BEGC 114 POSTCOLONIAL LITERATURES Solved Assignment 2022-23

BEGC 114 Solved Assignment 2022-23, BEGC 114 Solved Assignment 2022-23, BEGC 114 Assignment 2022-23, BEGC 114 Assignment, IGNOU Assignments 2022-23- Gandhi National Open University had recently uploaded the assignments of this session for the year 2022-23. Students are recommended to download their Assignments from this webpage itself. BEGC 114 Solved Assignment 2022-23 They don’t need to go anywhere else when everything regarding the Assignments are available during this text only.

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BEGC 114 Solved Assignment 2022-23

Course Code: BEGC 114

Assignment Code: BEGC 114/TMA/2022-23

Max. Marks: 100

1. What do you broadly understand by South African Literature? Is it different in any way from African Literature?

South African literature

Elleke Boehmer (cf. Cullhed, 2006: 79) writes, "Nationalism, like patriarchy, favours singleness—one identity, one growth pattern, one birth and blood for all ... [and] will promote specifically unitary or 'one-eyed' forms of consciousness". The first problem any student of South African literature is confronted with, is the diversity of the literary systems. Gerrit Olivier notes, "While it is not unusual to hear academics and politicians talk about a 'South African literature', the situation at round level is characterised by diversity and even fragmentation". Robert Mossman adds that "One of the enduring and saddest legacies of the apartheid system may be that no one – White, Black, Coloured (meaning of mixed-race in South Africa), or Asian – can ever speak as a "South African." The problem, however, pre-dates Apartheid significantly, as South Africa is a country made up of communities that have always been linguistically and culturally diverse. These cultures have all retained autonomy to some extent, making a compilation such as the controversial Southern African Literatures by Michael Chapman, difficult. Chapman raises the question:

[W]hose language, culture, or story can be said to have authority in South Africa when the end of apartheid has raised challenging questions as to what it is to be a South African, what it is to live in, whether South Africa is mlg, and, if so, what its mythos is, what requires to be forgotten and what remembered as we scour the past in order to understand the present and seek a path forward into an unknown future.

South Africa has 11 national languages: , . Any definitive literary history of South Africa should, it could not be argued, discuss literature produced in all eleven languages. But the only literature ever to adopt characteristics that can be said to be "national" is kid. Olivier argues: "Of all the literatures in South Africa, Afrikaans literature has been the only one to have become a national literature in the sense that it developed a clear image of itself as a separate entity, and that by way of institutional entrenchment through teaching, distribution, a review culture, journals, etc. it could ensure the continuation of that concept." Part of the problem is that English literature has been seen within the greater context of English writing in the world, and has, because of English's global position as ', not been seen as autonomous or indigenous to South Africa – in Olivier’s words: "English literature in South Africa continues to be a sort of extension of British or international English literature." The African languages, on the other hand, are spoken across the borders of Southern Africa - for example, Tswana is spoken in Botswana, and in Zimbabwe, and in Lesotho. South Africa's borders were drawn up by the British Empire and, as with all other colonies, these borders were drawn without regard for the people living within them. Therefore: in a history of South African literature, do we include all Tswana writers, or only the ones with South African citizenship? Chapman bypasses this problem by including "Southern" African literatures. The second problem with the African languages is accessibility, because since the African languages are regional languages, none of them can claim the readership on a national scale comparable to Afrikaans and English. Sotho, for instance, while transgressing the national borders of the RSA, is on the other hand mainly spoken in the Free State, and bears a great amount of relation to the language of for example, Zulu. So the language cannot claim a national readership, while on the other hand being "international" in the sense that it transgresses the national borders.

African Literature

African literature, the body of traditional oral and written literatures in Afro-Asiatic and African languages together with works written by Africans in European languages. Traditional written literature, which is limited to a smaller geographic area than is oral literature, is most characteristic of those sub-Saharan cultures that have participated in the cultures of the Mediterranean. In particular, there are written literatures in both Hausa and Arabic, created by the scholars of what is now northern Nigeria, and the Somali people have produced a traditional written literature. There are also works written in Geʿez (Ethiopic) and Amharic, two of the languages of Ethiopia, which is the one part of Africa where Christianity has been practiced long enough to be considered traditional. Works written in European languages date primarily from the 20th century onward. The literature of South Africa in English and Afrikaans is also covered in a separate article, South African literature. See also African theatre.

The relationship between oral and written traditions and in particular between oral and modern written literatures is one of great complexity and not a matter of simple evolution. Modern African literatures were born in the educational systems imposed by colonialism, with models drawn from Europe rather than existing African traditions. But the African oral traditions exerted their own influence on these literatures.

2. Who are some of the pioneers of postcolonial short story? Write about any two representative short stories.

3. Make a critical appraisal of the poetic devices used in the poem, “Tonight I can Write”.

4. Tendulkar has made use of song, dance, music, mime, dialogue and narration in the play Ghashiram Kotwal. Illustrate the extent to which these elements contribute to the total effect of the play.

5. Name and briefly describe the communities whose correspondences and transactions are found in South African writings.

6. Discuss poetry in the postcolonial space with critical notes on the poems from this course, BEGC-114.

IGNOU Assignment Status 2022-23

BEGC 114 POSTCOLONIAL LITERATURES Solved Assignment 2022-23: Those students who had successfully submitted their Assignments to their allocated study centres can now check their Assignment Status. Alongside assignment status, they will also checkout their assignment marks & result. All this is often available in a web mode. After submitting the assignment, you'll check you IGNOU Assignment Status only after 3-4 weeks. it'd take 40 days to declare.

BEGC 114 Solved Assignment 2022-23 Those students who had successfully submitted their Assignments to their allocated study centres can now check their Assignment Status. Along with assignment status, they can also checkout their assignment marks & result. BEGC 114 Solved Assignment 2022-23 All this is available in an online mode. After submitting the assignment, you can check you IGNOU Assignment Status only after 3-4 weeks. It might take 40 days to declare.

BEGC 114  Solved Assignment 2022-23 Here the students can check their IGNOU Assignment Status, marks, result or both the sessions i.e; June & December.

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