MEG 12 Solved Assignment 2022-23

 

MEG 12 Solved Assignment 2022-23

CANADIAN LITERAT URE

MEG 12 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.

Programme: MEG

Assignment Code: MEG 12/TMA/2022-2023

Max. Marks: 100

Attempt all TEN questions and answer each question in approximately 500 words.

1 What are some major concerns that dominate 20th century Canadian Literature? Give a reasoned answer.

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In the early 20th century, popular poets responding to the interest in local colour depicted French Canadian customs and dialect (W.H. Drummond, The Habitant and Other French-Canadian Poems, 1897), the Mohawk tribe and rituals (E. Pauline Johnson, Legends of Vancouver, 1911; Flint and Feather, 1912), and the freedom and romance of the north (Robert Service, Songs of a Sourdough, 1907). John McCrae’s account of World War I, “In Flanders Fields” (1915), remains Canada’s best-known poem. Slowly a reaction against sentimental, patriotic, and derivative Victorian verse set in. E.J. Pratt created a distinctive style both in lyric poems of seabound Newfoundland life (Newfoundland Verse, 1923) and in the epic narratives The Titanic (1935), Br├ębeuf and His Brethren (1940), and Towards the Last Spike (1952), which through their reliance on accurate detail participate in the documentary tradition. Influenced by Pratt, Earle Birney, another innovative and experimental poet, published the frequently anthologized tragic narrative “David” (1942), the first of many audacious, technically varied poems exploring the troubling nature of humanity and the cosmos. His publications include the verse play Trial of a City and Other Verse (1952) and poetic collections such as Rag & Bone Shop (1971) and Ghost in the Wheels (1977). Toronto’s Canadian Forum (founded in 1920), which Birney edited from 1936 to 1940, and Montreal’s McGill Fortnightly Review (1925–27) provided an outlet for the “new poetry” and the emergence of Modernism. Here and in their anthology New Provinces (1936), A.J.M. Smith, F.R. Scott, and A.M. Klein began their long literary careers. Emphasizing concrete images, open language, and free verse, these modernists felt that the poet’s task was to identify, name, and take possession of the land. Klein wrote in “Portrait of the Poet as Landscape” (1948) that the poet is “the nth Adam taking a green inventory / in a world but scarcely uttered, naming, praising.” The bonds of a colonial frame of mind characterized by fear of the unknown, reliance on convention, a puritan consciousness—what Frye, in the “Conclusion” written for the first edition of the Literary History of Canada (1965), called the “garrison mentality”—were being broken and cast off.

Strong reaction to the Great Depression, the rise of fascism, and World War II dominated the poems of the 1930s and ’40s. Using the documentary mode, Dorothy Livesay condemned the exploitation of workers in Day and Night (1944), while her lyric poems spoke frankly of sexual love (Signpost, 1932). In opposition to the cosmopolitan and metaphysical verse promoted by Smith and the literary magazine Preview (1942–45), Irving Layton, Louis Dudek, and Raymond Souster—through their little magazine Contact (1952–54) and their publishing house, the Contact Press (1952–67)—urged poets to focus on realism and the local North American context. P.K. Page, one of Canada’s most intellectually rigorous poets, was associated with the Preview group in the ’40s when she published her first collection, As Ten as Twenty (1946), which includes the evocative renowned poem “Stories of Snow.”

By 1900 novels of local colour were beginning to overshadow historical romances. Lucy Maud Montgomery’s beloved children’s book Anne of Green Gables (1908) and its sequels were set in Prince Edward Island. Ontario towns and their “garrison mentality” provided the setting for Sara Jeannette Duncan’s portrayal of political life in The Imperialist (1904), Ralph Connor’s The Man from Glengarry (1901), Stephen Leacock’s satiric stories Sunshine Sketches of a Little Town (1912), and Mazo de la Roche’s best-selling Jalna series (1927–60). Out of the Prairies emerged the novel of social realism, which documented the small, often narrow-minded farming communities pitted against an implacable nature. Martha Ostenso’s Wild Geese (1925), a tale of a strong young girl in thrall to her cruel father, and Frederick Philip Grove’s Settlers of the Marsh (1925) and Fruits of the Earth (1933), depicting man’s struggle for mastery of himself and his land, are moving testaments to the courage of farmers. Painter Emily Carr wrote stories about her childhood and her visits to First Nations sites in British Columbia (Klee Wyck, 1941).

2 Write a detailed note on the contributions of Atwood and Ondaatje to recent Canadian poetry.

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3 Write a detailed note on the genre of the Canadian long poem.

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4 Write a detailed note on the main character of the novel Surfacing.

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5 Gabrielle Roy very realistically presents the lives of the people of Quebec in her novel The Tin Flute. Discuss it with examples from the novel.

10

6 In what ways is The English Patient a modernist novel? Discuss it.

10

7 Attempt a critical assessment of “A Mother in India”.

10

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8 Wo are the main characters in The Tin Flute? Who emerges as the most arresting character from among these?

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9 ‘Characterization in The Ecstasy of Rita Joe follows allegorical writing in its accent on white and black shades of characters.’ Critically comment.

10

10 What are the various types of criticism that Frye talks about in Anatomy of Criticism?

10

MEG 12 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.

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