Logo Passei Direto
Buscar
Material
páginas com resultados encontrados.
páginas com resultados encontrados.
left-side-bubbles-backgroundright-side-bubbles-background

Experimente o Premium!star struck emoji

Acesse conteúdos dessa e de diversas outras disciplinas.

Libere conteúdos
sem pagar

Ajude estudantes e ganhe conteúdos liberados!

left-side-bubbles-backgroundright-side-bubbles-background

Experimente o Premium!star struck emoji

Acesse conteúdos dessa e de diversas outras disciplinas.

Libere conteúdos
sem pagar

Ajude estudantes e ganhe conteúdos liberados!

left-side-bubbles-backgroundright-side-bubbles-background

Experimente o Premium!star struck emoji

Acesse conteúdos dessa e de diversas outras disciplinas.

Libere conteúdos
sem pagar

Ajude estudantes e ganhe conteúdos liberados!

left-side-bubbles-backgroundright-side-bubbles-background

Experimente o Premium!star struck emoji

Acesse conteúdos dessa e de diversas outras disciplinas.

Libere conteúdos
sem pagar

Ajude estudantes e ganhe conteúdos liberados!

left-side-bubbles-backgroundright-side-bubbles-background

Experimente o Premium!star struck emoji

Acesse conteúdos dessa e de diversas outras disciplinas.

Libere conteúdos
sem pagar

Ajude estudantes e ganhe conteúdos liberados!

Prévia do material em texto

10/01/2023 15:58 Estácio: Alunos
https://simulado.estacio.br/bdq_simulados_avaliacao_parcial_resultado.asp?cod_hist_prova=302002255&cod_prova=5999982650&f_cod_disc= 1/5
 
Meus
Simulados
Teste seu conhecimento acumulado
Disc.: LITERATURA INGLESA 
Aluno(a): TARCISIANE DE ARAUJO CRUZ 202104582171
Acertos: 5,0 de 10,0 10/01/2023
Acerto: 0,0 / 1,0
The Sonnets (...) were, to begin with, not a book. At least some of them circulated initially in manuscript, and
the fact that these poems were first conceived as coterie literature is essential to our understanding of the
nature of the book that finally materialized as Shakespeare's Sonnets. (...) There was nothing secretive about
this mode of publication; manuscript circulation was a normal mode of transmission for much lyric poetry in the
period. Even such monuments of Elizabethan verse as Sidney's Astrophel and Stella, Marlowe's Hero and
Leander, and Donne's Songs and Sonnets were initially conceived as coterie literature and presumed a relatively
small readership of uniform tastes: the poet was writing for an audience he knew.
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The Sonnets. EVANS, G. Blakemore (ed.).
Cambridge: Cambridge University Press, 2006.
After reading the contextualization above and the affirmatives below, mark the only option indicating the correct
set of affirmative(s).
I. Printed books were widely distributed and really popular among the Elizabethans.
II. The circulation of poems in manuscript form was a common practice for the Elizabethans.
III. Everyone in London was a potential reader for printed poetry.
I, only.
I and III, only.
 II, only.
 I, II and III.
II a III, only.
Respondido em 10/01/2023 15:54:28
Explicação:
A resposta certa é: II, only.
Acerto: 1,0 / 1,0
The poems addressed to the 'Dark Lady' begin with a justification of her complexion - it is assumed from the
outset that her variance from the traditional ideal requires a justification.
In the old age black was not counted fair,
Or if it were it bore not beauty's name;
But now is black beauty's successive heir,
And beauty slandered with a bastard shame' (from Sonnet 127)
 Questão1
a
 Questão2
a
https://simulado.estacio.br/alunos/inicio.asp
javascript:voltar();
10/01/2023 15:58 Estácio: Alunos
https://simulado.estacio.br/bdq_simulados_avaliacao_parcial_resultado.asp?cod_hist_prova=302002255&cod_prova=5999982650&f_cod_disc= 2/5
Source: ORGEL, Stephen. ''Introduction''. In: SHAKESPEARE, William. The Sonnets. EVANS, G. Blakemore (ed.).
Cambridge: Cambridge University Press, 2006.
After reading the exposition above, we understand that the 'Dark Lady' of Shakespeare's Sonnets
... differs from Petrarch¿s idealized Muse only to follow his contemporary, Edmund Spenser.
 ... differs from the Petrarchan ideal of his sonneteer's beloved.
... is the same as the Petrarchan ideal of his sonneteer's beloved.
... alters only the name of the Petrarchan idealized Laura.
... imitates Petrarch's idealized Laura in all aspects but content.
Respondido em 10/01/2023 15:54:20
Explicação:
A resposta certa é: ... differs from the Petrarchan ideal of his sonneteer's beloved.
Acerto: 1,0 / 1,0
We studied how the Petrarchan sonnet was transplanted to England with the help of poets such as Sir Philip
Sidney and Thomas Wyatt on the 1590s. Later, Edmund Spenser, on the pages of his Astrophel and Stella,
explored the sonnet form by using new rhyme schemes - which distinguished himself from an objective
reproduction of the Petrarchan sonnet. However, almost every sonneteer inscribes the same general topic on
their poems.
Source: (adapted from) GUEIROS, Nehemias. ''Estudo: Mistério do Soneto Shakespeariano''. In: SHAKESPEARE,
William. 50 Sonetos (trad. Ivo Barroso). Rio de Janeiro: Nova Frontera, 2015.
Mark the option which correctly describes this topic.
The speaker of the sonnet most commonly talks about his family.
The speaker of the sonnet most commonly praises his editor.
The speaker of the sonnet most commonly scorns other poets.
The speaker of the sonnet most commonly praises the church.
 The speaker of the sonnet most commonly praises his beloved.
Respondido em 10/01/2023 15:16:58
Explicação:
A resposta certa é: The speaker of the sonnet most commonly praises his beloved.
Acerto: 1,0 / 1,0
As you have studied, the figures of ''constables'' were present in Shakespearean comedies such as Love's
Labour's Lost, Much Ado About Nothing and Measure for Measure. Read the statements and label them as either
True (T) or False (F).
(1) The comedy lines revolving around their battles of wit confirms the constables' depiction as wise characters.
(2) The humorous tone of these characters intended to mock repressive military authorities who usually
belonged to prestigious and wealthy classes of Elizabethan England.
(3) Constables' financial rewards in real life were not commensurate with their manifold duties.
(1) T/ (2) F/ (3) F
(1) F/ (2 )T/ (3) T
(1) T/ (2) T/ (3) T
 (1) T/ (2) F/ (3) T
(1) F (2) F/ (3) T
Respondido em 10/01/2023 15:54:14
 Questão3
a
 Questão4
a
10/01/2023 15:58 Estácio: Alunos
https://simulado.estacio.br/bdq_simulados_avaliacao_parcial_resultado.asp?cod_hist_prova=302002255&cod_prova=5999982650&f_cod_disc= 3/5
Explicação:
A resposta certa é: (1) T/ (2) F/ (3) T
Acerto: 0,0 / 1,0
As you have come to realize in the previous modules, labeling the discourse genres of Shakespearean plays
might be a rather complex task. Bearing this in mind, which alternative better accounts for the use of such
terminologies in the Bald's legacy?
 The Merchant of Venice has been labeled in the First Folio as one of the first Shakespearean tragedies.
In order to break the audience's expectation in the play King Lear, the jester of such plot is entirely
dreary and melancholic.
Romeo and Juliet is mainly a comedy, being arranged as such in the First Folio.
 The Bard has probably used the mixture of different discourse genres to raise the audiences'
expectations and contextualize the dramatis personae's social spheres.
Midnight Summer's Dream is one of the few Shakespearean plays which conform to the characteristics of
one single discourse genre, with no traces of tragedies whatsoever.
Respondido em 10/01/2023 15:54:08
Explicação:
A resposta certa é: The Bard has probably used the mixture of different discourse genres to raise the audiences'
expectations and contextualize the dramatis personae's social spheres.
Acerto: 0,0 / 1,0
Read and compare these quotes from Romeo and Juliet and Much Ado About Nothing, respectively. Afterwards,
choose the most appropriate alternative concerning their plots.
(1) ''Some shall be pardoned, and some punished./ For never was a story of more woe/ Than this of Juliet and
her Romeo.'' (5.3.324-326)
(2) ''Beatrice: I would not deny you, but, by this good day, I yield upon/ great persuasion, and partly to save
your life, for I was told/you were in a consumption.
Benedict: Peace! I will stop your mouth.'' (5.4.96-100)
Both extracts help convey a peaceful atmosphere. However, in (1) peace derives from mourning and in
(2) it results from Benedict's request.
 The first quote is professed by Prince Escalus so as to describe his feeling of grief which stemmed from
the tragic ending of the play, despite the humorous lines and comedy structure from its beginning. The
second, in contrast, consists of a scene conveying an affectionate reciprocity and levity between the
lovers after mishaps.
 Both scenes summarize the happy closures of the plays: in (1), evil characters would be either
''punished'' or ''pardoned'', and in (2) the two lovers affectionately joke about their relationship and kiss
each other.
The first and the second extracts convey the tragic endings of both plays, and in the second quote, even
though the former lovers remain alive, Benedict expressess aggressiveness towards Beatrice, demanding
her to be quiet.
Both scenes describe problematicrelationships and tragic endings, for the first plot involves terrible
deaths and in the second one Beatrice feels impelled to be with Benedict, pitying him.
Respondido em 10/01/2023 15:53:45
Explicação:
 Questão5
a
 Questão6
a
10/01/2023 15:58 Estácio: Alunos
https://simulado.estacio.br/bdq_simulados_avaliacao_parcial_resultado.asp?cod_hist_prova=302002255&cod_prova=5999982650&f_cod_disc= 4/5
A resposta certa é: The first quote is professed by Prince Escalus so as to describe his feeling of grief which stemmed
from the tragic ending of the play, despite the humorous lines and comedy structure from its beginning. The second, in
contrast, consists of a scene conveying an affectionate reciprocity and levity between the lovers after mishaps.
Acerto: 1,0 / 1,0
After leaving university, instead of taking orders and dedicating to a career in the Anglican church, Marlowe went
to London and, there, giving ways to his restless temperament and to his brilliant mind, he lived a life of
wantonness and fights both on the streets and in the taverns where he found those with a similar temperament
(...). Marlowe's last encounter with the law was profoundly serious, when he faced the accusation of atheism
and unpiety, grave faults at the time. (HELIODORA, 2015, p. 171)
Source: (adapted from) HELIODORA, Bárbara. ''Dramaturgia Elizabetana: Uma Introdução''. In: Dramaturgia
Elizabetana. São Paulo: Perspectiva, 2015.
After reading the contextualization above and the affirmatives below, mark the only option indicating the correct
set of affirmative(s).
I. Marlowe had small problems with the law at his time and lived an untroubled life in London.
II. Marlowe's settling in London was part of moving away from taking orders as an Anglican cleric.
III. Marlowe's short career as a playwright was, probably, the result of the agitated life he had among drinks,
fights and plays.
II a III, only.
 I and III, only.
I, only.
II, only.
I, II and III.
Respondido em 10/01/2023 15:20:00
Explicação:
A resposta certa é: I and III, only.
Acerto: 0,0 / 1,0
The next step on the development [of theater] takes place when the members of various guilds, who really liked
acting in the cycles, decided that they wanted to do theater and, abandoned their original crafts, organized
themselves into small itinerant groups, that walked around looking for audiences. These small groups faced a
very serious problem, because, abandoning the realm of religious activity, they were prohibited to make their
plays based on biblical tropes [or about the life of Saints]. The positive result of this prohibition is that it
determined the emergence of original authors. (HELIODORA, 2015, p. 17)
Source: (adapted from) HELIODORA, Bárbara. ''Dramaturgia Elizabetana: Uma Introdução''. In: Dramaturgia
Elizabetana. São Paulo: Perspectiva, 2015.
Identify the option that correctly explains how the first morality plays happened to come into England's
theatrical scene.
 Morality plays started to be written after a group of men left their various guilds to live theater as their
craft.
 Morality plays were part of a circuit of biblical episodes which aimed at moralizing its audience by
enacting testimonies of the Church¿s beliefs.
Morality plays came to be only after atheism became a popular practice in Renaissance England.
Morality plays were prohibited by the Crown because they enacted Vice and Virtue as insurrectionists.
Morality plays always existed throughout England, but they got to the city only after Elizabeth I was
crowned.
Respondido em 10/01/2023 15:54:38
 Questão7
a
 Questão8
a
10/01/2023 15:58 Estácio: Alunos
https://simulado.estacio.br/bdq_simulados_avaliacao_parcial_resultado.asp?cod_hist_prova=302002255&cod_prova=5999982650&f_cod_disc= 5/5
Explicação:
A resposta certa é: Morality plays started to be written after a group of men left their various guilds to live theater as
their craft.
Acerto: 1,0 / 1,0
What is correct to claim about the English Reformation? 
I. it refused the existence of purgatory 
II. it debated questions of theology concerning free will and grace 
III. it questioned the sacraments 
Only I and III are true 
None of the above 
 I, II and III are true 
Only II and III are true 
Only I and II are true 
Respondido em 10/01/2023 15:18:50
Explicação:
A resposta certa é: I, II and III are true 
Acerto: 0,0 / 1,0
Why did Henry VIII start the English Reformation? 
because Anne Boleyn was pregnant. 
because he refused the title the Defender of the Faith given by the Pope. 
because he did not want to be Catholic anymore. 
 because he wanted a divorce from Anne Boleyn and the Pope would not grant it. 
 because he wanted a divorce from Catherine of Aragon and the Pope would not grant it. 
Respondido em 10/01/2023 15:54:42
Explicação:
A resposta certa é: because he wanted a divorce from Catherine of Aragon and the Pope would not grant it. 
 Questão9
a
 Questão10
a

Mais conteúdos dessa disciplina