um fenômeno estranho que se pode explicar de duas maneiras, por meio de causas naturais e sobrenaturais.
A possibilidade de se hesitar entre os dois criou o efeito fantástico" (TODOROV, Tzvetan. Introdução à literatura
fantástica. São Paulo: Perspectiva, 1992. p. 31). 
Também nesse livro, Todorov discorre a respeito de dois gêneros limítrofes, que advém da escolha pela causa
natural ou sobrenatural, interrompendo a hesitação. Que são, respectivamente, os gêneros:
 fantástico-estranho e fantástico-maravilhoso.
 Questão1
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 Questão2
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realismo mágico e real maravilhoso.
realismo fantástico e estranho.
estranho e fantástico maravilhoso.
real maravilhoso e realismo fantástico.
Respondido em 25/03/2023 14:28:33
Explicação:
O gênero fantástico perdura apenas durante o tempo da hesitação; quando esta é solucionada, por narrador e leitor,
seja para abraçar o sobrenatural ou desfazê-lo a partir de uma explicação racional, o fantástico se desfaz. A esses
gêneros que partem de uma hesitação e �nalizam em uma solução, Todorov classi�cou de gêneros limítrofes. O
fantástico-estranho adviria da escolha natural, enquanto o fantástico-maravilhoso optaria pela incorporação do
insólito.
Acerto: 1,0  / 1,0
"Não era um jogo da imaginação, mas um realismo que re�etia �elmente uma realidade até então
invisível" (PIETRI, Arturo Uslar. Godos, Insurgentes y Visionarios. Barcelona: Seix Barral, 1986, p.135).
Nesta sentença, Arturo Pietri resume o movimento que revolucionou a literatura na América Latina. Assinale a
alternativa que contém a pretensão dos autores.
Expandir o conceito de mimesis literária para abraçar o que havia de universal na América latina.
Aproximar-se do modelo surrealista, considerado um modelo adequado.
 Buscar no cotidiano mágico a identidade latino-americana.
Reescrever a história do continente americano sob o olhar do colonizador.
Rea�rmar a cultura colonialista através da reprodução �el da realidade.
Respondido em 25/03/2023 14:29:26
Explicação:
Os movimentos literários de meados do século XX na América Latina procuravam romper com os modelos europeus,
mergulhando na cultura nacional, onde a magia se fazia presente no cotidiano. Logo, a sentença "Buscar no cotidiano
mágico a identidade latino-americana" é a única alternativa correta.
Acerto: 1,0  / 1,0
Tolkien is considered the father of modern fantasy. Below you will �nd the opening paragraph of Tolkien's The
Hobbit. After reading the excerpt below, read af�rmatives below and then mark the option indicating the
correct set of af�rmatives.
In a hole in the ground, there lived a hobbit. Not a nasty, dirty, wet hole, �lled with the ends of worms and an
oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to wat: it was a hobbit-hole, and
that means comfort (TOLKIEN, 2012, p. 1).
Source: TOLKIEN, J. R. R. The Hobbit. New York: Ballantine Books, 2012.
I. The �rst paragraph of The Hobbit gives an account of a Secondary World, fully established as such.
II. In this paragraph, Tolkien fails to present from the start a moral dilemma which would explain the character's
quest throughout the book.
III. This paragraph is a good example of how Tolkien used both Coleridge's notions of "fancy" and "imagination".
 
 Questão3
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 Questão4
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II, only.
I and III, only.
I, only.
 II a III, only.
I, II and III.
Respondido em 25/03/2023 14:30:03
Explicação:
Not only in this paragraph are we set in a Secondary world, unlike our Earth, in which some kind of creature (the
hobbits) live cozily in a hole, but also the ground hole is apparently the organizing domestic space of the community
where a hobbit lives. After all, in this narrative there is something linguistically recognizable as a "hobbit-hole", named
and identi�ed as such in relation to comfort. Therefore, the opening paragraph introduces this Secondary World,
where the action will take place, establishing, this way a point of departure for the narrative. The only correct option
is "The �rst paragraph of The Hobbit gives an account of a Secondary World, fully established as such".
Acerto: 1,0  / 1,0
Frankenstein by Mary Shelley was �rst published in 1818. In that same year John Wilson claimed that fantastic
elements should be sparingly used. The critic's point of view resonated with others', as the extract below shows.
Read the extract and then choose the option that best completes the sentence.
"The fantastic, in other words, was inappropriate for an age of science and morality, and the values of realism
came to dominate literary discourse, despite the fact that the Victorian age itself was one of the great periods in
the development of fantasy literature" (WOLFE, 2012, p. 12).
Source: WOLFE, Gary K. "Fantasy from Dryde to Dunsany". IN: JAMES, Edward & Mendlesohn, Farah. The
Cambridge Companion to Fantasy Literature.  Cambridge: Cambridge University Press, 2012.
Gary Wolfe's assertion in his text about the historical context of English Fantasy is referring to
one of the many moments throughout the history of the West in which Fantasy become the
predominant literary discourse.
 a speci�c historical period in which the fantastic in literature was not well seen.
a particular moment in time, when the scienti�c essays were published rather than �ctional books.
one of the few absolute truths in Victorian studies, particularly regarding Fantasy as a genre.
a stereotypical approach to the complex Victorian Age, when the fantastic was seen with both
amazement and fear.
Respondido em 25/03/2023 14:34:51
Explicação:
Despite remaining clearly suspect during the Victorian Age, the fantastic thrived as Frankenstein clearly exempli�es.
As science advanced and moral standards remained high, fantasy did not seem to be the most appropriate genre for
such scienti�c age, critics pointed out. Directly derived, though, from the historical context in which authors such as
Mary Shelley lived, science which is mingled with �ction has proven itself as one of the most popular combinations in
all history of literature - giving birth not only toone of the most famous fantastical creatures of all time, but also to
Science Fiction as a genre. The discussions in the XIX century, however, concerning this kind of novel, kept a close eye
on the suspicious narrative tool the fantastic embodied. Wolfe, therefore, refers to "a speci�c historical period in
which the fantastic in literature was not well seen".
Acerto: 1,0  / 1,0
 Questão5
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 Questão6
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Even though Tolkien is considered the father of modern fantasy, his novels, however, are subject to criticism,
especially by contemporary fantasy writers such as China Miéville. Choose the option that contains one of the
reasons for the negative assessment Tolkien's novels may receive by more contemporary readers:
Masculinity is not a major theme in the novels, as it is constantly overshadowed by female protagonists.
 It presents a paradigm which is limited and hard to unshift.
There is no belief in an absolute morality.
The novels fail to account for a celebration of the status quo.
Good and evil are somewhat intertwined, presenting moral ambiguities.
Respondido em 25/03/2023 14:35:37
Explicação:
Although Tolkien's novels consisted in major achievements for fantasy as a genre, as the fantastic elements present in
the narratives no longer needed to be apologetically explained; this paradigm shift created a model that is still
nowadays the norm. Fantasy writing would be limited, after Tolkien, to the medievalist approach of The Lord of The
Rings. What's more, criticism is also directed towards Tolkien's treatment of topics such as Good vs. Evil, the
celebration of a status-quo, the masculine party which sets foot in its warlike adventure towards Mordor, and a blind
belief in a sort of absolute morality.
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.
 I and II are correct and II correctly justi�es I.
Only I is correct.
Both are incorrect.
I and II are correct but II does not justify I.
Only II is correct.
Respondido em 25/03/2023 14:43:12
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.
Acerto: 1,0  / 1,0
Jeffrey Jerome Cohen was the editor of the book "Monster Theory: Reading Culture". In it, concepts of Western
monstrosity are explored and analyzed. Regarding Cohen's study, it is correct to state that:
I. the monster is a symbol of the crisis of our identity.
II. the monster does not allow us to look directly into our fears.
III. the monster is completely unrelated to social phobias and taboos.
IV. there is a transgressive quality to the monster.
 Questão7
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 Questão8
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I and II are correct.
I and III are correct.
 I and IV are correct.
I, II and III are correct.
I, II, III and IV are correct.
Respondido em 25/03/2023 14:44:24
Explicação:
The monster should be understood as a symbol, as a social particularity, as it embodies our fears and forces us to look
directly into them. The monstrous �ctional character seems to repeatedly approach social phobias and taboos and
also the personal traumas of a given reader or community of readers. There is a transgressive quality in the monster.
Acerto: 1,0  / 1,0
In the genre of magical realism, the supernatural is embedded in the real world. What is the author¿s attitude in
such a work? 
The author creates con�icting points of view in relation to magic
The author includes elements that legitimize the veracity of magic
The author shows the impossibility of fantasy in real life
 The author keeps an ironic distance but respects magic
The author advocates that magic and fantasy are part of reality
Respondido em 25/03/2023 14:48:29
Explicação:
The author keeps a distance from the extraordinary and fantasy in the work. Supernatural, magic and fantasy are
elements that are not questioned in the works, which belong to magical realism. The questions dealt in these works
are other ones, and the magic underlies those questions, serving as an embodiment of metaphors
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?
Not all wizards are reliable people
Relatives may be against a family member
 Always do the right thing, not the easiest
Friendship must be put above everything
Vengeance is acceptable
Respondido em 25/03/2023 14:48:17
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
 Questão9
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 Questão10
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