FREE IGNOU MEG 07 INDIAN ENGLISH LITERATURE SOLVED ASSIGNMENT 2024-25
1.
Write short notes on:
a. Basic Elements of a short story.
1. Plot
2. Character
3. Setting
4. Conflict
5. Theme
Let’s
take a closer look at these elements and figure out how you should use them in
a short story.
Five
key elements of a short story
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| FREE IGNOU MEG 07 INDIAN ENGLISH LITERATURE SOLVED ASSIGNMENT 2024-25 |
1.
Plot
A simple way to define a
plot is to call it a sequence of events in your narrative. It is a
cause-and-effect chain of events with a beginning point, a climax, and a
resolution. A strong plot means you have a captivating narrative ready to
enthrall your audience.
Writers use
the plot to map their stories before beginning their writing process.
For fiction writing, this serves as a creative outline. So, understanding the
plot is crucial to crafting a compelling narrative and making it impactful.
The sequence of events in
a plot is tied to the central conflict in a story. The plot develops as the
protagonist struggles with their given problem, finds a solution, and accepts
the results eventually.
Six
succinct stages of a plot
1. Exposition: An
introduction to the characters, setting, and conflict, providing all the
necessary background information of a story.
2. Opening
incident: This is the incident that leads the main character to
conflict and sets the stage for or opens the plot.
3. Rising
action: The conflict develops and brings newer and more complicated
incidents, leading to the climax.
4. Climax: The
conflict reaches a peak, which then leads to a change in the course of events,
giving the reader a new understanding of the story either through an event or
an insight.
5. Falling
action: The conflict gets resolved and the action slows down.
6. Resolution: The
conflict ends, leaving the reader fulfilled.
2.
Character
Your characters are the
people, animals, or other figures who appear in your stories. They perform
actions and say dialogue to move the story along. A story cannot be told
without characters.
Writing
characters for short stories
Be careful that you don’t
put too much emphasis on character traits and backstory. Unlike novels,
characters in a short story are only glimpsed at, rather than seen in the
round.
You may say that
characteristics of a short story are abbreviated versions of the same in
novels. So, short stories will feature only two or three major characters,
while novels can boast a dozen!
Short stories can be
great character studies, but a good rule of thumb is to focus
on dialogue and action.
3.
Setting
Ever felt transported to
another world while reading a short story? That’s the work of a writer who can
imagine and write a whole other world into being.
This element of a short
story is crucial in making it real to the
reader. The setting establishes a time, place, and environment
in which the characters and events of the story are based.
Aspects
of setting:
1. Time: A story is
usually set in a time period. This includes the historical time of the story,
its specific time frame, and even the time of the day when the events take
place.
2. Place: Place is
the geographical landscape, real or imaginary, where a particular story
unfolds.
3. Environment: The
environment of a story can include anything from weather conditions to the
social, cultural, and political backdrop to a given story
4. Conflict
Conflict is closely
linked to the theme of a narrative, as it motivates the characters and affects
the plot. It usually surfaces when the protagonist (main character)
faces an obstacle or hardship. Conflict forms “the heartbeat of a story”,
so your story needs to have a defining conflict to impact the
reader’s mind.
Types
of conflict
1. Internal
conflict is a person’s struggle with themselves. It takes place inside the
psyche of a character, such as Hamlet’s conflicted state of mind about how to
take revenge for his father’s murder.
2. External
conflict takes place between different people or groups of people. It is
possible to further divide this type of conflict based on who or what the
protagonist(s) are struggling against. For example, the conflict in A Game
of Thrones is between kingdoms, but also between people and the
supernatural elements of the fantasy world.
Regardless of the type of
conflict you choose, making it believable will hold the reader’s attention.
Various literary devices like mystery, causality, empathy, surprise, insight,
universality, or simply high stakes for the character, all add a different
dimension of conflict to the plot. Conflict drives your story and makes it
interesting.
5.
Theme
A theme is what children
would call the moral of the story. It can be the subject of the story, an idea
that runs through it, or simply the message that is conveyed from the writer to
the reader through the short story. The writer can use all the other
characteristics of a short story to best articulate their theme into words.
A well-told story, the
kind that gets published or made into a film, explains itself. For example,
while reading O. Henry’s short story The Gift of the Magi, you can easily
understand that the story is about the value of love and sacrifice. In this
way, the theme is implied rather than stated explicitly, and it is up
to the writer’s skill to best convey it through their writing.
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b. Narrative techniques employed by Mulk Raj Anand in his novel
UNTOUCHABLE.
In Mulk Raj Anand's novel
Untouchable, the narrative techniques employed play a significant role in
conveying the emotional and social struggles of the protagonist, Bakha, a young
boy from the "untouchable" caste. Anand uses a combination of
literary devices and techniques to create an immersive narrative that reflects
the harsh realities of caste discrimination in pre-independence India. Below is
a comprehensive breakdown of these techniques:
1. Stream of Consciousness
One
of the most prominent narrative techniques used by Anand is the stream of
consciousness. Through this technique, the novel captures Bakha's inner
thoughts, emotions, and reflections. This allows the reader to delve deeply
into his psyche and understand the constant turmoil that the character faces
due to his caste identity. Anand’s use of the stream of consciousness also
emphasizes Bakha’s inability to escape his social position. The erratic flow of
thoughts mirrors the confusion and mental struggles that Bakha endures
throughout the novel, making his personal and emotional world tangible to the
reader.
For instance, in moments of stress or oppression, Bakha’s thoughts pour out in rapid sequences, reflecting his inability to control his emotions or fully process the events around him. This technique enhances the reader’s empathy for Bakha and invites them to experience his inner world in real-time.
2. Realism and Naturalism
Anand
employs a realistic narrative style, deeply rooted in the socio-economic and
cultural realities of the time. Through vivid descriptions of Bakha's daily
life, the harsh treatment he endures, and the oppressive caste system, the
author presents a clear picture of the social environment. The portrayal of the
physical environment, such as the filth of the streets, the untouchables'
homes, and the temple where Bakha works, serves as a metaphor for the mental
and emotional degradation caused by caste-based discrimination.
Furthermore,
Anand’s approach to realism is closely tied to naturalism, where the
environment and social conditions seem to determine the characters' actions and
behavior. Bakha’s fate, for example, is not entirely in his hands but is shaped
by the systemic oppression imposed on him due to his caste. This deterministic
worldview is seen as a reflection of the naturalistic style, which focuses on
the influence of social and environmental factors on human behavior.
3. Narrative Voice and Third-Person Limited Perspective
Anand
adopts a third-person limited narrative perspective in Untouchable,
where the narrator has access to Bakha’s thoughts and feelings but does not
have the omniscient viewpoint. The narrator can describe events and
interactions from the external perspective, but the primary focus remains on
Bakha. This narrative choice ensures that the reader stays connected to Bakha’s
subjective experience, which is central to the novel’s emotional impact.
The third-person limited perspective allows the reader to gain insight into Bakha’s internal world, especially in moments of deep distress or revelation. By focusing on Bakha’s thoughts and feelings, the narrator helps the reader understand how the protagonist processes his experiences in a world where he is marginalized and oppressed.
4. Dialogue and Vernacular Language
The
use of dialogue and vernacular language in Untouchable is another key
narrative technique that helps to ground the novel in its setting. Anand
incorporates dialogue that reflects the social dynamics of the time,
particularly the interactions between the untouchables and the higher castes.
The use of colloquial language also serves to illustrate the stark social
divide, as Bakha and his fellow untouchables speak in a different linguistic
register than the upper-caste characters.
For
example, Bakha’s interactions with his father, his sister, and the people in the
community are written in a conversational style that gives a sense of realism
to the characters’ everyday lives. Anand's use of vernacular language
emphasizes the cultural and educational gap between the different caste groups
and the consequent lack of agency experienced by the untouchables.
5. Symbolism
Anand
utilizes symbolism throughout Untouchable to underscore the themes of
oppression, purity, and social segregation. Bakha’s role as a sweeper, cleaning
the streets and latrines, symbolizes his position as the lowest member of
society, someone who is forced to live with the filth of the world around him.
This imagery of cleanliness versus uncleanliness runs throughout the narrative
and highlights the moral and social corruption of the caste system.
The
recurring image of Bakha’s desire for a modern, western-style life, symbolized
by his fascination with a white man’s clothes and the possibility of a better
life, contrasts with the pervasive dirtiness of his existence. This desire for
transcendence is ultimately a tragic one, as Bakha is unable to escape his
social role due to the rigid caste boundaries
6. Flashbacks and Memory
Flashbacks
play a crucial role in revealing Bakha’s past experiences and the historical
context in which he lives. These memories not only offer insight into Bakha’s
family history but also highlight the social realities that have shaped his
current predicament. Anand uses these flashbacks to gradually unveil Bakha’s
emotional state and the influence of family, religion, and society on his
identity.
For
instance, Bakha's memory of his mother's death and his recollections of
childhood are linked to his present suffering. These moments of reflection also
serve to underline the hopelessness that characterizes his life, as Bakha is unable
to break free from his past and is constantly reminded of the injustices he has
faced.
7. Psychological Realism
Anand’s
exploration of psychological realism is evident in the portrayal of Bakha’s
internal struggle and his search for dignity. The psychological depth given to
Bakha’s character allows the reader to understand the complexity of his
thoughts and feelings. Anand does not present Bakha as a mere victim of caste
but also as a complex character grappling with his identity, desires, and aspirations.
Bakha's
psychological journey involves a conflict between his awareness of his own
worth and the degrading treatment he receives from society. His self-worth is
constantly undermined by the oppressive system, but he also experiences moments
of resistance, particularly when he questions the unfairness of the caste
system. Through this, Anand emphasizes the psychological toll of being an
untouchable and the trauma it causes.
8. Social Criticism and Moral Ambiguity
The
novel serves as a sharp critique of the social and religious systems that
perpetuate the caste hierarchy. Anand does not offer simple resolutions or
clear-cut moral judgments; instead, he paints a picture of a deeply flawed
society. The characters in the novel, such as the high-caste men who mistreat
Bakha and other untouchables, are shown to be morally ambiguous. They are
products of a system that has taught them to uphold caste-based inequality, and
Anand presents them not as outright villains but as individuals caught in a
larger social web.
This
moral ambiguity is particularly evident in the portrayal of the religious
leaders, who, despite their supposed spiritual purity, are shown to be
complicit in the degradation of the untouchables. Anand uses these
contradictions to highlight the pervasive nature of caste discrimination, which
is ingrained in every facet of society.
Conclusion
Mulk
Raj Anand’s narrative techniques in Untouchable are essential in
conveying the novel’s central themes of social injustice, caste discrimination,
and the psychological toll of oppression. By using stream of consciousness,
realism, symbolism, and psychological realism, Anand creates a powerful and
empathetic portrayal of Bakha’s struggle. These techniques, combined with a
third-person limited narrative voice and vivid dialogue, ensure that the reader
becomes deeply involved in the protagonist's emotional journey, making Untouchable
a poignant and timeless critique of caste-based inequality.
c. Concept of myth and symbolisin as integral parts of Raja
Rao’s fictional art in Kanthapura.
In
Raja Rao’s Kanthapura, the concepts of myth and symbolism are integral
to the fabric of the novel, shaping its narrative structure, thematic concerns,
and its portrayal of Indian rural life under colonial rule. Kanthapura,
published in 1938, is not merely a social and political novel about India’s
struggle for independence, but also a deeply symbolic exploration of Indian
tradition, spirituality, and identity. Through the lens of myth and symbolism,
Rao presents a compelling narrative that intertwines the spiritual and the
political, the traditional and the modern, the historical and the fictional.
These two elements—myth and symbolism—serve as the core around which Rao
constructs his fictional art, making them essential to understanding the depth
and complexity of Kanthapura.
1. Myth and the Shaping of Indian Identity
Raja
Rao’s use of myth in Kanthapura is central to the portrayal of India’s
fight for independence and the identity of its people. The novel is suffused
with the spirit of Indian mythology, particularly through the myth of the
goddess, the hero figure, and the cyclic nature of history. The villagers of
Kanthapura live in a world where myths and stories from the past are not merely
old tales but living truths that shape their understanding of the present and
guide their actions.
1.1. The Role of the Goddess and Divine Intervention
One
of the most significant mythological elements in the novel is the role of the
goddess. The village of Kanthapura is shown as a place where mythology and
spirituality are deeply embedded in the everyday lives of its inhabitants. The
presence of the goddess, in particular, is invoked during times of crisis.
Moorthy, the protagonist, is often associated with the divine, and his actions are
seen as manifestations of spiritual intervention. The villagers believe that
Moorthy’s work and struggles are divinely inspired, much like the heroes of
mythology, such as Rama or Krishna, who are seen as divine instruments fighting
for justice.
This
sense of divine presence and guidance is symbolized by the recurring references
to religious rituals, prayers, and the invoking of gods. Rao uses the mythology
surrounding the goddess to reflect on the larger struggle of India against
colonial oppression, where the fight for freedom is intertwined with spiritual
awakening and divine purpose. The mythic narrative in Kanthapura is not
just an escapist ideal; it is an empowering tool that gives the characters a
sense of higher purpose in their political and social actions.
1.2. The Heroic Cycle: Moorthy as the Modern-Day Hero
In
Kanthapura, Moorthy emerges as a hero whose life follows the classic
cycle of mythic heroes. Like many mythological heroes who rise to confront
injustice, Moorthy becomes a catalyst for change in the village. His journey
reflects the archetypal quest of the hero in myth: he leaves the comfort of his
family, challenges the status quo, and ultimately leads the people in their
struggle against colonial rule. Moorthy’s journey is not just physical but also
spiritual, reflecting the process of enlightenment that is a hallmark of many
Indian myths. His mission is to awaken his people to the idea of non-violent
resistance inspired by Mahatma Gandhi.
Rao
blends the narrative of India’s political awakening with the timeless structure
of the mythic hero’s journey. Moorthy’s transformation into a leader mirrors
the spiritual and moral growth that is seen in the heroes of traditional
mythology. His internal conflict, his confrontation with colonial powers, and
his eventual martyrdom reflect the mythic ideal of sacrifice for the greater
good.
2. Symbolism in Kanthapura
Raja
Rao’s Kanthapura is also a novel rich in symbolism. Symbols serve as
powerful vehicles for conveying the novel’s themes of resistance, spirituality,
and social change. Through various symbols, Rao weaves together the individual
and collective struggles of the villagers, their spiritual beliefs, and the
larger political awakening that is occurring in India.
2.1. The Village as a Microcosm of India
The
village of Kanthapura itself serves as a symbol in the novel. It represents the
traditional Indian society, with its entrenched caste divisions, superstition,
and adherence to old customs. The arrival of Moorthy, with his Gandhian ideals,
signals the entry of new ideas that challenge these old structures. Kanthapura
thus becomes a microcosm of the larger Indian society, where the clash between
tradition and modernity is playing out on a broader scale. As the novel
progresses, the transformation of Kanthapura—from a place dominated by old
beliefs and colonial subjugation to one where the villagers stand up for their
rights—symbolizes the awakening of India as a whole.
2.2. The River and the Flow of History
The
river in Kanthapura serves as another potent symbol. In Indian
mythology, rivers are often seen as symbols of life, purification, and
continuity. In Kanthapura, the river symbolizes both the flow of history
and the cleansing of society. Just as the river flows without interruption, so
too does the political struggle for freedom continue, inexorable and
unstoppable. The river also serves as a symbol of Moorthy’s journey. As he
leads the villagers in their fight against colonialism, he cleanses the village
of its caste divisions, social injustices, and colonial domination, much like
the river purifies the land it flows through.
2.3. The Symbol of the Tree
The
banyan tree in Kanthapura stands as a symbol of unity, life, and
endurance. It is a central meeting point for the villagers, where they gather
to discuss their issues and share stories. The banyan tree also symbolizes the
resilience of the Indian spirit. Just as the tree stands firm and provides
shelter, the people of Kanthapura, through their collective resistance, stand
firm in their fight for freedom. The banyan tree also embodies the deep roots
of Indian tradition, which, despite the colonial oppression and the push for
modernization, remain strong and resistant to destruction.
2.4. The Khadi Cloth
Khadi,
the handspun cloth that became a symbol of the Indian independence movement, is
also symbolic in Kanthapura. The villagers’ adoption of khadi symbolizes
their rejection of British goods and their embrace of self-reliance and
self-respect. The act of spinning khadi becomes a symbol of personal and
political empowerment, of a break from colonial domination and a return to
indigenous practices. It represents the villagers’ reclaiming of their autonomy
and their resistance to the cultural imperialism imposed by the British.
2.5. The Dalits as a Symbol of the Marginalized
The
Dalit characters in Kanthapura, who are often subjected to
untouchability and oppression, represent the marginalized sections of Indian
society. Through their struggles, Rao highlights the social injustices that
plague traditional Indian society. The Dalits’ struggle is both a personal and
collective one, as they fight against the religious and social norms that keep
them subjugated. Their eventual participation in the freedom struggle mirrors
the broader theme of social reform, where the oppressed rise to demand their
rightful place in society.
3. The Interplay of Myth and Symbolism in Political
Awakening
The
blending of myth and symbolism in Kanthapura also serves to elevate the
political narrative, transforming the village’s struggle for independence into
a spiritual and mythical battle. The villagers are not merely fighting for
political freedom; they are engaged in a larger, cosmic struggle for justice,
truth, and self-realization. The myths of old, which were once used to explain
the divine, are now invoked to explain the political awakening of the people.
The novel suggests that the fight for independence is not just a political act
but a spiritual journey, a way to restore balance and justice to a society that
has been fractured by centuries of oppression.
In
this sense, the use of myth and symbolism creates a sense of continuity between
the past and the present. The freedom struggle is portrayed as a continuation
of the ancient struggles of Indian heroes, now reinterpreted in the context of
colonialism and the quest for self-rule. The myths of old provide a moral
framework for the modern struggle, and the symbols serve to anchor the novel in
a deep cultural and spiritual history that transcends time.
Conclusion
In
Kanthapura, Raja Rao’s use of myth and symbolism is not just a stylistic
choice but a deep and integral part of the novel’s fictional art. These
elements allow him to connect the personal, social, and political dimensions of
the novel with broader spiritual and mythological narratives. Through the
symbols of the village, the river, the tree, and khadi, as well as the mythic
cycle of the hero, Rao creates a narrative that is both specific to the
historical moment of Indian independence and universal in its exploration of
human struggles for justice, dignity, and self-realization. Myth and symbolism
in Kanthapura provide a rich and powerful framework for understanding
the novel’s themes of resistance, identity, and transformation.
d. The Political Dimensions of Clear Light of Day.
In
Clear Light of Day by Anita Desai, the political dimensions of the novel
are intricately woven into the personal and familial narratives. While the
story primarily focuses on the lives of the Das family, the novel also reflects
the larger political and social upheavals that shaped India during the
pre-independence and post-independence eras. Desai subtly intertwines political
themes with the characters' emotional and psychological journeys, showcasing
how politics and history impact personal identities, relationships, and the
dynamics within families.
1. The Partition of India
The
novel is set against the backdrop of the Partition of India in 1947, a defining
political event that shaped the nation's history. The Partition not only marks
the division of India into India and Pakistan but also symbolizes the emotional
and psychological scars left on the characters. The Das family, particularly
the relationships between Bimla and her siblings, is marked by the legacy of
the Partition. The trauma of separation, loss, and the shifting of boundaries
resonate throughout their lives. The rift between Bimla and her brother Raja,
who is deeply involved in the nationalist movement, mirrors the larger
divisions in the country during and after Partition.
2. Nationalism and Political Engagement
Raja,
one of the central characters, becomes involved in the nationalist movement,
representing the larger political struggle for independence. His enthusiasm for
the freedom struggle contrasts with the more personal and domestic concerns of
his sisters, Bimla and Tara. Raja's political awakening, however, leads to a
personal conflict as his involvement in the movement alienates him from his family.
His idealism and belief in the power of political change are tempered by
personal disillusionment, particularly after the Partition. This tension
between political ideals and personal relationships reflects the challenges
faced by individuals caught in the larger historical and political processes of
the time.
3. Post-Independence Political Landscape
Desai
also explores the post-independence political landscape, especially in the
context of the characters’ lives in the newly independent India. The novel
illustrates the disillusionment and confusion that many individuals felt after
India’s independence. For Bimla, the political changes do not bring the
expected sense of liberation or fulfillment. Instead, she faces the collapse of
her family, the breakdown of personal relationships, and the fading of the
nationalist ideals that once motivated Raja. The novel reflects how political
changes, like independence and Partition, often fail to address the personal
and emotional crises faced by individuals.
4. Political Alienation and Personal Trauma
In
the novel, the alienation and trauma experienced by the characters are symbolic
of the broader societal alienation in post-colonial India. Bimla’s isolation in
the family and her lack of emotional connection with her siblings can be seen
as a microcosm of the emotional and political alienation that many individuals
faced in the aftermath of independence. The country’s political changes and the
ruptures created by the Partition left deep emotional scars on individuals and
families, which are explored through the novel’s central characters.
2. Discuss Midnight’s Children as postcolonial novel.
Salman
Rushdie’s Midnight’s Children (1981) is a seminal work of postcolonial
literature, blending historical, political, and cultural themes with the
personal experiences of its protagonist, Saleem Sinai. The novel is not only a
narrative of India’s transition from British colonial rule to independence but
also an exploration of the postcolonial struggles that follow. Through its
form, content, and themes, Midnight’s Children critiques the effects of
colonialism, interrogates national identity, and examines the process of
decolonization, making it a quintessential postcolonial text.
1. The Colonial Legacy and National Identity
One
of the central concerns of Midnight’s Children is the exploration of
national identity in postcolonial India. Saleem, the narrator, is born at the
exact moment of India’s independence on August 15, 1947. This coincidence links
him to the fate of the nation, and his personal story mirrors India’s own struggles
with identity and self-determination in the aftermath of colonialism. The novel
highlights the confusion, fragmentation, and ambiguity that often accompany the
formation of a postcolonial nation. India, as depicted in the novel, is a land
of cultural diversity and political disarray, reflecting the complexities of
building a unified national identity after centuries of British rule.
The
effects of British colonialism on India are seen in the characters’ personal
histories and the broader social fabric. Rushdie employs magical realism and
historical fiction to show how colonialism has left deep scars on the psyche of
the nation. The characters' experiences of violence, displacement, and social
inequality echo the enduring legacy of British rule and the painful process of
decolonization.
2. The Role of Language and Narrative Form
Rushdie’s
innovative use of language and narrative form in Midnight’s Children
further solidifies its postcolonial status. The novel is characterized by its
complex structure, weaving together personal memory, national history, and
myth. Saleem, as the unreliable narrator, mixes high and low language, blending
English with Indian vernacular, folklore, and cultural references. This
linguistic hybridity reflects the postcolonial experience of negotiating
between colonizer and colonized languages. English, as the language of the
former colonizer, is employed alongside Indian languages, creating a narrative
that is both global and local, simultaneously rooted in Indian culture while
engaging with the legacy of British colonialism.
The
fragmented, non-linear narrative also underscores the disorienting nature of
postcolonial identity. The novel’s structure mirrors the chaos and confusion of
a newly independent nation struggling to make sense of its past while forging a
future. Rushdie’s use of magical realism, where historical events and
fantastical elements are blended, highlights the contradictions and
complexities of postcolonial existence.
3. The Postcolonial Struggle for Power
A
recurring theme in Midnight’s Children is the postcolonial struggle for
power. After gaining independence, India, like many former colonies, faces the
challenge of establishing political stability and asserting its sovereignty.
The novel portrays the political turmoil that followed independence, including
the Emergency period (1975-1977) under Indira Gandhi’s regime, a time of
authoritarian rule and civil unrest. Through Saleem’s personal experiences,
Rushdie critiques the failure of postcolonial leaders to fully realize the
promises of freedom, equality, and justice for all citizens.
The
novel also examines how power is distributed and exercised in postcolonial
societies, highlighting the role of class, religion, and ethnicity. The
Midnight’s Children, who are born in the first hour of India’s independence,
possess special powers that symbolize the potential of the new nation. However,
their powers are often misused or squandered, reflecting the failure of India’s
political leadership to harness its potential. The fragmentation of the
Midnight’s Children into separate factions and their eventual dissolution
mirrors the failure of postcolonial states to overcome internal divisions and
realize a unified national vision.
4. Hybridity and Identity Crisis
Another
key aspect of Midnight’s Children as a postcolonial novel is its
exploration of hybridity and identity crisis. Saleem’s personal identity is
shaped by his experiences as a member of a family with diverse cultural,
religious, and social backgrounds. His mixed heritage—Muslim, Hindu, and
Christian—symbolizes the cultural hybridity of postcolonial India. Throughout
the novel, Saleem struggles with his identity, unable to fully belong to any
one group. This struggle is indicative of the broader postcolonial dilemma,
where individuals and nations grapple with the complexities of identity in a
world marked by colonial histories and cultural fusion.
The
theme of hybridity is also explored through the supernatural powers of the
Midnight’s Children. These powers, which vary from child to child, can be seen
as a metaphor for the diverse, hybrid nature of postcolonial identities. Each
child’s power reflects a different facet of India’s cultural and historical
experience, further emphasizing the complexity and diversity of the nation.
Conclusion
Midnight’s
Children is a masterful postcolonial novel
that engages with the complexities of identity, history, and power in
post-independence India. Through its innovative use of language, narrative
structure, and magical realism, Rushdie critiques the legacies of colonialism
and explores the challenges of building a new nation after the end of British
rule. The novel reflects the disorienting and often painful experience of
postcolonial existence, where personal and national histories are deeply
intertwined. Midnight’s Children remains a powerful exploration of the
political, social, and cultural dimensions of postcolonial India, making it a
landmark work in postcolonial literature.
3. Do you agree with the view that all Dattani characters speak
the same homogenised convent English? Discuss Dattani’s use of English in Tara.
4. Attempt a critical analysis of the poem ‘Bride of Fire’ by
Sri Aurobindo commenting on the issues in Sri Aurobindo’s poetry.
5. Comment on ‘The Women in Kanthapura.’
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your assignments before you can appear for the Term End Exams. Please remember
to keep a copy of your completed assignment, just in case the one you submitted
is lost in transit.
Submission Date :
· 30
April 2025 (if enrolled in the July 2025 Session)
· 30th Sept, 2025 (if enrolled in the January
2025 session).
IGNOU Instructions for the MEG 07 INDIAN ENGLISH LITERATURE
Assignments
MEG 07 INDIAN ENGLISH LITERATURE Assignment 2024-25 Before attempting the assignment,
please read the following instructions carefully.
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 INDIAN ENGLISH 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 07 INDIAN ENGLISH
LITERATURE Handwritten Assignment 2022-23
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