FREE IGNOU MEG 012 A SURVEY COURSE IN 20TH CENTURY CANADIAN LITERATURE SOLVED ASSIGNMENT 2024-25

FREE IGNOU MEG 012 A SURVEY COURSE IN 20TH CENTURY CANADIAN LITERATURE SOLVED ASSIGNMENT 2024-25 

1 What are some major concerns that dominate 20th century Canadian Literature? Discuss it critically.

Major Concerns in 20th Century Canadian Literature

The 20th century marked a significant period of cultural and literary development in Canada. Canadian literature evolved from a largely colonial discourse to an expression of distinct national identity. Writers of this era grappled with themes reflecting the country’s unique geography, history, and social conditions. The major concerns dominating Canadian literature during this period can be broadly categorized into the following themes: national identity, the relationship with nature, the exploration of multiculturalism, colonialism and post-colonialism, gender and sexuality, and the complexities of Indigenous representation.

FREE IGNOU MEG 012 A SURVEY COURSE IN 20TH CENTURY CANADIAN LITERATURE SOLVED ASSIGNMENT 2024-25 

1. National Identity

A central concern in 20th-century Canadian literature was the search for a national identity. Canada, emerging from a colonial past under British rule, sought to assert itself as an independent cultural and literary force. Authors like Margaret Atwood, Michael Ondaatje, and Alice Munro explored the tension between Canada’s British colonial legacy and its attempts to define itself as a distinct nation. The question of what it means to be "Canadian" was explored in numerous works, with writers often grappling with issues such as language, regionalism, and the role of English and French in Canadian life.

Atwood's "Surfacing" (1972) and "The Handmaid’s Tale" (1985) delved into the psychological and social complexities of identity. Atwood's works reflected the anxieties and contradictions of a nation trying to understand itself, not only in relation to the British Empire but also in its own multicultural and bilingual context. Ondaatje’s "The English Patient" (1992) and his other works, which often reflect on Canada’s place within the larger global context, further questioned national identity, revealing it to be fragmented, diasporic, and in many ways elusive.

Moreover, the country’s post-World War II immigration policies began to alter the face of Canada, introducing new multicultural concerns into Canadian literature. Writers like Joy Kogawa, in her landmark work "Obasan" (1981), examined the experience of Japanese-Canadians and their struggle for recognition and justice, which was an essential part of the evolving national identity in literature.

2. The Relationship with Nature

Another prevalent concern in Canadian literature is the profound relationship between the people and the vast Canadian landscape. The harsh and often isolating geography of the country, particularly in the expansive wilderness of the North and the prairies, has profoundly shaped Canadian literature. This relationship is often depicted as both a source of beauty and danger, simultaneously liberating and oppressive.

The wilderness has been explored by authors such as Mordecai Richler, whose novels often depict urban settings like Montreal, and Alistair MacLeod, whose "The Lost Salt Gift of Blood" (1976) explores the deep ties to rural landscapes, family, and community. In contrast to the cityscape, the rural or wilderness setting often acts as a space for reflection on Canada’s national soul.

The Romanticization of the Canadian landscape was explored through nature writing, but as modernism took hold in the 20th century, it became an examination of human endurance and frailty against nature’s raw forces. Gwendolyn MacEwen and P.K. Page employed the Canadian landscape as both a metaphor and a literal presence, often considering how the landscape mirrored the internal emotional states of individuals.

3. Multiculturalism and Immigration

The concept of multiculturalism became central to Canadian society in the 20th century, especially after the 1971 government policy on multiculturalism, which sought to recognize and preserve the cultural diversity of Canada’s population. As a result, the representation of different cultures and immigrant experiences became a key concern in Canadian literature.

Writers like Rohinton Mistry, Michael Ondaatje, and Dionne Brand explored the immigrant experience in Canada. Mistry’s "Such a Long Journey" (1991) and Ondaatje’s "In the Skin of a Lion" (1987) reflect on the complexities of belonging, assimilation, and alienation within a multicultural society. These works also address the tensions between the immigrant experience and the dominant Anglo-French heritage of Canada.

Similarly, Neil Bissoondath and Madeleine Thien in their respective works, such as "Selling Illusions" (1994) and "Certainty" (2006), explore the delicate balance between cultural preservation and the pressure to assimilate into a Canadian cultural identity. The diversity of Canada’s population, particularly in urban centers like Toronto and Vancouver, provided a fertile ground for the exploration of multicultural issues within literature.

4. Colonialism and Post-Colonialism

A major theme in Canadian literature during the 20th century was the legacy of colonialism, particularly British colonialism. This is a concern reflected in the writings of authors such as Jean Rhys (though Rhys is a Caribbean author, her post-colonial themes also resonate with Canada’s experience) and Thomas King.

Thomas King’s works, such as "The Inconvenient Indian" (2012), challenge the myths of Canadian identity, especially in terms of how Indigenous peoples are often sidelined in national narratives. King’s satire highlights the post-colonial realities of Canada, particularly the cultural erasure and systemic marginalization of Indigenous peoples.

Furthermore, the post-colonial experience of Quebec, with its struggle for independence and its distinct French identity, is another key issue. Hugh MacLennan, in "Two Solitudes" (1945), reflects on the division between the English and French-speaking populations of Canada and the cultural consequences of that division. His work interrogates the impacts of colonialism in shaping Canada’s complex bilingual and bicultural identity.

5. Gender and Sexuality

As feminist movements gained traction throughout the 20th century, gender and sexuality became central concerns in Canadian literature. Writers began exploring how gender roles were shaped by historical, cultural, and social forces. Margaret Laurence, Ethel Wilson, and Emily Carr challenged traditional gender norms through their characters, often portraying strong, complex women struggling to reconcile personal desires with societal expectations.

Laurence’s "The Diviners" (1974) is a prime example of literature that deals with the intersection of gender, identity, and personal agency in a patriarchal society. It examines how women’s roles are confined by societal structures while also providing a voice for female empowerment. Similarly, Carol Shields’ "The Stone Diaries" (1993) reflects the inner lives of women, questioning the roles of women within the family, and examining the limitations imposed by cultural expectations.

The exploration of sexuality was also prevalent, with works like David McFadden’s poetry, which examines sexual desire and identity, contributing to the conversation about freedom, expression, and the questioning of norms in Canadian culture.

6. Indigenous Representation

A growing concern in 20th-century Canadian literature was the representation and voice of Indigenous peoples. Much of the narrative surrounding Indigenous Canadians had been shaped by colonial history and Eurocentric perspectives. However, in the late 20th century, Indigenous writers began to reclaim their narratives and assert their voices in the literary landscape.

Thomas King and Richard Wagamese are notable Indigenous authors who explored themes of cultural survival, the impact of colonialism, and the importance of reclaiming traditional ways of life. King’s "Green Grass, Running Water" (1993) is an example of a work that intertwines Indigenous mythology and history with contemporary life, critiquing the way mainstream Canadian society treats Indigenous peoples. Wagamese's "Indian Horse" (2012) provides a poignant narrative about residential schools and the trauma inflicted on Indigenous children.

Lee Maracle and Cherie Dimaline have also contributed significantly to Indigenous storytelling, challenging stereotypes and offering fresh perspectives on the challenges faced by Indigenous communities. Maracle’s "I Am Woman" (1988) and Dimaline’s "The Marrow Thieves" (2017) reflect on themes of survival, resilience, and the ongoing fight for Indigenous rights.

Conclusion

The major concerns dominating 20th-century Canadian literature are deeply intertwined with the country’s historical, social, and political realities. Writers used literature to engage with questions of national identity, the relationship with nature, multiculturalism, colonialism, gender, sexuality, and the representation of Indigenous peoples. The 20th century saw Canadian literature emerge as a critical and complex reflection of the nation’s evolving identity, often questioning its own myths and confronting uncomfortable truths. Through their work, Canadian writers continue to challenge cultural, social, and political norms, offering diverse narratives that reflect the multiplicity of experiences within Canada’s borders.

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2. Canadian Professional Theatre gave the Canadians an identity of their own. Do you agree with it? Discuss.

Canadian professional theatre has undeniably played a pivotal role in shaping the national identity of Canada. While Canada has a diverse cultural history, professional theatre has provided a platform through which Canadians could express their unique stories, struggles, and aspirations. By promoting the narratives of various cultural, linguistic, and regional communities, Canadian theatre has offered a means for Canadians to explore, reflect upon, and assert their national identity. I agree that Canadian professional theatre has contributed significantly to the formation of Canadian identity, as it has allowed for the exploration of diverse histories, regional tensions, multiculturalism, and the negotiation of post-colonial identity. This contribution can be examined through various dimensions: the emergence of Canadian voices, the impact of theatre in promoting regionalism, the exploration of multiculturalism, and the shift from British colonial influences to a distinctive national consciousness.

1. The Emergence of Canadian Voices in Theatre

Historically, Canadian theatre was largely shaped by British influences, with plays largely written in English or French and often focusing on European themes or stories. However, as Canadian professional theatre began to mature, there was a marked shift toward the creation of original works that reflected Canadian experiences, contexts, and issues. This shift was essential for the development of a Canadian national identity distinct from its colonial past.

The Group of Seven and Theatre Passe Muraille are among the most significant milestones in this process. Founded in 1966, Theatre Passe Muraille was one of Canada’s first major professional theatres that focused on producing works by Canadian playwrights, encouraging the telling of Canadian stories from the Canadian perspective. This era marked the beginning of a shift in Canadian theatre where Indigenous voices, working-class experiences, and multicultural narratives were brought to the forefront, allowing Canadians to see their own experiences represented on stage. One of the most iconic plays of this movement is "The Ecstasy of Rita Joe" (1967) by George Ryga, which examines the struggles of an Indigenous woman trying to survive in an urban setting. Plays like these gave Canadians the opportunity to confront their own national myths, assumptions, and the realities of their diverse, often marginalized, communities.

The emergence of Michel Tremblay in Quebec during the 1960s also signaled the rising importance of Canadian voices. His work, especially "Les Belles-Sœurs" (1968), explored the lives of working-class women in Quebec, shedding light on the distinct French-Canadian culture and the challenges they faced within a largely Anglophone-dominated Canada. Tremblay’s work reflected a growing sense of Québécois pride, contributing to both the rise of the Quebec independence movement and the redefinition of Canadian identity.

2. Regionalism and the Reflection of Canada’s Geography

Canada’s vast geography has long influenced its theatre, with playwrights and companies working to express the regional diversity of the nation. Unlike many countries that have a dominant cultural or geographic center, Canada’s national identity is inextricably linked to its regional and local identities, often emphasizing the distinctions between urban and rural spaces and the tensions between the country’s various linguistic and cultural groups. Professional theatre in Canada often reflects these regional identities, providing a platform for specific provincial and territorial concerns, and in turn, helping to create a collective identity.

One of the clearest examples of this is David French’s "Salt-Water Moon" (1985), which captures the essence of Newfoundland’s distinct identity and culture. Newfoundland’s unique history as a former British colony and its eventual inclusion in Canada in 1949 are central to understanding the province's place in the national fabric. French’s works reflect the nuances of Newfoundland’s language, mythology, and emotional landscape, offering Canadians a way to understand the relationship between the island and the rest of the country.

In the West, playwrights such as Murray Edwards in "The Lost Girl" (1991) and Sharon Pollock, whose work in "Blood Relations" (1980) explored historical and social tensions, reflect the influence of Alberta’s rugged, industrialized landscape. By exploring themes of isolation, hardship, and self-determination, these plays reflect the way regionalism can foster a sense of identity, both within a community and in the broader Canadian context.

3. Multiculturalism and the Emergence of a Diverse Canadian Identity

Canada’s embrace of multiculturalism in the 1970s also had a profound impact on Canadian theatre, which provided an important forum for exploring the country’s diverse cultural mosaic. Through professional theatre, multiculturalism could be represented on stage, bringing diverse voices and experiences into the national conversation and creating a more inclusive vision of Canadian identity.

Ingrid A. R. M. S. (1972) introduced Canadian audiences to the struggles of racialized communities, while Tariq Malik, in works like "Lahore", dealt with themes of immigration and the challenges of maintaining cultural traditions while adjusting to a Canadian way of life. The contributions of playwrights from various immigrant communities—especially from the Caribbean, South Asia, and Europe—opened the door for Canadian theatre to reflect the complex nature of identity formation in a multicultural society.

In this context, theatre companies such as The Canadian Stage and The Tarragon Theatre in Toronto became important spaces where issues of race, ethnicity, and belonging were critically examined. Plays by Anosh Irani, Nikki Giovanni, and Djanet Sears have explored how immigration, race, and diaspora create a unique Canadian experience. Irani's "The Matka King" (2005) and Sears’ "The Adventures of a Black Girl in Search of God" (1991) investigate the intersection of cultural roots, identity crisis, and the Canadian journey for belonging, further illustrating how professional theatre facilitates dialogue around multiculturalism and national identity.

4. Moving Beyond Colonial Influences and the Quest for Post-Colonial Identity

Canadian professional theatre has also been critical in challenging the colonial narratives that have shaped Canadian history and literature. In the early 20th century, Canadian theatre was largely a reflection of European traditions, often overshadowing the distinct cultural expressions of Indigenous and non-European communities. However, as the 20th century progressed, theatre began to confront these colonial legacies, using the stage as a means of reevaluating and reclaiming history.

The 1960s and 1970s marked a period of decolonization in Canadian theatre. Indigenous playwrights such as Tomson Highway, Margo Kane, and Dora Nipp have made significant contributions to Canadian theatre by challenging the colonial discourse and providing Indigenous perspectives on history, culture, and identity. Highway’s "The Rez Sisters" (1986) and "Dry Lips Oughta Move to Kapuskasing" (1989) represent Indigenous peoples’ struggles with cultural survival, family dynamics, and community pride. These plays represent a shift toward reclaiming Indigenous voices and addressing the legacies of colonialism, offering an alternative vision of Canadian history and identity that includes Indigenous peoples as active agents in shaping the nation.

Conclusion

In conclusion, Canadian professional theatre has been instrumental in the formation of a distinct Canadian identity. Through its exploration of regionalism, multiculturalism, post-colonialism, and Indigenous narratives, theatre has provided a unique platform for diverse voices to emerge and challenge the traditional narratives of Canadian history and culture. The shift from a largely colonial cultural scene to one that celebrates and reflects the diversity of Canadian experiences has been essential in the creation of a more inclusive national identity. As such, Canadian theatre has not only been a means of artistic expression but also a vital space for cultural and political dialogue, helping Canadians negotiate their place in the world. By telling stories that resonate with the diverse experiences of its people, Canadian theatre has unquestionably contributed to a shared sense of identity, fostering a sense of unity and pride across the nation.

3 "The landscape of Canada evokes terror in the literary mindscape ". Do you agree? Give a reasoned answer.

The concept of the Canadian landscape as a space that evokes terror is a fascinating subject for literary exploration. The vast, untamed wilderness of Canada has long been a central feature in its literary tradition, often viewed as both awe-inspiring and frightening. Writers have frequently depicted the Canadian landscape as both a physical and psychological challenge, a space that represents both the beauty and the peril inherent in nature. This duality of the landscape, as both sublime and terrifying, is key to understanding how it functions within Canadian literature.

1. Historical Context of the Canadian Landscape in Literature

Canada's history is deeply entwined with its geography, from the early exploration and colonization by European settlers to the narratives of Indigenous peoples who have long inhabited the land. The first literary representations of the Canadian landscape were largely influenced by the experiences of European explorers and settlers, who encountered a vast and seemingly uninhabitable wilderness. Early works, such as Marguerite de Navarre’s "The Heptameron" (16th century), or Samuel de Champlain’s "Voyages" (1613), framed the landscape as both a source of resources and a formidable challenge to survival.

However, as Canada developed, its landscape increasingly became a symbol of isolation, danger, and an almost existential threat to human survival. The dense forests, expansive tundra, and towering mountains in literature came to represent not only the challenges of colonization but also the terrifying unknowns that awaited those brave enough to confront it. This sense of terror was not merely physical but also psychological. The notion of being lost in an unfamiliar wilderness with no clear path home became a common theme.

2. The Sublime Landscape and Fear of the Unknown

A crucial element in understanding how the Canadian landscape evokes terror in literature is the concept of the sublime. The sublime, as theorized by thinkers like Edmund Burke and Immanuel Kant, describes experiences that are both awe-inspiring and terrifying. The sublime is not merely beautiful but evokes a sense of overwhelming power that can be both exhilarating and frightening.

In Canadian literature, the landscape is often portrayed as sublime, where the beauty of nature is juxtaposed with its inherent dangers. In works by Margaret Atwood, such as her novel "Surfacing", the wilderness is portrayed as a space of profound beauty that is simultaneously menacing and alien. The character of the narrator embarks on a journey of self-discovery that is marked by encounters with a wild, untamed landscape. Atwood’s writing draws attention to how the land shapes the identity of her characters, not only providing sustenance but also demanding a submission to its power.

The Canadian Shield, the Rocky Mountains, and the vast tundra are often depicted as spaces of danger and isolation. They are portrayed as forces that do not care for human life or ambition. For instance, in Alistair MacLeod’s "No Great Mischief", the rugged landscapes of Nova Scotia play a significant role in reflecting the struggles and sacrifices of the protagonist's family. The land is as much a character in the story as any person, shaping the fates of those who live on it.

This overwhelming presence of nature, where humanity is at the mercy of forces far beyond their control, mirrors the psychological terror that many writers associate with the Canadian wilderness. Whether through the struggle to survive in a hostile environment or through a more existential recognition of one’s insignificance in the face of nature’s vastness, the landscape is often an obstacle that forces characters to confront their own fears.

3. The Representation of Nature as Hostile and Unforgiving

In Canadian literature, nature is frequently portrayed as a hostile force that poses a constant threat to human survival. This theme is prevalent in works by Jack London, especially in his short stories like "To Build a Fire", which depict nature as indifferent to human struggles. London’s stories often feature protagonists who venture into the wild only to be overpowered by the forces of nature. Although London’s works are primarily set in the Yukon, they still tap into broader themes that resonate with Canada’s literary tradition, where nature is often seen as an antagonistic force.

This representation of nature as hostile and unforgiving also emerges in the works of W.O. Mitchell, whose novel "Who Has Seen the Wind" captures the isolation and desolation of the Saskatchewan prairie. The endless flatness of the land becomes an image of despair, where the landscape itself symbolizes the emptiness and struggle of rural life. The fear that permeates these narratives is not simply of physical harm, but also a terror of being consumed by the vast, seemingly endless land that provides no refuge.

Similarly, Farley Mowat’s works, such as "Never Cry Wolf", which documents his time studying wolves in the Arctic, highlight the harsh and sometimes deadly aspects of nature. Mowat’s portrayal of the north emphasizes both the beauty and the brutal power of the landscape, reinforcing the notion that nature does not simply exist for human benefit—it is indifferent, and often violent.

4. Indigenous Perspectives on the Landscape

In contrast to the European settler perspective, many Indigenous literatures present the Canadian landscape not as something to be feared but as a living, spiritual force. Indigenous stories often depict a harmonious relationship between humans and nature, where the land is both nurturing and sacred. However, these narratives also convey a deep respect for the power of nature, acknowledging that the land has the capacity to be dangerous if one is not attuned to its rhythms.

In the works of Indigenous authors like Thomas King and Richard Wagamese, nature is portrayed as a force to be respected, but it is not stripped of its potential to evoke fear. For example, in King’s "Green Grass, Running Water", the land is a central character that is both nurturing and powerful. The characters in King’s novel are constantly reminded of the ways in which they must live in balance with nature, or face the consequences of imbalance.

Wagamese’s "Indian Horse" also deals with the psychological and physical terror of the land in a different context. The protagonist, Saul Indian Horse, is haunted by the experiences of his youth, which are deeply connected to the land. His emotional and spiritual recovery is intertwined with his connection to the wilderness, suggesting that while the land can be a source of terror, it can also provide redemption and healing when approached with respect.

5. Urban vs. Rural Landscapes: Fear of the Unknown in Modern Canada

While much of Canadian literature focuses on the rural wilderness, urban landscapes have also become spaces that evoke terror, albeit in different ways. The contrast between the rural wilderness and the urban environment highlights the complexities of Canadian identity in the modern age. In the cities, the terror is often psychological, dealing with issues of alienation, anonymity, and the loss of connection to nature.

In works like Atwood’s "The Handmaid’s Tale" and Douglas Coupland’s "Generation X", the urban environment becomes a site of dystopian terror, where technological control and social fragmentation replace the physical danger of the wilderness. In these works, the terror of the landscape is not from the natural world but from the human-created spaces that strip individuals of their agency and humanity. In this sense, the landscape still plays a crucial role in shaping Canadian literature—it is just that the terror it evokes has evolved with the times.

Conclusion

The landscape of Canada has long served as a central motif in the country’s literary tradition, evoking terror both physically and psychologically. From the harsh, unforgiving wilderness to the psychological isolation of the urban environment, nature is often portrayed as an antagonistic force, reminding characters of their fragility and the insignificance of human life in the face of natural power. While nature is sometimes depicted as beautiful and sublime, it is always a source of tension, highlighting the vulnerability of human existence.

However, this terror is not one-dimensional. It speaks not only to the physical dangers posed by the land but also to a deeper, existential fear of the unknown. Whether through the alienating vastness of the wilderness or the psychological impact of modern urban landscapes, the terror evoked by the Canadian landscape is a key element in understanding the nation’s literary tradition and the fears and anxieties that continue to shape Canadian identity.

Ultimately, the landscape in Canadian literature is both a reflection of national identity and a tool for exploring the complex, often fearful relationship between humans and their environment. It serves as a reminder that while Canada is a land of beauty, it is also a land of peril, and the terror that this evokes is as much psychological as it is physical.

4 Comment on the central spirit of Canadian poetry.

Canadian poetry, with its rich and diverse landscape, reflects the country's complex history, multicultural fabric, and unique sense of identity. The central spirit of Canadian poetry is shaped by the vastness of its geography, the struggles of its people, and the profound relationships between the land and its inhabitants. From the early days of settlement to the contemporary era, Canadian poetry has served as a means of grappling with national identity, individual experience, and collective memory.

1. Historical Roots and Colonial Influence

Canadian poetry’s central spirit can be traced back to its colonial origins, where early poets focused on themes of settlement, survival, and the connection to the land. In the 19th century, Canada was still a young nation, and much of its poetry revolved around colonial themes. Charles G.D. Roberts, often referred to as the father of Canadian poetry, is one of the first figures to capture the country's natural landscape through verse. His poems, such as "The Piper of Arll," draw on nature imagery while establishing a connection between the land and the Canadian identity.

However, it was the Confederation poets, such as Duncan Campbell Scott and William Wilfred Campbell, who began to explore more explicitly the relationship between the emerging Canadian identity and the landscape. These poets often drew inspiration from the landscape of the Canadian wilderness and sought to articulate the experiences of settlers forging new lives in a land that was both awe-inspiring and alien.

A central motif in early Canadian poetry is the struggle for survival in a land that is both vast and untamed. The Canadian wilderness was often portrayed as a site of terror and awe, and the poets sought to reflect on humanity’s struggle to make sense of this overwhelming, often harsh environment.

2. Connection to the Land and Nature

One of the most important elements that form the spirit of Canadian poetry is its deep connection to the land. The natural world in Canadian poetry is not merely a backdrop; it is a central character in the nation’s literary landscape. This connection to nature is intricately tied to the concept of "place," which defines much of Canadian poetics. The wilderness, forests, rivers, and rugged terrain are often imbued with symbolic meaning. The land is seen not only as a physical space but also as a space that shapes human identity, culture, and experience.

For example, Archibald Lampman, one of Canada’s most celebrated poets, was deeply influenced by his surroundings. In works like "The Shores of Lac Saint-Pierre," Lampman evokes the power of nature and the vastness of the Canadian landscape. His poetry reflects a romanticized vision of the land, yet it also hints at the sense of isolation that often comes with living in such a vast and untouched space. This theme of isolation, paired with reverence for nature, resonates throughout much of Canadian poetry.

In contrast to other national literatures, Canadian poetry is often characterized by its focus on the Canadian landscape as an intrinsic part of the national identity. It serves as a reflection of both the physical and psychological spaces of Canada. Nature, particularly the wilderness, becomes a central element of Canadian poetic discourse, evoking feelings of awe, fear, and humility.

3. Identity and Multiculturalism

The spirit of Canadian poetry has evolved over time to reflect the multicultural nature of the country. As Canada became a more diverse society, with waves of immigration contributing to its cultural tapestry, Canadian poets began to explore themes of identity, belonging, and cultural intersection. The voices of Indigenous peoples, immigrants, and ethnic minorities became increasingly prominent in Canadian poetry, adding new layers of complexity to the country's poetic discourse.

Margaret Atwood, one of Canada's most famous contemporary poets, engages with these themes in her work, often exploring the tension between individual and collective identity. Atwood's poetry, especially in collections like "The Circle Game" and "Power Politics," examines the power dynamics between individuals and the land, but also reflects on the national struggles for identity. Atwood's vision of Canada is multifaceted, influenced by colonial history, environmental consciousness, gender dynamics, and the search for selfhood within a complex society.

Similarly, Dennis Lee, in his collection "Civil Elegies," examines the interplay between identity and the urban environment, highlighting the often alienating experience of living in modern Canadian cities. His poetry addresses the fragmentation of the Canadian experience, reflecting the difficulty of reconciling the various threads of identity in a multicultural society.

Another important aspect of Canadian poetry’s evolving spirit is its exploration of Indigenous voices. Indigenous poets such as Jordan Abel and Ruby Moon-Houlding reflect on the colonial past and its impact on Indigenous peoples while also asserting a new, contemporary voice for Indigenous cultures. This engagement with post-colonialism, trauma, and resilience adds another layer of complexity to the Canadian poetic tradition, positioning it as a space where diverse voices, experiences, and histories can be voiced and explored.

4. Existential Themes and Individualism

Canadian poetry also grapples with the existential themes of isolation, survival, and the search for meaning. Much of this exploration is deeply rooted in the Canadian experience, where poets frequently reflect on the challenges of existence in an environment that can be both expansive and barren. The vastness of Canada—its remote communities, its harsh winters, and its often impersonal landscapes—reflects the existential isolation felt by many of its inhabitants.

Poets like Leonard Cohen and E.J. Pratt reflect these themes in their works. Cohen’s poetry often focuses on the internal struggles of the individual, the search for meaning in a world marked by uncertainty. His early collections, such as "The Spice-Box of Earth," combine existential questions with themes of love, loss, and spiritual searching. Similarly, E.J. Pratt’s work is often concerned with the tension between human ambition and the overwhelming forces of nature. His poem "The Titanic" explores the themes of fate, hubris, and human fragility in the face of nature’s enormity.

This existential concern is also evident in the work of A.J.M. Smith, whose poetry frequently contemplates the fragility of human existence in relation to the natural world. In poems like "The Lonely Land," Smith reflects on the alienation and isolation of the Canadian experience, underscoring the sense of vulnerability in the face of the vast and unpredictable Canadian landscape.

5. Influence of Modernism and Innovation

The 20th century marked a significant shift in Canadian poetry, as poets began to experiment with form, language, and imagery. The influence of modernist poets like T.S. Eliot and Ezra Pound is evident in the works of Canadian poets, who began to challenge traditional poetic structures and engage with the fragmented nature of modern existence. Poets such as P.K. Page and Robert Kroetsch experimented with language and form to express the complexities of Canadian life.

P.K. Page, in particular, was influential in shaping the modernist movement in Canada. Her work often reflects a blend of personal experience, historical awareness, and an acute sensitivity to the Canadian landscape. Poems like "The Stenographer" and "The Cold Green Element" reveal her deep engagement with the challenges of modern life, both personal and collective, while maintaining a distinct Canadian sensibility that emphasizes the relationship between the individual and the environment.

Similarly, Robert Kroetsch’s work, especially in "The Ledger" and "The Words of My Roaring," blends elements of myth, history, and contemporary life, creating a distinctly Canadian poetics that is playful, experimental, and deeply attuned to the complexities of the modern world. Kroetsch’s poetry often reflects the tension between historical memory and the rapidly changing social landscape, capturing the challenges of constructing a coherent Canadian identity.

6. The Role of Canadian Poetry in National Identity

The spirit of Canadian poetry is intricately tied to the development of Canadian national identity. As Canada emerged as a self-defining nation, poetry served as a medium through which questions of identity, culture, and history were explored. From the early colonial days to the present, Canadian poets have played a crucial role in shaping the way Canadians understand their relationship to their land, to each other, and to the world.

Poetry has also been a space for grappling with the tensions between English and French Canada, between Indigenous and settler narratives, and between the local and the global. The multiplicity of voices in Canadian poetry reflects the country’s diversity, while its focus on the land and environment underscores a shared national experience that transcends cultural boundaries.

Conclusion

The central spirit of Canadian poetry lies in its profound engagement with the Canadian landscape, history, and identity. It is a poetry of survival, struggle, and connection to the land. It is also a poetry of existential inquiry, multiculturalism, and post-colonial reflection. Canadian poets have continually explored themes of isolation, identity, and the tension between the individual and the collective, while engaging with the vast, beautiful, and often terrifying landscape that defines the nation.

Through its focus on the relationship between humans and their environment, Canadian poetry has provided a space for reflection, understanding, and growth. As the country continues to evolve, so too will its poetic voice, which will undoubtedly continue to shape and reflect the Canadian experience for generations to come.

5 What are the major themes running in the novel Surfacing?

6 Discuss the portrayal of ordinary people and their essential humanity in The Tin Flute.

7 Trace the character sketch of kip in The English patient.

8 Rita is a victim of social injustice. Justify this statement with reference to the play The Ecstasy of Rita Joe.

9. Describe the Indian immigrant's experience in Canada found in "Swimming Lessons" and "The Door I Shut Behind Me".

10 Assess the contribution of Robert Kroetsch towards post-modern criticism in Canada

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1. Read the detailed instructions about the assignment given in the Handbook and Programme Guide.

2. Write your enrolment number, name, full address and date on the top right corner of the first page of your response sheet(s).

3. Write the course title, assignment number and the name of the study centre you are attached to in the centre of the first page of your response sheet(s).

4. Use only foolscap size paper for your response and tag all the pages carefully

5. Write the relevant question number with each answer.

6. You should write in your own handwriting.

GUIDELINES FOR IGNOU Assignments 2024-25

MEG 02 A SURVEY COURSE IN 20TH CENTURY CANADIAN LITERATURE  Solved Assignment 2024-25 You will find it useful to keep the following points in mind:

1. Planning: Read the questions carefully. Go through the units on which they are based. Make some points regarding each question and then rearrange these in a logical order. And please write the answers in your own words. Do not reproduce passages from the units.

2. Organisation: Be a little more selective and analytic before drawing up a rough outline of your answer. In an essay-type question, give adequate attention to your introduction and conclusion. The introduction must offer your brief interpretation of the question and how you propose to develop it. The conclusion must summarise your response to the question. In the course of your answer, you may like to make references to other texts or critics as this will add some depth to your analysis.

3. Presentation: Once you are satisfied with your answers, you can write down the final version for submission, writing each answer neatly and underlining the points you wish to emphasize.

IGNOU Assignment Front Page

The top of the first page of your response sheet should look like this: Get IGNOU Assignment Front page through. And Attach on front page of your assignment. Students need to compulsory attach the front page in at the beginning of their handwritten assignment.

ENROLMENT NO: …………………………

NAME: …………………………………………

ADDRESS: ………………………………………

COURSE TITLE: ………………………………

ASSIGNMENT NO: …………………………

STUDY CENTRE: ……………………………

DATE: ……………………………………………

MEG 012 A SURVEY COURSE IN 20TH CENTURY CANADIAN LITERATURE  Handwritten Assignment 2024-25

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Free IGNOU MEG-01 Important Questions 2025 Download PDF

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