MEG 5 Block-wise Important questions

 
Block-1 An Introduction
 

1. Give an account of Sphota theory as explained by Sanskrit theoreticians. 
2. Attempt a critique of 'Rasa' as understood in ancient Indian literature. 
3. Short Notes.

 

Block-2 Classical Criticism
1.            Comment on Plato’s views on poetry.
2.            Why does Plato declare the role of the poet as subversive ? 
3.            What are the reasons for the artist to be kept away from the ideal state of plato ? 
4.            How does Aristotle meet plato's criticism of poets ? 
5.            What is the difference between Plato's approach and Aristotle's approach to 'imitation'?
6.            For Plato, the term 'imitation' (mimesis) carries a negative connotation : to imitate is to produce a copy, a version that is less than the original. Comment. 
7.            Explain how Plato views art as twice removed from reality. 
8.            Compare and contrast in your own words Plato and Aristotle as literary theorists.
9.            Enumerate the six elements of tragedy according to Aristotle and explain any two of them with suitable examples. 
10.          Comment upon Aristotle's views on 'mythos' and 'ethos' in Greek tragedy. 
11.          Discuss Aristotle's theory of tragedy and its different elements. 
12.           Explain briefly any three elements of Tragedy according to Aristotle. 
13.          Write a critical note on Aristotle's concept of tragedy. 
14.          Explain how Aristotle argues in favour of "drama as a larger and higher form of art". 
15.          Explain in your own words Aristotle's theory of mimesis.
16.          Discuss Aristotle's view of the plot in tragedy.  
17.          Write a critical note or 'mimesis' as the theory of representation in Classical criticism. 
18.          Write a note on Catharsis in tragedy.
19.          Discuss 'mimesis' in the light of Plato and Aristotle's postulations. 
20.          Discuss tragic failing and explain how it leads to tragedy. 
21.          Comment on Plato’s views on poetry.
22.          Comment on Aristotle’s views on mythos and ethos in The Poetics.
23.          Why do you think there was a tremendous insistence on emotional experience in classical aesthetics ? Discuss with reference to classical criticism.
24.          Attempt a critique of the role of dance in ancient Greek theatre.
25.          Bring out Plato’s criticism of the role of artists in his concept of the Ideal State.
26.          Discuss Plato’s hostility towards Poets and Dramatists.
27.          ‘To be instructuve, Drama cannot be spectacular.’ Discuss with reference to Plato and Aristotle.

 

Block-3 Romantic Criticism  
1.            Attempt a critique of Romanticism

 

 2.            To generalise is to be an idiot. To particularise is the lone distinction of merit'. In the light of William Blake's observation comment on Romantic epistemology.

3.            What roles do spontaneity, emotion and personality have in Wordsworth's theory of poetry ? 
4.            Consider Wordsworth's 'Preface to Lyrical Ballads' as the manifesto of Romantic Literature. 
5.            Discuss Coleridge's theory of 'Imagination'. 
6.            Evaluate Wordsworth's 'Preface' to the Lyrical Ballads (1800) as, an attack on the "inane phraseology" of many 18thcentury writers. 
7.            What does Wordsworth think of the distinction between the language of prose and metrical composition ?
8.             In higher poetry, we look for "the wisdom of the heart and the grandeur of the imagination". Examine the statement in the context of Wordsworth's Preface to the Lyrical Ballads. 
9.            Briefly outline Wordsworth's theory of poetic diction with special reference to the 'Preface' to the Lyrical Ballads. 
10.          Critically examine Wordsworth's view that "all good poetry is the spontaneous overflow of powerful feelings".
11.          Evaluate P. B. Shelley as a romantic critic 
12.          What role does Shelley assign to poets in the nineteenth century ? Explain. 
13.          Romantics assert that "imagination transcends reason". Discuss
14.          Present in your own words the Romantic theory of knowledge. 
15.          Critically examine S.T. Coleridge's views on the esemplastic power of the poetic imagination
16.          Compare the theories of imagination as presented by Shelley and Coleridge. 
17.          Discuss the Romantic theory of art. 
18.          How does Coleridge deal with distinction between Fancy and Imagination ? 
19.           Elaborate the basic distinction between Fancy and Imagination as brought out by Coleridge in Biographia Literaria. 
20.          Attempt a critique of Romanticism
21.          How does Romanticism differ from Classicismof literary criticism ?
22.          ‘‘Every great poet is a teacher. I wish to be considered a teacher or as nothing.’’ Comment on Wordsworth’s ‘Preface’ to the Lyrical Ballads in the light of the quotation.
23.          What effect did the Romantic stress on individuality and spontaneity of expression have on their choice of poetic forms ?
Discuss the position of imagination and emotions as opposed to rationality in Romantic poetry.
Describe Coleridge’s idea of a good poet. Give examples.
Assess Coleridge’s critique of Wordsworth’s theory of poetic diction. To what extent does the poet become different from the common man
 
 

 

Block-4 New Criticism
1.            - Comment briefly on any four obstacles to proper response that I.A. Richards catalogues in Practical Criticism.
How does the New Criticism make use of the model of 'practical criticism' initiated by I.A. Richards? 
3      Evaluate I.A. Richards's contribution to literary criticism. 
4      Assess two of the seminal critical concepts formulated by T.S. Eliot. 
5      What does T. S. Eliot mean by ‘The dissociation of sensibility’ ? 
6      What according to Matthew Arnold is the function of criticism ? Elucidate. 2.2 & 2.3
7      What does Ransom mean when he advocates Criticism.
8      What according to John Crowe Ransom is the role of the literary critic in the modern world ? Explain. 
9      What according to John Crowe Ransom are the "duties" of a critic ? Explain.
10   . The 'truth which the poet utters' according to Cleanth Brooks, 'can be approached only in terms of paradox'. Do you agree ? Supply reasons for your answer. 
11   Discuss the ideas expressed by Cleanth Brooks in his essay "Irony as a Principle of Structure". 
12   Evaluate Cleanth Brooks as a New Critic.
13   What is meant by 'intentional fallacy? How would you respond to this concept of the New Critics? Critically examine Wimsatt's concept of "The Intentional Fallacy".
14    What do you understand by 'The Affective Fallacy ' ? (W.K wimsatt)
15     Briefly explain 'The intentional fallacy' and `The affective fallacy'. 
16   Comment on the beginnings in new historicism in literary criticism.
17   What are the common features of the critics associated with 'New criticism' ?
18   Bring out the features of New Criticism.  
19   New criticism' emphasizes the text, not the background. Comment. 
10 Block-5 Marxist View of Literature
1.            How do Marxists understand literature ? Support your points with suitable examples.
2.            Critically appraise the ideas of Karl Marx and Frederick Engels about class relations and class ideology. 
3.            How do Marx and Engels interpret literature ? 
4.            Assess the impact of Marxism on subsequent literary/critical theories in the 20th century. 
5.            "Writers are unable to see the truth about their societies because they are caught up in the 'false consciousness' of ideology." Examine the statement in the context of the Marxist view of literature. 
6.            Show how literary criticism and theory have developed a materialistic dimension based on Marxism. 
7.             Write a short essay showing how Marxism has influenced many critics in the 20 the century. Illustrate your answer with suitable examples. 
8.            Explain Marx's idea of dialectical materialism. How does it help us in understanding literature ? 
9.            Explain with the help of suitable examples, the Marxian concept of base and superstructure.
10.          Critically examine the role of ideology in literary production following the Marxist critical theory.  
11.          Explain in your own words Marx's views of the base — superstructure relationship. How does an artist become conscious of it in his/her creations ? 
12.          What is superstructure in Marxist criticism ? Provide examples of superstructures. How do they function ?
13.          What is meant by 'superstructure' in Marxist Theory ? How would you interpret it ? 
14.          Write a critical note on the essentials of Marxist literary theory.
15.          How does literature represent the social conditions and social structure ? 
16.          In what sense is literature a form of Propaganda? 
17.          Explain the concept of a structure and discuss the notion of a stable centre. 
18.          Literary criticism has a social function. Discuss.
19.          Attempt a short essay on the relation between  literature and ideology. 
20.          How do Marxists understand literature ? Support your points with suitable examples.
21.          How do Marx and Engels interpret literature ? Give examples.
22.          Discuss the role of superstructure in Marxist criticism. Do you think literature is an important part of the superstructure ?
23.          Bring out the Marxian concept of ‘purpose’ in Literature.
24.          To what extent is ideology central to literature, according to Marxist critics ?

 

Block-6 Feminist Theories

1. ·   Assess the contribution of Mary Wollstonecraft to the emancipation of women.
2. ·  'From the tyranny of man... the greater number of female follies proceed.' In the light of this statement evaluate Mary Wollstonecraft's thoughts on women.
3. ·  Assess Mary Wollstonecraft's contribution to Women's rights and their education. 
4. ·Assess the contribution of Mary Wollstonecraft to the emancipation of women
5. Draw out the ideologies set forth by Mary Wollstonecraft and Virginia Woolf as pioneer feminists. 
6. ·Examine Virginia Woolf's attitude to the canon i,e., ancestors in women's writings. 
7.  Evaluate Virginia Woolf as a feminist critic. 
8. ·Analyse the strengths and limitations of Woolf’s theory with reference to class or gender.
9. Analyse the components of Beauvoir's thesis to indicate (a) its strengths (b) its limitations. 
10.  In placing woman as the 'other' of man, Simone de Beauvoir critically examines the issue of `alterity' in the context of women's identity. Substantiate your answer with reference to Beauvoir's The Second Sex. 
11. How does Simone de Beauvoir demonstrate bias against women as man’s “other” ? Give examples.
12. Comment on the significance of the title The Second Sex.
13. How does The Second Sex mark a shift in literary criticism ? Discuss.
14.  Evaluate Elain Showalter's `gynocriticism' and its value in the context of feminist criticism. 
15.  Feminist theories do not give sufficient attention to class conflict in society. Discuss.
16.  Evaluate Elaine Showalter's contribution to feminist criticism. 
17. Give reasons for Elaine Showalter's discontent with existing feminist criticism. 
18. Evaluate Elaine Showalter's contribution to feminist criticism. 
19. Discuss Elaine Showalter’s feminist concerns in literature. 
20. Bring out the importance of Elaine Showalter’s critical model for understanding literature and society.
21. Critically analyse Elaine Showalter’s essay, ‘Feminine Criticism in the Wilderness’.
22. Evaluate gyno criticism against any one other critical mode. 
23. Explain the term gynocritic and give two examples. 

 
 

 

Block-7 Deconstruction
1.    Discuss the strengths and limitations of deconstruction as a method of critical inquiry.  2
2.    Evaluate Derrida’s concept of Deconstruction and his resistance to it.
3.    What is the process of 'deconstructing' a text ? Elaborate.
4.    What is 'deconstruction' ? Is 'deconstruction' an effective tool for analysing a literary text ? Give a reasoned answer.
5.    Discuss deconstruction as a method of critical reading of a text.
6.    How does Derrida analyse the concept of the sign to show that there can be no determinacy in meaning?
7.    Why does Derrida resist definitions ? Give reasons for your answer.
8.    Attempt a critical evaluation of the theory of structuralism.
9.    Examine the approaches of Structuralism and Deconstruction to the theory of sign-system
10. Examine how Waiting for Godot problematizes the meaninglessness of life.
11. Analyse John Donne's The Canonization' with the tools of 'Deconstruction'. 2
12. Drama as a form lends itself well to the deconstruction approach. Discuss with reference to a drama text in your course
13. What does Roland Barthes mean by ‘the death of the author’ ? Do you agree with his views ? Provide reasons for your answer 4
14. What according to Barthes is the difference between 'work' and 'text' ? Explain 4
15. Literature inevitably brings to surface the oppressive nature of structures like religion, family and the state. How  important is the writer’s ideology in this context ? 

 

Block-8 Contemporary Literary theory

1.    Evaluate the salient features of post - colonialism.
2.    Analyze the historical importance of Post-colonialism for the Third World.
3.    Discuss critically the seminal issues that Post-Colonial theory addresses.
4.    What are the major concerns of postcolonial theorists ?
5.    Briefly introduce two major post-colonial critics and their contribution to our understanding of literature.
6.    In what ways does postmodernism differ from modernism ?
7.  What is meant by postmodernism ? Discuss with reference to Lyotard. 
8.    How do you think postmodernism differs from modernism ?
9.    The general characteristics of reading in post-colonial criticism is that a text is 'read back' from the perspective of the colonized." Comment critically on the statement.
10. Attempt a critique of post-colonial theory with special reference to Said, Spivak and Bhabha.
11. Trace the emergence of cultural studies with reference to the theories of Edwards Said, Spivak and Bhabha.
12. What does Spivak mean by `Subalternity' ? Explain with examples.
13. Evaluate either Freud’s or Lacan’s contribution to the understanding of literature. 2
14. How are ‘lack’ and ‘desire’ closely connected in Lacan’s theory ?.2
15. Discuss lacan's main contribution to critical theory
16. Write briefly on the importance of Freud in a study of literature.
17. Write a critical note on the essentials of Marxist literary theory OR Freudian psychoanalysis.
18. What are Foucault's views on discourse and power ?
19. Do you think Foucault’s views on discourse and power influenced Said’s Orientalism ?
 How is Orientalism an additional approach to the understanding of literature ? Trace its origin and  applicability.
21. Critically interpret Edward Said's concept of Orientalism.
22. Attempt a critique of Midnight's Children as a postmodernist text.
23. What is Raymond Williams' contribution to Cultural Studies ?

13          short notes:

1.       Rasa-4
2.       Aucitya - 2
3.       Hamartia-4
4.       Sruti 3
5.       Concept of mimesis -2
6.       Sphota  5
7.       Aristotle
8.       Catharsis - 2
9.       Plot 
10.   Alamkara-4
11.   Base 
12.   Dhwani 4
13.   Myth 
14.   Ethos
15.   Opsis and Aristotle
16.   Mimesis
17.   Plato
18.   Objective correlative 
19.   Irony 2
20.   Poetic diction 3
21.   Poetry as inspiration 
22.   Fancy and Imagination 
23.   Poetic diction 
24.   Apology for Poetry 
25.   Primary and Secondary Imagination
26.   Death of the Author
27.   Matthew Arnold as a Critic
28.   Intentional fallacy
29.   Objective correlative 3
30.   Pleasure' and 'instruction' as ends of literature 
31.   Reader response theory
32.    Marxism
33.   Superstructure 2
34.   Mode of production 
35.    A Room of One’s Own
36.   Feminist criticism in wilderness
37.   Feminist Criticism 
38.   'Second Sex' 
39.   Patriarchy
40.   Gyno texts 
41.   Gender
42.   Simone De Beauvoir 
43.   Postmodernism 
44.   Orientalism 
45.   Literature and ideology
46.   Literature as history
47.   theory 
48.   immediate context 
49.   literature 
50.   ideology 
51.   Linguistic sign 
52.   The communication chain 
53.   Purgation 
54.   Free play of signs 
55.   Individual talent 
56.   Emotions recollected in tranquillity 
57.   Signifier2 
58.   Structuralism 3
59.   Paradox 
60.   Tragic Hero
61.   On the Sublime 
62.   Mikhail Bakhtin 2
63.   Roman Jakobson
64.   Michel Foucault
65.   Northrop Frye
66.   Deconstruction 
67.   Resistance to Theory 
68.   Signifier and Signified 
69.   Russian Formalists 
70.   Stream of consciousness
71.   Sir Philip Sidney
72.   Critical Theory 
Explain the following passages with reference to their context supplying brief critical comments where necessary
(a) Now, God has produced only that one real bed. The restriction to only one might have been his own choice, or it might just be impossible for him to make more than one. But God never has, and never could, create two or more such beds. 
(b) Poets, according to the circumstances of the age and nation in which they appeared, were called, in the earlier epochs of the world, legislators or prophets : a poet essentially comprises and unites both these characters. 
(c) If this figure seems somewhat high flown. Let us borrow an analogy from another art : the poem is like a little drama. The total effect proceeds from all the elements in the drama, and in a good poem, as in a good drama, there is, no waste emotion and there are no superfluous parts. 
(d) The first of these modes, righteous angry, and admonitory, they compared to The Old Testament, 'looking for the sins and errors of the past'. The second mode, disinterested and seeking 'the grace of imagination', they compared to the New Testament. Both are necessary, they concluded, for only the jeremiahs of ideology can lead us out of the 'Egypt of female servitude' to the promised land of humanism. 
(a) If, then, Tragedy is superior to Epic poetry in all these respects, and, moreover, fulfils its specific function better as an art - for each art ought to produce not any chance pleasure, but the pleasure proper to it, as already stated-it plainly follows that tragedy is the higher art, as attaining its end more perfectly. 
(b) The IMAGINATION then I consider either as primary or secondary. The primary IMAGINATION I hold to be the living Power and prime Agent of all human perception and as a repetition in the finite mind of the eternal act of creation in the infinite I AM. 
(c) Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry. 
(d) The only teaching worthy of the name is scholarly, not personal, analogies between teaching and various aspects of show business or guidance counselling are more often than not excuses for having abdicated the task. 
‘‘Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry.’’ Comment.

 

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