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Read the following excerpt of the short story “The Lottery” by Shirley Jackson.
“The lottery was conducted--as were the square dances, the teen club, the Halloween program--by Mr.Summers. who had time and energy to devote to civic activities. He was a round-faced, jovial man and he ran the coal business, and people were sorry for him. because he had no children and his wife was a scold. When he arrived in the square, carrying the black wooden box, there was a murmur of conversation among the villagers, and he waved and called. "Little late today, folks." The postmaster, Mr.Graves, followed him, carrying a threelegged stool, and the stool was put in the center of the square and Mr. Summers set the black box down on it. The villagers kept their distance, leaving a space between themselves and the stool. and when Mr. Summers said, "Some of you fellows want to give me a hand?" there was a hesitation before two men. Mr. Martin and his oldest son, Baxter. came forward to hold the box steady on the stool while Mr. Summers stirred up the papers inside it.
The original paraphernalia for the lottery had been lost long ago, and the black box now resting on the stool had been put into use even before Old Man Warner, the oldest man in town, was born. Mr.Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box. There was a story that the present box had been made with some pieces of the box that had preceded it, the one that had been constructed when the first people settled down to make a village here. Every year, after the lottery, Mr. Summers began talking again about a new box, but every year the subject was allowed to fade off without anything being done. The black box grew shabbier each year: by now it was no longer completely black but splintered badly along one side to show the original wood color, and in some places faded or stained.”
JACKSON, S. The Lottery. Disponível em: https://www.cusd200.org/cms/lib/IL01001538/Centricity/Domain/361/jackson_lottery.pdf Acesso em: 02 abr. 2023.
Mark the assumption that is true about the narrator.
Consider the following text: “We suggest that grammar be treated according to the students’ real needs, if we are to be coherent with the notion of language as discourse, an idea that emphasizes the unpredictability of language and the flexibility and constant change of meaning making practices. Rather than aiming at adapting readers to texts, merely leading them to recognize text genres or fixed text formats, our perspective focuses on developing ownership of texts, which implies more than the possibility of “understanding” texts. Above all, it aims at understanding how and why certain meanings are considered legitimate and others are not: the main objective of reading, in this perspective, would be to develop the readers´ ability to see themselves (and others) constructing and attributing meanings to texts (…).
Grammar, therefore, comes to the scene in so far as it is needed in order to construct meaning with the text – there is no previous “natural” order of grammar structures to be followed, neither these structures should guide the teacher in her/his choice of texts and topics. Formal grammatical knowledge must be subordinated to discursive knowledge: it is important that students are able to use English in communicative contexts in which meanings and the necessary interpretative procedures to construct them are emphasized, rather than isolated grammatical structures.”
JORDÃO, C. M.; FOGAÇA, F. C. Critical literacy in the English Language Classroom. Disponível em: https://www.scielo.br/j/delta/a/hsrcx4LBJZmLpsBjNKsVbvt/abstract/?lang=en
Mark the correct alternative:
Mark the correct alternative.
Consider the titles of the following plays written by William Shakespeare. Mark the alternative that is a comedy.
Concerning Shakespeare’s plays, mark the correct alternative.
Read the following excerpt about genre fiction and choose the correct alternative.
What makes a bestseller? What do consumer-readers want? Genre provides some clues: in forgoing any of the challenges, surprises or defamiliarisations of literary technique, genre promotes familiarity, fulfilling preformed expectations from its packaging regarding style, story and reading conventions. Aligned with packaging, therapy, consumption, genre forms one part of the marketability of popular fiction. ln what it represents (lifestyles) and its spin-offs, it remains close to a world of commodities. Its interplay of comforting sameness with a small addition of difference is facilitated by a flexible use of generic and literary interrelationships.
BOTTING, F. Bestselling fiction: machinery, economy, excess. In: The Cambridge Companion to popular fiction. Ed. By David Glover; Scott McCracken. Cambridge; New York; Cambridge University Press, 2012, p. 164.
Choose the correct alternative:
Read the following excerpt about basic narrative terms: Story vs. discourse
Any analysis of the structure of narrative texts and films must begin by differentiating between the various levels of communication within the text. Various terms are used to refer to these levels; some approaches are based on a primary opposition between fabula and sjuzhet or ‘story’ and ‘discourse’, a binary distinction that goes back to Russian Formalism and Structuralism. Whereas the term ‘story’ refers to the chronological sequence of narrated events, ‘discourse’ refers to the shaping of this material by the narrator. This distinction is encapsulated in the basic questions: (1) What is narrated? (2) How is a story communicated narratively (or cinematically), i. e. mediated through narrative?
This distinction between story and discourse takes account of the fact that the same story:
Consider the novel Frankenstein, or the Modern Prometheus, written by Mary Shelley, and mark the correct answer.
Read the following poem by the North-American writer Emily Dickinson: I hide myself within my flower
That wearing on your breast,
You, unsuspecting, wear me too—
And angels know the rest.
I hide myself within my flower,
That, fading from your vase,
You, unsuspecting, feel for me
Almost a loneliness...
Disponível em: https://www.gutenberg.org/files/12242/12242-h/12242-h.htm#I_hide_myself_within_my_flower
Mark the assumption that is true about the poem.
Consider the following fragments and phrases in English: as dry as a bone - she has the heart of a stone - the flowers begged for water - he is older than the hills
Mark the option that presents what figures of speech they are in the sequence they are provided: