Eng 181 Course Title: Introduction to Prose Fiction

Total Page:16

File Type:pdf, Size:1020Kb

Eng 181 Course Title: Introduction to Prose Fiction NATIONAL OPEN UNIVERSITY OF NIGERIA SCHOOL OF ARTS AND SOCIAL SCIENCES COURSE CODE: ENG 181 COURSE TITLE: INTRODUCTION TO PROSE FICTION COURSE GUIDE ENG 181 INTRODUCTION TO PROSE FICTION Course Team Dr. OnyekaIwuchukwu (Developer) – NOUN Dr. OnyekaIwuchukwu (Writer) –NOUN Professor Abdul R. Yesufu (Editor) –NOUN Dr. I. Omolara Daniel (Programme Leader) – NOUN Dr. OnyekaIwuchukwu (Course Coordinator) – NOUN 1 2 National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Annex 5 Dar es Salam Street Off Aminu Kano Crescent Wuse 2 Abuja E-mail: [email protected] URL:www.nou.edu.ng National Open University of Nigeria 2010 First Printed 2010 3 ISBN 978………………….. ALL RGHTS RESERVED Printed by………………………………. For National Open University of Nigeria 4 TABLE OF CONTENTS Pages Introduction…………………………………………………………………….. 5 Course Aims…………………………………………………………………… 5 Course Objectives………………………………………………………………. 5 Working through the Course……………………………………………………. 6 Course Materials………………………………………………………………… 6 Study Units……………………………………………………………………….. 6 Assessment………………………………………………………………………. 7 Tutor-Marked Assignment (TMA)………………………………………………. 7 Final Examination and Grading …………………………………………………. 8 Course Marking Scheme…………………………………………………………. 8 Presentation Schedule……………………………………………………………. 8 Course Overview …………………….……………………………………………. 8 How to get the most from this course……………………………………………… 9 Tutors and Tutorials…………………………………………………………………11 Summary…………………………………………………………………………….11 5 INTRODUCTION Welcome to ENG 181: INTRODUCTION TO PROSE FICTION ENG 181: Introduction to Prose Fiction is a 2 credit one semester undergraduate course. It comprises 15 study units subdivided into 3 modules. The materials have been developed to introduce the students to prose fiction which is a genre of literature. This course guide gives you an overview of the course and also provides you with information on the organisation and requirements of the course. 6 The course introduces you to the origin, development and the major elements of prose fiction. Some representative texts have been analysed to highlight some of the characteristics of prose fiction. The texts were also chosen to reflect the different types of prose fiction. Course Aim a. To expose students to the concept of Prose Fiction b. To acquaint the students with the origin and development of Prose Fiction c. To acquaint students with the idea of textual analysis of Prose Fiction Course Objectives To achieve the aims above, we have some overall objectives. Each unit also has the objectives that will guide you in your study. They are usually stated at the beginning of the unit and when you are through with studying the units, go back and read the objectives. This would help you assimilate the task you have set out to achieve. Also, you need to buy the textbooks and read them. On completion of the course, you should be able to: a. Trace the origin of Prose Fiction; b. Trace the evolution of Prose Fiction. c. Discuss the major phases in the development of Prose Fiction d. Discuss the major elements of Prose Fiction. e. Explain the major thematic thrusts of the selected texts. f. Analyse at least a short story. Working through this Course To complete the course, you are required to read the study units and other related materials. You will also need to undertake practical exercise for which you need a pen, a notebook, and other materials that will be listed in this guide. The exercises are to aid you in understanding the concepts being presented. At the end of each unit, you will be required to submit written assignments for assessment purposes. At the end of the course, you will write a final examination. Course Materials The major materials you will need for this course are: 1. Course guide 2. Study units 3. Relevant textbooks including the ones listed under each unit 4. Assignment file 5. Presentation schedule 7 Study Units There are 15 study units in this course as follows: Module I: What is Prose Fiction? Unit 1 – Definition /Meaning Unit 2 – Origins Unit 3 – Characteristics of Prose Fiction Unit 4 – Types of Prose Fiction Unit 5 – The Rise /Development of Prose Fiction Module II: Elements of Prose Fiction Unit 1 – Plot Unit 2 – Theme/ Subject Matter. Unit 3 – Characterisation Unit 4 – Setting. Unit 5 – Point of View. Unit 6 – Language. Module III: Textual analysis Unit 1 – The Short Story : Chinua Achebe’s “The Vengeful Creditor” Unit 2 - The Novella : Mariama Ba’s So Long a Letter Unit 3 – The English Novel: Jane Austen’s Pride and Prejudice Unit 4 – The African Novel: AyiKweiArmah’ The Beautyful Ones Are not Yet Born 8 Assignment File An assignment file and a marking scheme will be made available to you. In this file, you will find all the details of the work you must submit to your tutor for marking. The marks you obtain from these assignments will count towards the final mark you obtain for this course. Further information on assignments will be found in the assignments file itself and later in this Course Guide in the section on assessment. Tutor-Marked Assignment (TMAs) You will need to submit a specified number of the Tutor Marked Assignments (TMAs). Every unit in this course has a tutor-marked assignment. You will be assessed on four of them but the best four (that is, the highest four of the fifteen marks) will be counted. The total marks for the best three (3) assignments will be 30% of your total work. Assignment questions for the unit in this course are contained in the Assignment File. When you have completed each assignment, send it, together with the TMA (tutor-marked assignment) form to your tutor. Make sure each assignment reaches your tutor on or before the deadline for submission. If, for any reason, you cannot complete your work on time, contact your tutor to discuss the possibility of an extension. Extension will not be granted after due date unless under exceptional circumstances. Final Examination and Grading The final examination for ENG 181 will be of three hours’ duration. All areas of the course will be examined. Find time to read the units all over before your examination. The final examination will attract 70% of the total course grade. The examination will consist of questions which reflect the type of self-testing, practice exercises and tutor-marked assignments you have previously come across. All areas of the course will be assessed. You are advised to revise the entire course after studying the last unit before you sit for the examination. You will also find it useful to review your tutor-marked assignments and the comments of your tutor on them before the final examination. Course Marking Scheme The following table lays out how the actual course mark allocation is broken down. Assessment Marks 9 Assignments (Best three Assignments out of Four marked) = 30% Final Examination =70% Total =100% Presentation Schedule The dates for submission of all assignments will be communicated to you. You will also be told the date for completing the study units and dates for examinations. Course Overview This table brings together the units, the number of weeks you should take to complete them, and the assignments that follow each unit.. Unit Title of Work Assessment (End of Week’s Unit) Activity Course Guide 1 Module 1: What is Prose Fiction? 1 Definition/Meaning 2 Assignment 1 2 Origins 3 Assignment 2 3 Characteristics of Prose Fiction 4 Assignment 3 4 Types of Prose fiction 5 Assignment 4 5 The Rise and Development of Prose 6 Assignment 5 Fiction Module 2: Elements of Prose Fiction 1 Plot 7 Assignment 6 2 Theme/Subject Matter 8 Assignment 7 3 Characterisation 9 Assignment 8 10 4 Setting 10 Assignment 9 5 Point of View 11 Assignment 10 6 Language Module 3:Textual Analysis 1 The Short Story - Chinua Achebe’s “The 12 Assignment 11 Vengeful Creditor” 2 The Novella - Mariama Ba’s So Long A 13 Assignment 12 Letter 3 The English Novel – Jane Austen’s Pride 14 Assignment 13 and Prejudice 4 The African Novel – AyiKweiArmah’s the 15 Assignment 14 Beautyful Ones Are Noy Yet Born How to get the most from this Course In distance learning the study units replace the lecturer. This is one of the advantages of distance learning; you can read and work through specially designed study materials at your own pace, and at a time and place that suits you best. Think of it as reading the lecturer instead of listening to a lecturer. In the same way that a lecturer might give you some reading to do, the study units tell you when to read your set books or other materials. Just as a lecturer might give you an in-class exercise, your study units provide exercises for you to do at appropriate points. Each of the study units follows a common format. The first item is an introduction to the subject matter of the unit and how a particular unit is integrated with the other units and the course as a whole. Next is a set of learning objectives. If you make a habit of doing this, you will significantly improve your chances of passing the course. The main body of the unit guides you through the required reading from other sources. This will usually be either from your set books or from your course guides. The following is a practical strategy for working through the course. If you encounter any difficulty, telephone your tutor. Remember that your tutor’s job is to help you. When you need assistance, do not hesitate to call and ask your tutor to provide it. Follow the following advice carefully: 1. Read this Course Guide thoroughly, it is your first assignment 2. Organisea study schedule. Refer to the “Course Overview” for more details. Note the time you are expected to spend in each unit and how the assignments relate to the units.
Recommended publications
  • Classical Persian Literature Bahman Solati (Ph.D), 2015 University of California, Berkeley [email protected]
    Classical Persian Literature Bahman Solati (Ph.D), 2015 University of California, Berkeley [email protected] Introduction Studying the roots of a particular literary history enables us to better understand the allusions the literature transmits and why we appreciate them. It also allows us to foresee how the literature may progress.1 I will try to keep this attitude in the reader’s mind in offering this brief summary of medieval Persian literature, a formidable task considering the variety and wealth of the texts and documentation on the subject.2 In this study we will pay special attention to the development of the Persian literature over the last millennia, focusing in particular on the initial development and background of various literary genres in Persian. Although the concept of literary genres is rather subjective and unstable,3 reviewing them is nonetheless a useful approach for a synopsis, facilitating greater understanding, deeper argumentation, and further speculation than would a simple listing of dates, titles, and basic biographical facts of the giants of Persian literature. Also key to literary examination is diachronicity, or the outlining of literary development through successive generations and periods. Thriving Persian literature, undoubtedly shaped by historic events, lends itself to this approach: one can observe vast differences between the Persian literature of the tenth century and that of the eleventh or the twelfth, and so on.4 The fourteenth century stands as a bridge between the previous and the later periods, the Mongol and Timurid, followed by the Ṣafavids in Persia and the Mughals in India. Given the importance of local courts and their support of poets and writers, it is quite understandable that literature would be significantly influenced by schools of thought in different provinces of the Persian world.5 In this essay, I use the word literature to refer to the written word adeptly and artistically created.
    [Show full text]
  • Glossary of Literary Terms
    Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern).
    [Show full text]
  • Unit 1 Non-Fictional Prose: a Survey
    UNIT 1 NON-FICTIONAL PROSE: A SURVEY Structure I .O Objectives 1.1 Indian Prose Writers 1.2 Post-Independence Prose 1.3 Forms and Varieties of Prose 1.4 Let Us Sum Up 1.5 Suggested Reading 1.0 OBJECTIVES In this unit we shall trace the beginnings of Indian English Non-Fictional Prose. While surveying the field we will document important prose writers of the pre- independence era as also those who are currently writing. You will also be acquainted with the Forms and Varieties of Prose. After reading this unit you will appreciate the fact that whether fictional or non-fictional, prose should be read as closely as verse. 1.1 INDIAN PROSE WRITERS lndian English literature began as a by-product of the Indo-British encounter. Indians first started learning English for the purpose of trade and commerce. Expository+prose writing, letters, and speeches were the first to be published. The first Indian author in English, Dean Mahomet, published his memoirs, The Travels ofDean Mahomet, in 1794. There have been outstanding Indian orators like Vivekananda, Tilak and Srinivasa Sastri. Indians have published biographies, autobiographies, travelogues, and humorous sketches in addition to scholarly monographs in various fields of knowledge. Many of the contemporary novelists and poets have written good prose. But the achievements in poetry and fiction have drawn armtion away from non- fiction prose writings. Dean Mahomed ( 1759- 185 1) was born in 1759 into a fhmily claiming traditions of service to the Mughal Empire. After the death of his fbther, at the age of eleven, he .ioined the East India Company's Bengal Army as a camp follower, and attached h~mselfto an Ensign Godfrey Evan Baker.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • Why Should Anyone Be Familiar with Persian Literature?
    Annals of Language and Literature Volume 4, Issue 1, 2020, PP 11-18 ISSN 2637-5869 Why should anyone be Familiar with Persian Literature? Shabnam Khoshnood1, Dr. Ali reza Salehi2*, Dr. Ali reza Ghooche zadeh2 1M.A student, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran 2Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran *Corresponding Author: Dr. Ali reza Salehi, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran, Email: [email protected] ABSTRACT Literature is a tool for conveying concepts, thoughts, emotions and feelings to others that has always played an important and undeniable role in human life. Literature encompasses all aspects of human life as in love and affection, friendship and loyalty, self-sacrifice, justice and cruelty, manhood and humanity, are concepts that have been emphasized in various forms in the literature of different nations of the world. Poets and writers have endeavored to be heretics in the form of words and sentences and to promote these concepts and ideas to their community. Literature is still one of the most important identifiers of nations and ethnicities that no other factor has been able to capture. As a rich treasure trove of informative and educational material, Persian literature has played an important role in the development and reinforcement of social ideas and values in society, which this mission continues to do best. In this article, we attempt to explain the status of Persian literature and its importance. Keywords: language, literature, human, life, religion, culture. INTRODUCTION possible to educate without using the humanities elite.
    [Show full text]
  • Multiple Literary Cultures in Telugu Court, Temple, and Public
    1 Multiple Literary Cultures in Telugu Court, Temple, and Public istory presupposes a narrative, a story of a process motivated by a causality. And as we have come to realize, such a story H sometimes creates the object it purports to merely describe. There was no such thing as “Telugu literature” as we now understand it before literary historians produced its history in the early decades of the twentieth century for the purpose of teaching it in colleges, or to fill a perceived gap in knowledge. A history of Telugu literature required a beginning, dates for poets and their patrons, a geography of literary pro duction, and a connected narrative, which scholars have worked hard to construct. In this essay I try to avoid such construction. I do not tell a story of events by narrating them chronologically. Instead I give a somewhat loosely connected but interrelated configuration of literary culture as it manifested itself in the geographical area of South India. The gaps that I leave are deliberate. Linguistic and Geographical Boundaries of Telugu Literary Cultures Modern political and linguistic boundaries can create confusion when we talk of literary cultures that pre-date them. It is therefore necessary to remind ourselves that during the premodern period, which is my primary focus in this essay, in many of the geographical locations dis- 27 Published by State University of New York Press, Albany 28 TEXT AND TRADITION IN SOUTH INDIA cussed here Telugu was one of several languages in which literature was being produced. Poets who wrote in Telugu read and interacted with other languages widely used among scholars of their time.
    [Show full text]
  • Roman Prose and Satire. If We Keep to Schedule, We Will Finish with Augustine's Confessions, Selections Actually. So Our Concl
    Roman prose and satire. If we keep to schedule, we will finish with Augustine’s Confessions, selections actually. So our conclusion will bring us from the ancient world to the rise of the West, from the epic journey to the inward struggle to master the self, from the lyrics of Sappho to the lamentations of the fallen. We will work quickly, but thoroughly and systematically. We will define and refine key terms and ideas. We will develop themes and questions. We will work toward some comprehensive thoughts about our literature and the cultures that come with it. Lots of reading, but when it is this good, who doesn’t ask for more? Now the basics: two papers, a midterm and a final, some shorter activities, and lots of dialogue in class. The final will be comprehensive. CATEGORY 1 EH 381, Victorian Literature and Culture (Cat. 1) Ullrich, TTH 12:30-1:50 The Victorians have a terrible problem with PR. Often simplified as repressive, Victorian England was a time of impressive cultural change. The Victorian era was the first era to call into question institutional Christianity on a large scale. Many distinctively “modern” innovations and cultural concepts made significant strides during this time period, including democracy, feminism, unionization of workers, socialism, Marxism. This is the age of Darwin, Marx, and early Freud, as well as Queen Victorian, the Oxford Movement, and Utilitarianism. This course is designed as a survey of the major Victorian writers and the cultural events which transformed the era. The course covers the time period from 1832-1900.
    [Show full text]
  • Modern Iranian Literature: the Historical and Present Development of the Short Story Genre
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 775-784 doi: 10.17265/2159-5836/2016.07.008 D DAVID PUBLISHING Modern Iranian Literature: The Historical and Present Development of the Short Story Genre Oydin Turdiyeva Tashkent State Institute of Oriental Studies, Tashkent, Uzbekistan The following article is about the historical overview of the Persian literature and the emergence and development of the short story as a literary genre and its prominent role in the modern literature of Iran. It discusses the origin of the short story in general and preconditions for the popularity of the new genre the Iranian literature of the 20th century, and also about the first successful collection of short stories that introduced it to the public. Also the development process of the short story and principle factors in every stage of its emergence as an independent genre of prose, as well as the thematic range are the main aspects among others to be analyzed in the article. It is historically documented that the Islamic state was established in 1979 after the fall of the Shah. And the very event had big impact not only on the social and political life of the country, but also on the cultural and literary life of the Iranians of the time. The significance of the revolution was such that it divided the literature to be known as the “pre-revolution” and “post-revolution” periods. Therefore this article is aimed to observe how this historic event had influenced the short story in particular and the distinct features of the works created during the two periods.
    [Show full text]
  • A History of Persian Literature Volume XVII Volumes of a History of Persian Literature
    A History of Persian Literature Volume XVII Volumes of A History of Persian Literature I General Introduction to Persian Literature II Persian Poetry in the Classical Era, 800–1500 Panegyrics (qaside), Short Lyrics (ghazal); Quatrains (robâ’i) III Persian Poetry in the Classical Era, 800–1500 Narrative Poems in Couplet form (mathnavis); Strophic Poems; Occasional Poems (qat’e); Satirical and Invective poetry; shahrâshub IV Heroic Epic The Shahnameh and its Legacy V Persian Prose VI Religious and Mystical Literature VII Persian Poetry, 1500–1900 From the Safavids to the Dawn of the Constitutional Movement VIII Persian Poetry from outside Iran The Indian Subcontinent, Anatolia, Central Asia after Timur IX Persian Prose from outside Iran The Indian Subcontinent, Anatolia, Central Asia after Timur X Persian Historiography XI Literature of the early Twentieth Century From the Constitutional Period to Reza Shah XII Modern Persian Poetry, 1940 to the Present Iran, Afghanistan, Tajikistan XIII Modern Fiction and Drama XIV Biographies of the Poets and Writers of the Classical Period XV Biographies of the Poets and Writers of the Modern Period; Literary Terms XVI General Index Companion Volumes to A History of Persian Literature: XVII Companion Volume I: The Literature of Pre- Islamic Iran XVIII Companion Volume II: Literature in Iranian Languages other than Persian Kurdish, Pashto, Balochi, Ossetic; Persian and Tajik Oral Literatures A HistorY of Persian LiteratUre General Editor – Ehsan Yarshater Volume XVII The Literature of Pre-Islamic Iran Companion Volume I to A History of Persian Literature Edited by Ronald E. Emmerick & Maria Macuch Sponsored by Persian Heritage Foundation (New York) & Center for Iranian Studies, Columbia University Published in 2009 by I.
    [Show full text]
  • A History of Telugu Literature
    THE HERITAGE OF INDIA SERIES lan A P ned by J . N . F R QUHAR , M . A D . Litt . D D . (Aberdeen) . Ri R V . H The ght everend . S AZ AR I A , LL . D a Bishop of Dorn kal . Joi nt K E . C . DEWI C , M . A . (Cantab . ) E ditors . AN LY M a J N C G GU , . A (Birmingh m) , - a Darsan S stri . Already pub li c/zed. f He ar o Bu ism . S . D .Litt . a a The t ddh K J AUNDERS , M A (C nt b . ) i 2 r o f a are se e ra e u P B . Hi o n L ur d ed . E . I A A st y K t t , . R CE , . S e . k a s ud ed . B I I H i . The sam hy y t m , z A ERR EDALE KE T , D . L tt ( Oxo n . ) 2 ed . S . MA AI L . Aso k a , ud JAME M CPH , M A M D in in . 2nd e d . rinc i a Y O u . Indian Pa t g P p l PE R C BR W N , Calc tta f a th S ai . i ra i n s NI O I O . Psalms o M t C L MACN C L , M A , D L tt . f in i i e a u e . r F E . Li . H o H L r . A isto ry d t t . KEAY , M A , D tt a B The Karm A .
    [Show full text]
  • PROSE POETRY: Contemporary Poets in Discussion and Practice Edited by Gary L
    FOR IMMEDIATE RELEASE Contact Kathleen Rooney: (617) 548.9145; [email protected] an independent publisher of hybrid genres Announces the upcoming publication of The Rose Metal Press FIELD GUIDE TO PROSE POETRY: Contemporary Poets in Discussion and Practice Edited by Gary L. McDowell and F. Daniel Rzicznek FEATURING ESSAYS FROM: McDowell FEATURING ESSAYS FROM: Nin Andrews - Joe Bonomo - John Bradley - Nin Andrews – Joe Bonomo – John Bradley – Brigitte Byrd Maxine Chernoff – David Daniel – Denise Duhamel – Nancy Eimers Brigitte Byrd - Maxine Chernoff - David Daniel - Beckian Fritz Goldberg – Ray Gonzalez – Arielle Greenberg • Kevin Griffith – Carol Guess – Maurice Kilwein Guevara – James Harms Rzicznek Denise Duhamel - Nancy Eimers - Beckian Fritz Bob Hicok – Tung-Hui Hu – Christopher Kennedy – David Keplinger Goldberg - Ray Gonzalez - Arielle Greenberg - Gerry LaFemina – David Lazar – Alexander Long – Kathleen McGookey Robert Miltner – Amy Newman – William Olsen – Andrew Michael Roberts Kevin Griffith - Carol Guess - Maurice Kilwein Michael Robins – Mary Ann Samyn – Maureen Seaton – David Shumate Jeffrey Skinner – Mark Wallace – Gary Young Guevara - James Harms - Bob Hicok - Tung- THE ROSE METAL PRESS to Guide Field Hui Hu - Christopher Kennedy - David A wide-ranging gathering of 34 brief essays and 66 prose poems by distinguished Field Guide to practitioners, The Rose Metal Press Field Guide to Prose Poetry is as personal and Keplinger - Gerry LaFemina - David Lazar - provocative, accessible and idiosyncratic as the genre itself. The essayists discuss their craft, influences, and experiences, all while pondering larger questions: Alexander Long - Kathleen McGookey - Robert What is prose poetry? Why write prose poems? With its pioneering introduction, this collection provides a history of the development of the prose poem up to Miltner - Amy Newman - William Olsen - Prose Poetry Prose Prose its current widespread appeal.
    [Show full text]
  • Unit 4 South Asian Literature
    UNIT 4 SOUTH ASIAN LITERATURE Structure Objectives Introduction Survey of South- Asian Literatures in English 4.2.1 Pakistani Literature in English 4.2.2 Sri Lankan Literature in English 4.2.3, Bangladeshi Writing in English 4.2.4 Indian Literature in English 4.2.5 Twentieth Century Developments in Indian English Fiction Postcolonialism 4.3.1 Unravelling Postcolonialism 4.3.2 Postcolonial Literary Analysis and Pedagom 4.3.3 Problems with the Postcolonial Pamdigm Literahire at the Margins - Some Critical Aspects 4.4.1 The Question of the Margin 4.4.2 Women and Literature 4.4.3 Conceptual Challenges Let Us Sum Up Questions Suggested Reading 4.0 OBJECTIVES The primary objective of the unit is to show that the newly emerging literatures in English in South Asia (and the Indian novel, specifically) are the products of complex determinants. The colonial encounter is the foremost determinant for emerging literatures in English in India and the subcontinent. Additionally, the process through which the new nation comes into being; the trauma of partition, the formation of national identities in a situation of political instability all contribute to the vast body of literature, not just in English, but in the regional languages as well. My attempt in this introduction to a representative body of South Asian literature would be to show how literature refracts realities outside its domain and cannot. therefore, be stuched in isolation from them. In this course, you will study Bapsi Sidhwa's partition novel Ice Candy Man, which pulls together some of the issues mentioned above.
    [Show full text]