MEG 06 AMERICAN LITERATURE Solved Assignment 2022-23
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MEG 06 Solved Assignment 2022-23
MASTER’S
DEGREE IN ENGLISH (MEG-6)
AMERICAN
LITERATURE
ASSIGNMENT
(Based on Blocks (1 - 10)
Course Code: MEG 06
Assignment Code: MEG-01/TMA/2022-23
Max. Marks: 100
Answer all
questions in this assignment.
1. Analyse
Death of a Salesman as a realistic tragedy. 20
Death of a Salesman is a tragedy play based on middle class
salesman called Willy Loman. He lives in an old house middle of developed city
with his wife Linda and two sons, Biff and Happy. In a tragedy, the story
details the downfall of the protagonist. The character fails as a result of
tragic flaw in his/her personality. In Death of a Salesman, tragedy is shown by
Willy, who is plagued by his American Dream that is unrealistic and
impractical. He is obsessed with glitz and fascination, wanting success through
recognition. However, he struggles to fulfil his dream as he makes a mistake of
being travelling salesman without realising what is the most important to him.
He gets caught in his own spiritual redemption of being salesman. As he gets
older he realises that his life is diminishes away when he is still far away
from achieving his dream. He fails to accept and create new dream and get
defeated by his redemption and make a determination of committing suicide.
Willy’s first spiritual redemption starts with his idol
salesman. Throughout the play, it is revealed that Willy has potential of being
carpenter as he is talented in it and also enjoys doing it. However, he was
inspired by extremely successful salesman called Dave Singleman. Because of
him, he made a huge mistake of his life, choosing to be a salesman. He gets his
American dream from here, which causes him to struggle with problems all the
time. Willy’s mistaken job as a salesman does not benefits him very much. In
fact he has to borrow money from his successful friend ‘Charley” fifty dollars
a week to lie to his family that he is still making some money though he did
not. His redemption of being a salesman prevents him from several chance of
being more successful than his present job. This constitutes tragedy as Willy
fails to accept his failure and create new dream. For example, he disagrees to
follow his brother to the jungle, which eventually made his brother rich. Also,
when Charley offers Willy a better job under him, he refuses to accept the
offer and continues to borrow money from him. This shows how powerful his
spiritual redemption regardless of tempting offers or great opportunity.
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Since Willy is plagued by an unrealistic American Dream of
becoming successful salesman through recognition, he obstructs with many
spiritual redemption. When his son Biff was in high school, he used to be very
popular among his friends. He was handsome and a high school football star. For
Willy, Biff was in a perfect condition of achieving Willy’s American Dream.
Thus, Willy was so focused on Biff. Willy, who had yet to fill out his dream,
put all his hopes into his son. An example of Willy upholding Biff is when Biff
steals a football from his school. Willy thinks it is okay from biff to do that
as he think Biff’s coach will generously forgive Biff and praise him for
practicing on his own instead. His American dream obstructs his son in this
case, Biff learns a bad habit which leads to his own problem later on. Willy’s
dream of Biff achieving his American dream starts to fall when Willy gets
caught having affair with another woman by Biff. He always respected his father
regardless of his condition of living, but he is now filled with betrayal and
disappointment. Biff quits his job as a businessman and leaves his family to go
work in a farm. This proclaims Biff’s success and release from his father’s
redemption. He betrays his father’s dream and finds his own dream of doing what
he really wants. Even though Biff forsakes his father’s dream, Willy could not
free from his redemption. He keeps his hope until the end, choosing death with
a hope of his son’s success. Although Biff here is successful, Willy still
fails to overcome his spiritual redemption, which constitutes tragedy as Willy
is lead until deadly downfall.
Willy is trapped in many of his spiritual redemption. He
struggles to overcome and eventually fails to achieve any of his goals as his
spiritual redemption works as an obstacle of many problems. He eventually fails
to achieve one thing out of his burst of heroic determination in defeat. In
other words, Willy, finally realise that he cannot do or accomplish anything
and chooses his destiny to leave his legacy of his dream on Biff.
2. Write a
critical note on the dramatic form in the 20th Century. 20
During the 20th cent., especially after World War I, Western
drama became more internationally unified and less the product of separate
national literary traditions. Throughout the century realism, naturalism, and
symbolism (and various combinations of these) continued to inform important
plays. Among the many 20th-century playwrights who have written what can be
broadly termed naturalist dramas are Gerhart Hauptmann (German), John
Galsworthy (English), John Millington Synge and Sean O'Casey (Irish), and
Eugene O'Neill, Clifford Odets, and Lillian Hellman (American). An important
movement in early 20th-century drama was expressionism. Expressionist playwrights
tried to convey the dehumanizing aspects of 20th-century technological society
through such devices as minimal scenery, telegraphic dialogue, talking
machines, and characters portrayed as types rather than individuals. Notable
playwrights who wrote expressionist dramas include Ernst Toller and Georg
Kaiser (German), Karel Čapek (Czech), and Elmer Rice and Eugene O'Neill
(American). The 20th cent. also saw the attempted revival of drama in verse,
but although such writers as William Butler Yeats, W. H. Auden, T. S. Eliot,
Christopher Fry, and Maxwell Anderson produced effective results, verse drama
was no longer an important form in English. In Spanish, however, the poetic
dramas of Federico García Lorca are placed among the great works of Spanish literature.
Three vital figures of 20th-century drama are the American Eugene O'Neill, the
German Bertolt Brecht, and the Italian Luigi Pirandello. O'Neill's body of
plays in many forms—naturalistic, expressionist, symbolic, psychological—won
him the Nobel Prize in Literature in 1936 and indicated the coming-of-age of
American drama. Brecht wrote dramas of ideas, usually promulgating socialist or
Marxist theory. In order to make his audience more intellectually receptive to
his theses, he endeavored—by using expressionist techniques—to make them
continually aware that they were watching a play, not vicariously experiencing
reality. For Pirandello, too, it was paramount to fix an awareness of his plays
as theater; indeed, the major philosophical concern of his dramas is the
difficulty of differentiating between illusion and reality. World War II and
its attendant horrors produced a widespread sense of the utter meaninglessness
of human existence. This sense is brilliantly expressed in the body of plays
that have come to be known collectively as the theater of the absurd. By
abandoning traditional devices of the drama, including logical plot
development, meaningful dialogue, and intelligible characters, absurdist
playwrights sought to convey modern humanity's feelings of bewilderment,
alienation, and despair—the sense that reality is itself unreal. In their plays
human beings often portrayed as dupes, clowns who, although not without
dignity, are at the mercy of forces that are inscrutable.
Probably the most famous plays of the theater of the absurd
are Eugene Ionesco's Bald Soprano (1950) and Samuel Beckett's Waiting for Godot
(1953). The sources of the theater of the absurd are diverse; they can be found
in the tenets of surrealism, Dadaism (see Dada), and existentialism; in the
traditions of the music hall, vaudeville, and burlesque; and in the films of
Charlie Chaplin and Buster Keaton. Playwrights whose works can be roughly
classed as belonging to the theater of the absurd are Jean Genet (French), Max
Frisch and Friedrich Dürrenmatt (Swiss), Fernando Arrabal (Spanish), and the
early plays of Edward Albee (American). The pessimism and despair of the 20th
cent. also found expression in the existentialist dramas of Jean-Paul Sartre,
in the realistic and symbolic dramas of Arthur Miller, Tennessee Williams, and
Jean Anouilh, and in the surrealist plays of Jean Cocteau. Somewhat similar to
the theater of the absurd is the so-called theater of cruelty, derived from the
ideas of Antonin Artaud, who, writing in the 1930s, foresaw a drama that would
assault its audience with movement and sound, producing a visceral rather than
an intellectual reaction. After the violence of World War II and the subsequent
threat of the atomic bomb, his approach seemed particularly appropriate to many
playwrights. Elements of the theater of cruelty can be found in the brilliantly
abusive language of John Osborne's Look Back in Anger (1956) and Edward Albee's
Who's Afraid of Virginia Woolf? (1962), in the ritualistic aspects of some of
Genet's plays, in the masked utterances and enigmatic silences of Harold
Pinter's comedies of menace, and in the orgiastic abandon of Julian Beck's
Paradise Now! (1968); it was fully expressed in Peter Brooks's production of
Peter Weiss's Marat/Sade (1964).
3. Discuss
the development of the revolutionary prose in America. 20
4. Write a
note on imagism in Ezra Pound’s poetry. Cite instances from his poems
prescribed in your course. 20
5. Write a
critical note on the ideology of Puritanism reflected in American literature.
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MEG 06 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. MEG 06 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.
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Assignment 2022-23 Here the students can check their IGNOU Assignment
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