SIMULADO NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA

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Disc.: NARRATOLOGIA DAS LITERATURAS EM LÍNGUA INGLESA 
Acertos: 10,0 de 10,0 03/05/2023 
 
 
 
 
1a 
 Questão 
 
Alguns elementos constituem as narrativas. São eles: tempo, espaço, narrador e personagem. Leia o 
trecho a seguir, retirado da obra Crime e Castigo, e o analise com base em seus elementos constitutivos: 
 
Ao cair da tarde de um início de julho, calor extremo, um jovem deixou o cubículo que subalugava de 
inquilinos na travessa S., ganhou a rua e, ar meio indeciso, caminhou a passos lentos em direção à 
ponte K. 
 
 Saiu-se bem, evitando encontrar a senhoria na escada. Seu cubículo ficava bem debaixo do 
telhado de um alto prédio de cinco andares, e mais parecia um armário que um apartamento. Já a 
senhoria, de quem ele subalugava o cubículo com cama e mesa, ocupava um apartamento individual 
um lanço de escada abaixo, e toda vez que ele saía para a rua tinha de lhe passar forçosamente ao lado 
da cozinha, quase sempre de porta escancarada para a escada. E cada vez que passava ao lado o jovem 
experimentava uma sensação mórbida e covarde, que o envergonhava e levava a franzir o cenho. 
Estava encalacrado com a senhoria e temia encontrá-la. 
 
Adaptado de: DOSTOIÉVSKI, Fiódor. Crime e castigo. Trad. Paulo Bezerra. São Paulo: Ed. 34, 2009. 
 
Considerando os elementos da narrativa presentes no texto, avalie as seguintes afirmações: 
 
I. O narrador onisciente mergulha nos sentimentos e na consciência das personagens, mas, ao mesmo 
tempo, conta a história de uma perspectiva distanciada. 
II. O tempo é sempre preciso em narrativas em terceira pessoa, pois o narrador sabe exatamente onde 
e quando estão todas as personagens. 
III. O espaço físico não apenas registra o movimento das personagens, mas serve também como recurso 
para caracterizar suas ações. 
IV. O espaço físico apresenta uma síntese das ações que vão se desenvolver em toda a história, pois 
indica que não sofrerá alterações até o fim. 
 
Estão corretas as afirmativas: 
 
 
 
 I e II. 
 I e IV. 
 I e III. 
 II e III. 
 I, II e IV. 
Respondido em 03/05/2023 21:43:51 
 
 
 
Explicação: 
O narrador está em terceira pessoa, pois relata como alguém que enxerga as ações de um ângulo 
distanciado, mas amplo. No entanto, ele tem total conhecimento sobre as personagens, já que descreve 
suas intenções e sentimentos, descritos por meio de expressões como "indeciso" e "sensação mórbida e 
covarde". Ao acompanharmos o deslocamento dele pelos espaços físicos, percebemos que eles são 
descritos para acentuar o desejo de não encontrar a senhoria. Nesse sentido, o espaço é mais do que 
cenário, ele é também reflexo das ações da narrativa. 
 
 
 
 
 
2a 
 Questão 
 
O trecho abaixo traz uma definição para um tipo de narrativa: o conto. 
 
O conto é um relato que encerra um relato secreto. Não se trata de um sentido oculto que dependa de 
interpretação: o enigma não é outra coisa senão uma história contada de um modo enigmático. A 
estratégia do relato é posta a serviço dessa narrativa cifrada. Como contar uma história enquanto se 
conta outra? Essa pergunta sintetiza os problemas técnicos do conto. 
 
Adaptado de: PIGLIA, Ricardo. Formas breves. Trad. José Marcos Mariani de Macedo. São Paulo: 
Companhia das Letras, 2004, p. 91. 
 
A partir da definição acima, avalie as asserções a seguir e a relação proposta entre elas: 
 
I. O conto é um dos gêneros narrativos mais modernos, considerando o conceito dado pelo autor do 
texto. 
 
PORQUE 
 
II. Assim como os demais tipos de narrativa, o conto é construído de acordo com as expectativas do 
leitor, seja para atendê-la ou surpreendê-la. 
 
 
 A asserção I é uma proposição falsa, e a II é uma 
proposição verdadeira. 
 As asserções I e II são proposições verdadeiras, e a 
II é uma justificativa correta da I. 
 A asserção I é uma proposição verdadeira, e a II é 
uma proposição falsa. 
 As asserções I e II são proposições verdadeiras, 
mas a II não é uma justificativa correta da I. 
 As asserções I e II são proposições falsas. 
Respondido em 03/05/2023 21:44:38 
 
 
 
Explicação: 
O gênero do conto é um dos mais antigos da literatura, podendo ser identificado em um período anterior à 
própria invenção da escrita. No entanto, com o passar do tempo, sofreu transformações na sua forma. 
Embora o texto de Piglia apresente uma definição de uma concepção moderna do gênero, ele mantém 
características em sua estrutura que remontam aos clássicos. Como todo gênero literário, o conto busca 
seguir um determinado horizonte de expectativa, ou seja, é construído de acordo com as expectativas do 
leitor. 
 
 
 
 
 
3a 
 Questão 
 
 (ENADE - 2014) Na literatura de cordel, o texto narrativo funciona como um recurso de sociabilização 
dos ¿causos¿ populares contados através da oralidade e transcritos, com engenhosidade artesanal, 
pelos ¿poetas do povo¿, os quais procuram evidenciar situações que levam tanto à reflexão quanto ao 
riso, transformando a mentalidade das pessoas e tornando-as mais humanas. O texto a seguir ratifica 
essa ideia. 
 
O poeta é um repórter 
De pensamento ligado 
Ouvindo o que o povo diz 
Fazendo todo apanhado 
E sai contando na rua 
Tudo quanto foi passado. 
 
SILVA, M.C. Manuel Caboclo. São Paulo: Hedra, 2000. 
 
Com base no exposto, avalie as afirmações a seguir. 
 
I. A literatura de cordel apresenta estrutura formal bem articulada. 
II. No excerto, o poeta de cordel é comparado ao repórter por trazer informações sobre os fatos 
cotidianos. 
III. Por apresentar elementos narrativos, os recursos poéticos são pouco explorados na literatura de 
cordel. 
 
É correto o que se afirma em: 
 
 
 II e III, apenas. 
 I, apenas. 
 I, II e III. 
 I e II, apenas. 
 III, apenas. 
Respondido em 03/05/2023 21:46:06 
 
 
 
Explicação: 
O ritmo dos versos denota uma busca por uma estrutura determinada, que atenda às convenções próprias 
do gênero. Isso contribui para o processo de "sociabilização" de que fala o texto, pois seduz o ouvinte e/ou 
leitor pela sua musicalidade. Por apresentar uma narratividade, o cordel se aproxima dos eventos do 
cotidiano, provocando a identificação do leitor/ouvinte de acordo com os fatos narrados, assim como um 
repórter ao noticiar um acontecimento. 
 
 
 
 
 
4a 
 Questão 
 
Fascinated by the Ireland of centuries past, Yeats wrote poems about Irish history and figures of Celtic 
mythology, including "To the Rose upon the Rood of Time", "To Ireland in the Coming Times,", and "The 
Song of Wandering Aengus".These poems in particular engage in legends and folklore while evoking 
traditional ballads and songs. Yeats¿s endeavors into the Irish Literary Revival movement were not 
limited to poetry alone: he founded the National Literary Society in 1892, cofounded the Irish Literary 
Theatre in 1899, and years later founded and wrote plays for the Abbey Theatre, which showcased 
works of contemporary Irish playwrights and authors and found gre at success. Some of his plays, 
including Ego Dominus Tuus, appeared in Poetry magazine. Source: GALTON, Francis. "Eugenics: its 
definition, scope and aims". 
Access in: https://www.poetryfoundation.org/articles/70241/william-butler-yeats-101 
 
Relate the excerpt above, from a biographical article written by the editors of the website Poetry 
Foundation, with the alternative that correctly points out the historical connections between Yeats¿ 
interest in Irish Folklore and the Nationalist Movement in Ireland. 
 
 
 Yeats' connection with other poets from England 
deemed his relationship with the Irish Nationalist 
movement complicated and rather abusive, being 
pressured into political views that did not 
correspond to his beliefs. 
 Yeats' relationship with his countrymen and 
women was so deeply rooted in tradition that he 
used folklore as his major source to please the 
Irish population living in the countryside. 
 Yeats' relationship with IrishNationalism is 
directly related to the way he has been imparted 
the responsibility as a writer to be only and 
exclusively a Gaelic writer, calling tradition and 
folklore forth as a political strategy. 
 Yeats' connections with the Irish Literary Revival 
implied his commitment to the writing of a 
particularly Irish literature, so did his wish not to 
be recognized as a ¿cosmopolitan poet¿, but 
rather and Irish one. 
 Yeats' connections with Irish Nationalism came 
from the family in which he was raised, who 
shaped his political views and deemed him, 
inevitably, as an author singularly Irish. 
Respondido em 03/05/2023 21:46:52 
 
 
 
Explicação: 
During the early nineteenth century, Ireland - its historical past and folkloric imaginary - was the stage and 
source material for what would turn into the literary movement called the Irish Cultural Revival. By that 
time, Gaelic (understood by nationalists as the original Irish language) was dying out as a spoken language. 
English was the official national and literary language as far as anyone could tell. However, the nationalist 
movement reclaimed Gaelic as an important language since most of Irish's Ancient literature was written 
in and needed to be translated from Gaelic. Philologists' research on the topic revealed heroic and 
mythical narratives particularly Irish dating from before the year 900. This was fundamental for renewing 
the interest in Irish literature and history as an autonomous cultural heritage, independent from the British 
cultural past. Within this context, many were the Anglo-Irish poets who, like Yeats, explored the rhythms 
and legendary imagery found in those ancient texts, attempting to echo a mythical past true to Ireland's 
history. Thus, "Yeats" connections with the Irish Literary Revival implied his commitment to the writing of a 
particularly Irish literature, so did his wish not to be recognized as a "cosmopolitan poet", but rather and 
Irish one. 
 
 
 
 
 
5a 
 Questão 
 
John Milton's Paradise Lost opens with the following verses. 
 
OF Mans First Disobedience, and the Fruit 
Of that Forbidden Tree, whose mortal tast 
Brought Death into the World, and all our woe, 
With loss of Eden, till one greater Man 
Restore us, and regain the blissful Seat, 
Sing Heav'nly Muse, that on the secret top 
Of Oreb, or of Sinai, didst inspire 
That Shepherd, who first taught the chosen Seed, 
In the Beginning how the Heav'ns and Earth 
Rose out of Chaos: or if Sion Hill 
Delight thee more, and Siloa's brook that flow'd 
Fast by the Oracle of God; I thence 
Invoke thy aid to my adventrous Song, 
That with no middle flight intends to soar 
Above th' Aonian Mount, while it pursues 
Things unattempted yet in Prose or Rhime 
(MILTON, Paradise Lost, Book I) 
Source: https://www.poetryfoundation.org/poems/45718/paradise-lost-book-1-1674-version 
 
The verses exemplify one of the most common features of epic poems. Which feature is this? 
 
 
 The exposition and conflict 
 Alliteration 
 The use of unrhymed verses 
 The climax 
 The invocation of the Muse 
Respondido em 03/05/2023 21:47:36 
 
 
 
Explicação: 
In the verses above the poet asks for the Muse's aid in his attempt of composing verses never yet written: 
about the Fall of Man, about Man's first disobedience. The epic's most common opening usually asks a 
Muse to inspire the poet to tell his tale and guide him through the narrative which he needs to share with 
his audience. The verses hence exemplify "The invocation of the Muse". 
 
 
 
 
 
6a 
 Questão 
 
SHAKESPEARE AND OVID. "Amongst the direct sources of Shakespeare's works, after North's Plutarch 
and Holinshed, probably the most important was Ovid. The Fastiy the Heroides, and the 
Metamorphoses were just such works as would be most likely to impress a young mind; and 
Shakespeare's early ambition seems to have been to be the English Ovid, whilst accident made him a 
dramatist. Thus, in his Lucrece and his Venus and Adonis he directly challenges comparison. His themes 
are of the same romantic and imaginative stuff; his method the same rich and picturesque description; 
and the motto upon the title of the Venus and Adonis shows that he took the attempt seriously. In this 
respect he judged truly of his powers, although he enormously underestimated them. Other dramatists 
have portrayed the doings and the fate of men so as to move our souls; but no other has taken us into 
fairy land, and made imps and fays live before us as Shakespeare has done. Ben Jonson and Middleton 
have done something for demons and witches; Goethe has realized a devil; but with Shakespeare alone 
the world of faery seems to be real and reasonable as flesh and blood. (OVID, 1904, p. i) 
 
Source: OVID. Metamorphoses. GOLDING, Arthur (translator). London: The De La More Press, 
1904.Based on the excerpt above, Ovid's Metamorphoses was" 
 
 
 ... not only one of Shakespeare's most preferred 
sources, but also that whose rendering of myths 
and the fantastic provided a singular set of images 
for many different authors. 
 ... a highly popular novel written in French and 
published in English for the purposes of 
assimilating another culture. 
 ... a rather obscure text for the largest part of the 
Renaissance, being hardly ever used by anyone 
outside the university. 
 ... Shakespeare's most important reference of 
what an author should not do in his writing, be it 
technically as well as imaginatively. 
 ... Shakespeare's only source to create all his 
plays; he actually had the only known copy of 
Metamorphoses found during his time. 
Respondido em 03/05/2023 21:48:10 
 
 
 
Explicação: 
Ovid's Metamorphoses first verse English translation was written by Arthur Golding in 1567, since William 
Caxton - the important Elizabethan printer - had already published a prose translation of the French text of 
Metamorphoses known as Ovide Moralisé, in 1480. Nevertheless, it is Golding's rendition of Ovid's book 
that became widely famous in England and was eventually read by many Elizabethan poets such as 
Edmund Spenser and William Shakespeare. Ovid's depiction of the Greek myths as short stories which 
challenge the imagination was largely influential not only in the imagery it provided for such poets, but 
also with its many plotlines directly appropriated by Shakespeare in his plays. The correct answer is then: 
"not only one of Shakespeare's most preferred sources, but also that whose rendering of myths and the 
fantastic provided a singular set of images for many different authors". 
 
 
 
 
 
7a 
 Questão 
 
The parables of Jesus, as found in the Gospels, are considered the most important source for studies on 
how Jesus taught and transmitted his message. Such stories have been analyzed numerous times and 
still, new insights are constantly revealed through fresh debates and approaches by biblical scholars. 
New methods of literary reading have been fundamental for the understanding of the metaphors and 
symbols present in the parables. 
Adapted from: GOWLER, David B. What Are They Saying About the Parables'. New Jersey: Paulist Press, 
2000. 
Considering the text, mark the correct alternative: 
 
 
 There is no consensus regarding the parables of 
Jesus because they can only be applied to the 
Christian faith so laic scholars have no 
mechanisms to analyze them. 
 The parables told by Jesus can only be studied by 
Christian scholars and given the different branches 
of the religion, researchers with different 
understandings of faith will interpret the 
narratives differently. 
 The parables of Jesus are a very specific form of 
parable because they do not intend to stimulate 
the audience to think, thus they are very objective 
and purposely lack figures of speech. 
 The parables of Jesus function like other forms of 
art that test our minds through their ambiguity, 
hence, interpreters must be careful when studying 
so that the true meaningisn't destroyed. 
 The parables, as found in the Gospels, originated 
such literary genre and Jesus was the creator of 
this form of narrative. 
Respondido em 03/05/2023 21:49:49 
 
 
 
Explicação: 
The parables of Jesus are used by many for preaching, since parallels can be traced between the stories 
and the listeners¿ lives, serving as guidance. Jesus used analogies neither as straightforward tales with 
obvious lessons nor as incomprehensible stories with impenetrable messages. With real -life events, 
parables were told to grasp the listener¿s attention and stimulate a reaction. Throughout the history of the 
church, debate over how much of a parable is an allegory has been constant, but modern scholarship has 
rejected the practice of interpreting parables as allegories, because their objective is not to represent 
something else but to generate a response. Thus, interpretation must be careful and meticulous due to the 
dubiousness of the narratives. 
 
 
 
 
 
8a 
 Questão 
 
The study of audiences is of major importance when analyzing parables. Many people may argue that 
such genre is more appealing to children or to uneducated people who will quickly agree with what is 
told if the lessons please them. For instance, does the fact that Jesus told parables to common people 
about unlikely historical events make the messages irrelevant or unreliable? 
 
Based on the reflection above, assess the following claims and the proposed relationship between 
them. 
 
I. Parables are made for anyone and everyone who is willing to learn 
 
BECAUSE 
 
II. When approaches to parables are overly intricate and refined, the impact on their first hearers may 
be misrepresented 
 
Regarding these claims, check the correct option. 
 
 
 B I is a false proposition, and II is a true 
proposition. 
 I is a true proposition, and II is a false proposition. 
 I and II are false propositions. 
 I and II are true propositions, but II is not a correct 
justification of I. 
 I and II are true propositions, and II is a correct 
justification of I. 
Respondido em 03/05/2023 21:50:46 
 
 
 
Explicação: 
Parables are made for everyone because through their simple and accessible narratives they can teach 
profound lessons to which anyone can relate. Such stories can test our minds, imagination and can even 
challenge our hearts, however they can be distorted, reduced, undermined, manipulated, and 
psychologized due to overinterpretations which steal from them their original meaning created for a 
specific group of people. 
 
 
 
 
 
9a 
 Questão 
 
Famous modern novels used a method of narration known as stream of consciousness. Which literary 
texts fall under this category? 
 
 
 
Ulysses and To the Lighthouse 
 Frankenstein and Wuthering Heights 
 Oroonoko: Or, The History of the Royal Slave and 
The Pilgrim¿s Progress 
 Emma and Pride and Prejudice 
 Robinson Crusoe and Moll Flanders 
Respondido em 03/05/2023 21:51:40 
 
 
 
Explicação: 
Famous modern novels such as Ulysses (1922) by Irish writer James Joyce and To the Lighthouse, by 
English novelist Virginia Woolf made use of stream of consciousness, which tries to reproduce the flow of 
consciousness. Perceptions, thoughts, memories and feelings are presented without being shaped into 
grammatical or logical sentences. All narrators are to a certain extent unreliable, which reflects the 
twentieth-century concerns about relativity, the subjectiveness of experience, knowledge, and truth. The 
other literary works are not 20th century novels. 
 
 
 
 
 
10a 
 Questão 
 
Fairy tales, as we know them nowadays, have two elements peculiar to the genre. Which ones? 
 
 
 Beautiful princesses and colloquial language. 
 Life reflections and talking animals. 
 Royal characters and a simple plot. 
 Happy endings and a moral lesson. 
 Supernatural elements and metaphors. 
Respondido em 03/05/2023 21:52:20 
 
 
 
Explicação: 
Happy endings and a moral lesson, along with the presence of magic and transformations form the 
paradigm for modern short stories. The other options express elements sometimes present in fairy tales, 
but they cannot be considered a recurrent pattern.