Av Narratologia das Literaturas

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Pode-se dizer que um sentimento positivo de etnicidade atravessa a textualidade afro-brasileira. Personagens são descritos sem a intenção de esconder uma identidade negra e, muitas vezes, são apresentados a partir de uma valorização da pele, dos traços físicos, das heranças culturais oriundas de povos africanos e da inserção/exclusão que os afrodescendentes sofrem na sociedade brasileira. Esses processos de construção de personagens e enredos destoam dos modos estereotipados ou da invisibilidade com que negros e mestiços são tratados pela literatura brasileira, em geral.
 
Adaptado de: EVARISTO, Conceição. Literatura negra: uma poética de nossa afro-brasilidade. Scripta, Belo Horizonte, v. 13, n. 25, p. 17-31, 2º sem. 2009.
 
Em sua defesa do conceito de "Literatura negra", no texto apresentado, Conceição Evaristo ressalta o seguinte tipo de construção da personagem:
		
	 
	Redonda ou esférica.
	
	Determinada ou sólida.
	
	Personagem-tipo.
	
	Plana ou desenhada.
	
	Transgressora e complexa.
	
	
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	A leitura de narrativas curtas da tradição popular russa deu a Vladimir Propp material para formular os conceitos de sua principal obra, Morfologia do conto maravilhoso. Apesar das limitações de sua aplicação, a análise de Propp ainda pode ser útil para se pensar as estruturas das narrativas, principalmente no que se refere ao fantástico e maravilhoso na literatura.
Assinale a alternativa que explica, corretamente, esta afirmação.
		
	 
	Nem todas as narrativas compartilham dos mesmos elementos, mas, à medida que os gêneros narrativos se aproximem quanto aos seus objetivos, recursos e funções, elas podem conter estruturas semelhantes. 
	
	Os formalistas russos conseguiram, como nenhum outro grupo, sistematizar as principais estruturas para a compreensão do gênero narrativo através dos tempos.
	
	Todas as narrativas fantásticas, como os contos de fadas, são iguais. Apenas a língua em que são escritas é que muda.
	
	A estrutura proposta pelo livro de Vladimir Propp nunca deixou de ser utilizada para analisar qualquer tipo de narrativa.
	
	As funções descritas por Propp são suficientes para identificar os principais elementos de uma estrutura narrativa, independentemente do tempo e do lugar.
	
	
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	No texto a seguir um autor busca a origem de uma atividade lúdica e corriqueira: empinar papagaios:
 
As ruas também podem brincar com os céus. Digo isso porque, entre os saberes universais dos humanos - falo daqueles que não têm fronteiras -, está o de empinar papagaios; a arte de domar os ventos e rabiscar os céus. Há quem afirme que a invenção da pipa foi chinesa e tem para mais de 3 mil anos. Aulo Gélio, gramático latino, escreveu nas Noites áticas que Arquitas de Tarento, matemático amigo de Platão, inventou a primeira pipa. Há quem defenda que foram hindus, polinésios, fenícios ou egípcios os inventores. A conclusão a que chego é que diversas civilizações inventaram e empinaram papagaios. Ou deliro que as pipas são anteriores aos homens e foram elas que nos inventaram para que alguém as empinasse.
 
Adaptado de: SIMAS, Luiz Antonio. O corpo encantado das ruas. Rio de Janeiro: Civilização Brasileira, 2019.
Em relação às versões sobre a origem da pipa (ou papagaio), assinale a alternativa correta.
		
	
	É mais difícil identificar a origem de um objeto cultural quando ele não está descrito em estudos antropológicos.
	
	A impossibilidade de determinar a origem de uma prática cultural evidencia a falta de desenvolvimento da arte de contar histórias.
	 
	As narrativas diferentes a respeito de um mesmo objeto podem ser reveladoras sobre a dimensão estrutural e coletiva da cultura.
	 
	As diversas narrativas sobre o mesmo objeto destacam ainda mais as nossas diferenças, principalmente de espaço e de tempo.
	
	Algumas atividades culturais são anteriores ao homem, o que demonstra a falta de vínculo entre o ser humano e a cultura.
	
	
	 
		
	03255 - NARRATIVAS DE ORDEM CLÁSSICA
	 
	 
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	Other worlds with strange inhabitants have been numerous in human mythologies and literatures. I'd speculate that, including all the fantasylands devised by children that never see publication, there are many more imaginary locations than there are real ones. Whether they are places we go after death "good or bad" or homes of the gods or supernatural, or lost civilizations, or planets in a galaxy far, far away, they all have this in common: they aren't here and now. (...) All myths are stories, but not all stories are myths: among stories, myths hold a special place. (ATWOOD, 2011, p. 27 & 47)
Source: ATWOOD, Margaret. In Other Worlds: SF and the Human Imagination. New York: Doubleday, 2011.According to Margaret Atwood, myths hold a special place among stories. That is because:
		
	 
	... myths offer a foundation for repeating narrative structures that have prevailed across the centuries in various cultures.
	
	... myths work as narrative superstition across storytellers, retrieving something unknown every time we tell our stories.
	
	... myths offer a catalog of variations that only the great storytellers of our times will have access to.
	
	... myths have been studied by scholars more than any other narrative form and are thus more proper to tell stories.
	
	... myths set a series of narrative rules that no story must disobey in order to be successful.
	
	
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	Epic, long narrative poem recounting heroic deeds, although the term has also been loosely used to describe novels, such as Leo Tolstoy's War and Peace, and motion pictures, such as Sergey Eisenstein's Ivan The Terrible. In literary usage, the term encompasses both oral and written compositions.
Source: Encyclopaedia Britannica. Access on: https://www.britannica.com/art/epic.
 
I. The epic as a literary genre dates from the Middle Ages onward.
BECAUSE
II. No one had written any Epic in Anglo-Saxon or Old English before the Middle Ages.
Regarding these affirmatives, mark the correct option.
		
	
	Affirmatives I and II are true, but II is not a correct justification of I.
	
	Affirmative I is false, and II is true.
	 
	Affirmative I is true, and II is false.
	
	Affirmatives I and II are true, II is a correct justification of I.
	 
	Affirmatives I and II are false.
	
	
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	Fables and allegories are usually correlated. Read the statements below about the nature of allegories, then, choose the correct option:
I- An allegorical story demands no interpretative effort on the part of the reader.
II- An allegory brings a microcosm- macrocosm relationship.
III- An allegory usually has some moral significance.
		
	
	Only II is correct
	 
	I and III are correct
	
	I, II and III are correct.
	
	Only I is correct
	 
	II and III are correct
	
	
	 
		
	03256 - NARRATIVAS DE BASE POPULAR E RELIGIOSA
	 
	 
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	"Legends are prose narratives regarded as true by the narrator and his audience. It is set in a period less remote when the world was such as it is today and present a human situation from which a problem arises or is presented followed by its consequences or outcome. They also serve as a showcase and vehicles of the culture and identity of a people, as part of the expression through language. They function as basic to social tradition, which contribute part of the social heritage, or the "living mirrors of the past."
 
Retrieved from: GILBAS, Sherill A. Structural And Motifemic Analysis Of Legends. Journal Of International Academic Research For Multidisciplinary, Sorsogon City, Philippines, v. 6, n. 1, p. 56-64, 1/2/2018.
 
Given the definition above, assess the following assertions and the relationship between them:
 
I. Legend is a contemporary genre which presents issues that concern those who listen or read.
 
BECAUSEII. As folklore, legends illustrate people¿s identity, culture and knowledge, therefore serve as a form of expression.
		
	
	Assertions I and II are false propositions.
	 
	Assertions I and II are true propositions, and II is I's correct justification.
	
	Assertions I and II are true propositions, but II is not I¿s correct justification.
	
	Assertion I is a true proposition, while II is a false proposition.
	 
	Assertion I is a false proposition, and II is a true proposition.
	
	
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	The story of Bluebeard can be summarized thus: a wealthy man had a blue beard which made him extremely ugly, so that women ran away from him. It was known that he had been married several times before, but what had become of his wives, nobody knew. (...) One day, Bluebeard told his wife that he had business to attend to in the country and would be gone for several days. He entrusted her with the keys to all the various rooms in the house which contained his treasure. He told her that she was free to unlock any of the doors - with the exception of one, the door to a secret closet in the house, which she was forbidden to look inside. She agreed to his wishes and waved him off. (...) She took the key to the closet and unlocked it, and found that the floor was clotted with blood, and the bodies of dead women were kept in the chamber. So, this is what had happened to all of Bluebeard's previous wives!
 
Retrieved from: TEARLE, Oliver. A Summary and Analysis of the Bluebeard Fairy Tale. In: TEARLE, Oliver. Interesting Literature. [S. l.], 10 maio 2018. Available at: https://interestingliterature.com/2018/05/a-summary-and-analysis-of-the-bluebeard-fairy-tale/. Date of access: 18 fev. 2022.
The story of the Bluebeard can be read as a folktale because it encompasses the following characteristics:
		
	 
	The narrative teaches a moral lesson, in this case about toxic and abusive relations.
	 
	Characters are flat, and the story narrates the battle between good versus evil.
	
	Characters have a psychological depth to them, so no one is described as good not bad.
	
	The story is based on true events.
	
	The story demands careful and profound study due to its complex allegories.
	
	
	 
		
	03257 - NARRATIVAS DE CUNHO LITERÁRIO
	 
	 
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	Literary fairy tales were written by educated authors, who wished to demonstrate their literary skill and please a literary audience. Supernatural characters, magical elements and transformations are elements common to oral and written fairy tales; themes appropriate for children were not a reality in the first literary fairy tales. This was a change that occurred gradually, following changes in society and in the concept of childhood.
		
	
	The mission designed for the hero.
	
	The relation between events.
	
	The relationship of the characters.
	 
	The magical elements in the story.
	 
	The acts of the characters.
	
	
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	Short stories are concise, and every word is important for the purpose of it. Precision and economy of words are characteristics of short stories. The dramatic unit is what is relevant in the story, and only characters and events involved in it matter. In terms of time, past and future keep lower or no significance. Why is this true?
		
	
	Short stories do not mention past or future. 
	
	Past is known through the digressions.
	 
	Short stories portray a moment in time.
	
	Past and future are told by the narrator.
	
	Short stories have a predictable future.