British Novel - MEG 3 IGNOU
British Novel, a created exposition account of
impressive length and a specific unpredictability that manages human
experience, more often than not through an associated arrangement of occasions
including a gathering of people in a particular setting. Inside its expansive
system, the class of the novel has incorporated a broad scope of sorts and
styles: picaresque, epistolary, Gothic, sentimental, pragmatist, chronicled— British
Novel to name just a portion of the more
significant ones.
British Novel The Epic
British Novel The epic is a type of fiction, and fiction might
be characterized as the craftsmanship or art of imagining, through the composed
word, portrayals of human life that educate or redirect or both. The different
structures that fiction may take are best considered less to be various
separate classes than as a continuum or, all the more precisely, a cline, with
whatever short structure as the story toward one side of the scale and the
longest possible novel at the other. British Novel At the point when any bit of
fiction is long enough to comprise an entire book, rather than a negligible
piece of a book, at that point it might be said to have accomplished novelhood British
Novel.
British Novel , In any case, this state concedes to
its very own quantitative classes, with the goal that a moderately concise
novel might be named a novella (or, if the pitifulness of the substance
coordinates its quickness, a novelette), and an extremely long novel may flood
the banks of a solitary volume and become a roman-fleuve, or stream novel.
Length is especially one of the components of the class.
The Novella
The term novel is a truncation of the Italian word
novella with the goal that what is presently, in many dialects, a minute
indicates truly the parent structure. British Novel The novella was a sort of
extended tale like those to be found in the fourteenth century Italian great
Boccaccio's Decameron, every one of which embodies the historical background
all around ok. The narratives are minimal new things, curiosities, naturally
stamped preoccupations, toys; they are not reworkings of known tales or
legends, and they are inadequate in weight and good genuineness. It is to be
noticed that, in spite of the high case of writers of the most significant
reality, for example, Tolstoy, Henry James, and Virginia Woolf, the term novel
still, in certain quarters, conveys suggestions of gentility and paltriness.
British Novel , What's more, it is conceivable to
descry a propensity to technicality in the structure itself. The tribute or
ensemble appears to have an internal system that shields it from stylish or
moral debasement, however the novel can slide to disgraceful business
profundities of nostalgia or sex entertainment. It is the motivation behind
this area to consider the novel not exclusively regarding incredible
workmanship but rather additionally as a universally handy medium providing
food for every one of the strata of proficiency.
Such early in British Novel old Roman fiction as
Petronius' Satyricon of the first century AD and Lucius Apuleius' Golden Ass of
the second century contain a considerable lot of the prominent components that
recognize the novel from its nobler brought into the world relative the epic
sonnet. In the anecdotal works, the medium is composition, the occasions
portrayed are unheroic, the settings are boulevards and bars, not combat zones
and royal residences. There is more low sex than august battle; the divine
beings don't move the activity; the exchange is unattractive as opposed to
distinguished. It was, truth be told, out of the need to discover—in the time
of Roman decrease—a scholarly structure that was enemy of epic in both
substance and language that the main writing fiction of Europe appears to have
been considered. The most noteworthy character in Petronius is a nouveau riche
vulgarian; the saint of Lucius Apuleius is transformed into a jackass; nothing
less epic can well be envisioned.
The medieval chivalric sentiment (from a prevalent
Latin word, likely Romanice, which means written in the vernacular, not in
conventional Latin) reestablished a sort of epic perspective on man—however now
as brave Christian, not gallant agnostic. Simultaneously, it passed on its name
to the later class of mainland writing, the novel, which is referred to in
French as roman, in Italian as romanzo, and so forth. But that later sort
accomplished its first extraordinary blooming in Spain toward the start of the
seventeenth century in an antichivalric comic artful culmination—the Don Quixote of Cervantes, which, on a bigger scale than the Satyricon or The
Golden Ass, contains a significant number of the components that have been
normal from writing fiction from that point forward. Books have saints, yet in
no traditional or medieval sense. Concerning the writer, he should, in the
expressions of the contemporary British-American W.H. Auden,
The epic
endeavors to accept those weights of life that have no spot in the epic ballad
and to consider man to be unheroic, unredeemed, blemished, even ridiculous. This
is the reason there is room among its experts for authors of hardboiled
criminologist spine chillers, for example, the contemporary American Mickey
Spillane or of nostalgic melodramas, for example, the productive nineteenth
century English writer Mrs. Henry Wood, yet not for one of the unremitting
height of standpoint of a John Milton.
MEG 3 IGNOU Syllabus
Novel- 1 Henry Fielding: Tom Jones
Unit-1 Some Aspects of ‘Fiction’
Unit-2 As We First Read Tom Jones
Unit-3 Characters as Characterisations
Unit-4 Artistic Unity or Socio-Cultural Concerns
Unit-5 Feminist Concerns in Fielding
Unit-6 Some Critical Opinions on Tom Jones
Unit-7 Narration in Fiction and Third World Preferences
Novel- 2 Jane Austen: Pride and Prejudice
Unit-2 As We First Read Tom Jones
Unit-3 Characters as Characterisations
Unit-4 Artistic Unity or Socio-Cultural Concerns
Unit-5 Feminist Concerns in Fielding
Unit-6 Some Critical Opinions on Tom Jones
Unit-7 Narration in Fiction and Third World Preferences
Novel- 2 Jane Austen: Pride and Prejudice
Unit-1 The Novel in its Context
Unit-2 Main Themes in pride and Prejudice-1
Unit-3 Main Themes in Pride and Prejudice-2
Unit-4 Characters in the Novel
Unit-5 The Narrative of Pride and Prejudice
Unit-6 Critical Perspectives
Novel- 3 Wuthering Heights: Emily Bronte
Unit-2 Main Themes in pride and Prejudice-1
Unit-3 Main Themes in Pride and Prejudice-2
Unit-4 Characters in the Novel
Unit-5 The Narrative of Pride and Prejudice
Unit-6 Critical Perspectives
Novel- 3 Wuthering Heights: Emily Bronte
Unit-1 Background to Wuthering Height
Unit-2 The Problem of Narrative
Unit-3 Gift of God’: Heathcliff
Unit-4 You Look Like a Lady Now’: Significance of Catherine
Unit-5 Wuthering Heights: One Hundred and Fifty Years
Novel- 4 Charles Dickens: Great Expectations
Unit-2 The Problem of Narrative
Unit-3 Gift of God’: Heathcliff
Unit-4 You Look Like a Lady Now’: Significance of Catherine
Unit-5 Wuthering Heights: One Hundred and Fifty Years
Novel- 4 Charles Dickens: Great Expectations
Unit-1
Background
Unit-2 Great Expectations and Self-Improvement
Unit-3 Improvement Or Disintegration?
Unit-4 Great Expectations And The Fairytale
Unit-5 Crime And Respectability
Novel- 5 George Eliot : Middlemarch
Unit-2 Great Expectations and Self-Improvement
Unit-3 Improvement Or Disintegration?
Unit-4 Great Expectations And The Fairytale
Unit-5 Crime And Respectability
Novel- 5 George Eliot : Middlemarch
Unit-1 Approaching The Novel
Unit-2 Themes, Characters, Techniques
Unit-3 Philosophical Underpinnings
Unit-4 George Eliot’s Perspectives
Unit-5 The Finale
Novel- 6 Joseph Conrad: Heart of Darkness
Unit-2 Themes, Characters, Techniques
Unit-3 Philosophical Underpinnings
Unit-4 George Eliot’s Perspectives
Unit-5 The Finale
Novel- 6 Joseph Conrad: Heart of Darkness
Unit-1 His Story and History
Unit-2 Literary Analysis-I
Unit-3 Literary Analysis-II
Unit-4 Race, Empire, Gender in Heart of Darkness
Unit-5 The Lengthening Shadow
Unit-2 Literary Analysis-I
Unit-3 Literary Analysis-II
Unit-4 Race, Empire, Gender in Heart of Darkness
Unit-5 The Lengthening Shadow
Novel- 7 James Joyce: A Portrait
of The Artist As A Young Man
Unit-1 Contexts
Unit-2 Genre, Overall Structure and Point of View
Unit-3 Stephen’s Growth and Personality
Unit-4 Technique
Unit-5 Critical Perspectives: A Brief Selective Overview
Novel- 8 Edward Morgan Forster: A Passage to India
Unit-2 Genre, Overall Structure and Point of View
Unit-3 Stephen’s Growth and Personality
Unit-4 Technique
Unit-5 Critical Perspectives: A Brief Selective Overview
Novel- 8 Edward Morgan Forster: A Passage to India
Unit-1 Passage to India
Unit-2 Representations of India (A): Approaches to the Novel
Unit-3 History and A Passage to India
Unit-4 Race Class and Gender in A Passage to India
Unit-5 Representations of India (B): Religions in the Novel
Unit-6 Passages from India
Novel- 9 Muriel Spark: The Prime of Miss Jean Brodies
Unit-2 Representations of India (A): Approaches to the Novel
Unit-3 History and A Passage to India
Unit-4 Race Class and Gender in A Passage to India
Unit-5 Representations of India (B): Religions in the Novel
Unit-6 Passages from India
Novel- 9 Muriel Spark: The Prime of Miss Jean Brodies
Unit-1 The English Novel: Modernism and After
Unit-2 Muriel Spark: Her life, her Works, and the Text
Unit-3 Analysing the Text-1
Unit-4 Analysing the Text-2
Unit-5 The English Novel: 1960s and After
Unit-2 Muriel Spark: Her life, her Works, and the Text
Unit-3 Analysing the Text-1
Unit-4 Analysing the Text-2
Unit-5 The English Novel: 1960s and After
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