Thursday, August 15, 2019

MEG 3 IGNOU | BRITISH NOVEL | M.A ENGLISH


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.
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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-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-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-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-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-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
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-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-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
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