IGNOU BEGC 106 Solved Assignment 2022-23 : BEGC 106 Solved Assignment 2022 , BEGC 106 Solved Assignment 2022-23, BEGC 106 Assignment 2022-23 , BEGC 106 Assignment, IGNOU BEGC 106 Solved Assignment 2022-23 IGNOU Assignments 2022-23- Gandhi National Open University had recently uploaded the assignments of the present session for MEG Programme for the year 2022-23. Students are recommended to download their Assignments from this webpage itself.
IGNOU BEGC 106 Solved Assignment 2022-23
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Important Note – IGNOU BEGC 106 Solved Assignment 2022-23 You may be aware that you need to submit your assignments before you can appear for the Term End Exams. Please remember to keep a copy of your completed assignment, just in case the one you submitted is lost in transit.
Submission Date :
- 31st March 2023 (if enrolled in the July 2022 Session)
- 30th Sept, 2023 (if enrolled in the January 2023 session).
Section A
Write short notes :
1.
(i) Digital Texts
Ans. Digital text is delivered on a computer or another device to meet the needs of students with sensory, physical, or learning and reading disabilities. Digital text is malleable and, depending on the technology and/or the software that is used, various features that control how the content is presented to the user can be manipulated such as size, fonts, colors, and contrast to accommodate the needs of the learner. Supported reading software with text-to-speech can provide audio and visual components either separately or simultaneously as well as other scaffolded supports like highlighting, dictionaries, and thesauruses.
When digital text is delivered via accessible technologies, it can be of benefit to students with many different types of needs. Those with reading and learning disabilities often benefit from the use of supported reading software. Students with physical disabilities are able to access the content using various assistive technologies. Students who are visually impaired or blind may need the digital text content delivered via the computer as enlarged text on the screen or as refreshable braille.
New technologies combined with digital text make audio-supported reading (ASR) possible. This method is a technology-based approach for accessing and working with text that enables users with visual impairments to listen to voiced text while looking at screen-displayed print or using a refreshable braille device. With sufficient practice, both braille readers and magnified print readers can greatly increase the rate at which they can obtain information from text using ASR. This method also holds great promise for other students with reading and learning disabilities.
(ii) Young Adult Fiction
Ans. Young adult fiction (YA) is a category of fiction written for readers from 12 to 18 years of age. While the genre is targeted at adolescents, approximately half of YA readers are adults.
The subject matter and genres of YA correlate with the age and experience of the protagonist. The genres available in YA are expansive and include most of those found in adult fiction. Common themes related to YA include friendship, first love, relationships, and identity. Stories that focus on the specific challenges of youth are sometimes referred to as problem novels or coming-of-age novels.
Young adult fiction was developed to soften the transition between children’s novels and adult literature.
Young adult fiction is generally described as books written for readers from 12 to 18 years of age. It’s meant to be the next level of reading material after middle-grade fiction and softens the transition to adult fiction. It offers readers stories that are, in general, more emotionally and thematically advanced.
YA isn’t really a genre, but a category of fiction based on readers’ ages. It represents a certain demographic’s level of reading, worldview, and maturity, and exists in many genres such as fantasy, mystery, and science fiction.
It captures the common concepts and emotions that teens usually struggle with, including friendship, finding their identity, and forming romantic relationships.
Most young adult stories focus on adolescents who are beginning their transition into adulthood. They discover hidden aspects of themselves, work through personal problems, and learn to take responsibility for their actions. As such, YA stories are also called coming-of-age stories.
Young adult and adult literature can sometimes be hard to separate, since they often share similar themes, structures, and audiences. But there are key differences that justify their separation into two distinct categories. Below are just a few of their differences.
- Age of the Protagonist
The biggest difference between YA and adult literature is the age of the protagonist. YA protagonists tend to be 12-18 years of age while adult fiction protagonists usually start at 18–30 years old.
This isn’t an absolute rule, though. Many YA novels feature main characters who are over 20 years of age. Conversely, there are also many adult fiction books that have protagonists who can be considered teens.
Many YA books also cross over into adult literature. So while they start as YA, as the characters grow up, elements of the story also change to fit more adult themes.
(iii) Hard Boiled Novels
Ans. Hard-boiled fiction, a tough, unsentimental style of American crime writing that brought a new tone of earthy realism or naturalism to the field of detective fiction. Hard-boiled fiction used graphic sex and violence, vivid but often sordid urban backgrounds, and fast-paced, slangy dialogue. Credit for the invention of the genre belongs to Dashiell Hammett (1894–1961), a former Pinkerton detective and contributor to the pulp magazines, whose first truly hard-boiled story, “Fly Paper,” appeared in Black Mask magazine in 1929. Combining his own experiences with the realistic influence of writers such as Ernest Hemingway and John Dos Passos, Hammett created a definitely American type of detective fiction that was separate and distinct from the English mystery story usually set in a country house populated by cooks, butlers, and relatives, a pattern that had been slavishly followed by American writers for generations. The first of Hammett’s detective novels was Red Harvest (1929). His masterpiece is generally believed to be The Maltese Falcon (1930), which introduced Sam Spade, his most famous sleuth. His most successful story, The Thin Man (1934), was the last of an extraordinary quintet of novels.
Hammett’s innovations were incorporated in the hard-boiled melodramas of James M. Cain (1892–1977), particularly in such early works as The Postman Always Rings Twice (1934) and Double Indemnity (1936). Another successor was Raymond Chandler (1888–1959), whose novels, such as The Big Sleep (1939), Farewell, My Lovely (1940), and The Little Sister (1949), deal with corruption and racketeering in Southern California. Other important writers of the hard-boiled school are George Harmon Coxe (1901–84), author of such thrillers as Murder with Pictures (1935) and Eye Witness (1950), and W.R. Burnett (1899–1982), who wrote Little Caesar (1929) and The Asphalt Jungle (1949). Hard-boiled fiction ultimately degenerated into the extreme sensationalism and undisguised sadism of what Ellery Queen’s Mystery Magazine called the “guts-gore-and-gals-school,” as found in the works of Mickey Spillane, writer of such phenomenal best-sellers as I, the Jury (1947).
(iv) Digna Pattern
Ans. The search for a new form of Dalit Aesthetic is as old as the Dalit Movement. Dalit Art carves out a new regime of Representation. Where for a large part of history, Dalit Art has also been as neglected as Dalits themselves. Wall Art has been itself traditionally connected with the Tribal community. Digna Art which belongs to a specific community of Gond Artists asserts its independence from any art form associated with the dominant culture.
Digna Art is a tribal art practiced by a segment of the Gond community. This art form has a distinctly identifiable iconography. Traditionally, people painted these paintings on the walls and floors of their homes.
Pardhan Gonds, clan belonging to the larger Gond Tribal community in central India serve as Traditional keepers of their Heritage and Lineage-remembering family genealogies, and transmitting Legends, sacred myths and oral histories through songs.
In the early 1980s, artist Jagdish Swaminathan, the founder of Bharat Bhavan sent scouts to rural Madhya Pradesh where they spotted the talent of Jangarh Singh Shyam in remote Patangarh. Swaminathan encouraged Jangarh to use his own realm of imagination and create art on a professional scale. There onwards the art came into its being. Since then many Digna artists have followed his footsteps. The art was traditionally made with mud on the walls or the floors of homes. The fish-scale motif was central to its form. Symbolism is widely used where nothing is perceived literally. A Digna is auspicious and conveys Purity.
IGNOU BEGC 106 Solved Assignment 2022-23
Section B
1. Try and locate Young Adult Literature within Popular Literature.
Ans. Young Adult literature is generally described as books written for an audience of 12-20 year olds. It may also include books primarily written for adults but which have appeal to younger readers.
The CSULB Children’s Collection has a section dedicated to YA Fiction, PZ7.5. Nonfiction written for Young Adults is located throughout the children’s nonfiction collection (Rm 204).
What is the difference between YA and adult literature? One idea: in YA, characters are discovering and pushing boundaries to discover themselves, in adult lit, characters tend to be constrained by those limits and are living within them.
Young Adult Literature is a genre that is separate from Children’s Literature. It emerged in the twentieth century when teenagers became a powerful force of the economy in the 1930s and gained prominence in the sixties.
The following excerpts are taken from Michael Cart’s white paper titled The Value of Young Adult Literature which was adopted by the Young Adult Library Services Association’s (YALSA) Board of Directors in 2008.
The term “young adult literature” is inherently amorphous, for its constituent terms “young adult” and “literature” are dynamic, changing as culture and society – which provide their context – change. When the term first found common usage in the late 1960’s, it referred to realistic fiction that was set in the real (as opposed to imagined), contemporary world and addressed problems, issues, and life circumstances of interest to young readers aged approximately 12-18…
“Literature,” which traditionally meant fiction, has also expanded to include new forms of literary – or narrative – nonfiction and new forms of poetry, including novels and book-length works of nonfiction in verse. The increasing importance of visual communication has begun to expand this definition to include the pictorial as well, especially when offered in combination with text as in the case of picture books, comics, and graphic novels and nonfiction.
As a result of these newly expansive terms, the number of books being published for this audience have similarly increased, perhaps by as much as 25 percent, based on the number of titles being reviewed by a leading journal. Similarly, industry analyst Albert Greco states that the sale of young adult books increased by 23 percent from 1999-2005
Though once dismissed as a genre consisting of little more than problem novels and romances, young adult literature has, since the mid-1990’s, come of age as literature – literature that welcomes artistic innovation, experimentation, and risk-taking.”
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IGNOU BEGC 106 Solved Assignment 2022-23
2. Comment on the relationship between the Lion and the Unicorn in Through the Looking Glass.
Ans. Alice sees soldiers and horses running through the forest as she walks into the wood. She comes across the White King, who is jotting notes down in his memorandum book. He delightedly tells Alice that he has sent out all of his horses and men, with the exception of two horses needed for “the game,” and his messengers, Haigha and Hatta, who are in town on errands. The White King asks Alice if she passed Haigha or Hatta on the road, but she declares that she has seen nobody. The White King expresses amazement that she can see “Nobody” at all, admitting that he has difficulty seeing real people. Confused, Alice looks around, and finally catches sight of Haigha wriggling toward them. When Haigha (the March Hare) arrives, the White King asks him for a hand sandwich. After devouring the sandwich, the White King munches on hay given to him by Haigha and asks his messenger if he passed anyone on the road. Haigha says he passed “nobody,” prompting the White King to declare that Alice saw Nobody too, and that Nobody must be a slow walker. Haigha asserts that he is sure that nobody walks faster than he does. The White King disagrees, explaining that Nobody would be with them now if Nobody did indeed walk faster.
Haigha informs the White King that the Lion and the Unicorn are fighting in town. As they run to town to watch, Alice repeats a nursery rhyme about the Lion and the Unicorn. In the rhyme, the Lion and the Unicorn fight for a crown, stop to eat bread and cake, and are then drummed out of town. When they arrive in town, Alice and her companions stand with Hatta (the Mad Hatter). Hatta informs them of the events of the fight thus far. The Lion and the Unicorn stop their fighting for a moment. The White King calls for a refreshment break, so Hatta and Haigha pass bread around. Alice notices the White Queen dart through, observing that someone seems to be chasing her. The White King realizes that Alice has caught sight of the White Queen and points out that she runs so quickly that following her would be fruitless.
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3. Analyse Funny Boy as a bildungsroman.
Ans. Shyam Selvadurai’s remarkable debut novel Funny Boy serves as a bildungsroman (a novel dealing with one person’s psychological and moral growth) about a boy named Arjie (the protagonist), who discovers his sexuality in the midst of the political turmoil in Sri Lanka. It is a bittersweet journey of attaining maturity and of the sexual awakening of a child.
This novel consists of six chapters, each chapter dealing with the commotion in the life of the adults and what impact it leaves on Arjie’s life. It is through his eyes the story unfolds and we meet the delightful yet sometimes whimsical demeanour of the characters. These six chapters reveal aspects of adult life to Arjie and largely contribute to the story of the novel. This ‘coming to age’ novel shows the inner confusion and self-doubt of a child over his identity and the realisation of his true self. The author emphasises on the reaction of people i.e., calling something ‘funny’ that seems unusual to them.
This novel focuses on a lot more than just sexuality. It takes us on a journey from the luminous simplicity of childhood to the obscure shaded world of adults. It rings in Arjie’s reactions to this enigmatic yet unintelligible world of grown-ups. The forlorn breaking of expectations, 7-year-old Arjie losing his innocence and reality striking his love-comic world – would leave an everlasting impact on him. Selvadurai very subtly puts forth the issues of gender dynamics, marriage, politics and minority communities through a child’s perspective. We get a look into how issues like meeting a person from another community, being and acting ‘like a man’ and not being allowed to play bride-bride start making sense to him.
Selvadurai’s choice of narrating the story through a child’s perspective makes the readers question the ingrained hypocrisy in the very foundation of knowledge and cultural learning. It is through Arjie’s clean-slate mind that the author shows the ridiculousness of these pre-assigned norms. As well as the suffocation he feels when these norms are imposed on him. Every chapter of the novel unfolds a different societal issue, making one realise the triviality of these issues and the importance that one should provide them. It gives the readers a sense of acceptance for one’s own sexual identity and promotes body positivity simultaneously. Arjie’s personal situation and the inner fight for identity shows the depravity of knowledge about such important issues in society.
IGNOU BEGC 106 Solved Assignment 2022-23
4. Examine the role and significance of the narrative voice in “The Ones Who Walk Away From
Omelas.”
Ans. “The Ones Who Walk Away from Omelas” is told from the point of view of a first-person narrator. The narrator is not an active participant in the story and does not have any special insight into the characters’ perceptions. Since the narrator invites the reader to take part in the description of Omelas, he/she is not an objective or reliable observer. For example, toward the beginning of the story, the narrator states: “I wish I could describe [Omelas] better. I wish I could convince you. Omelas sounds in my words like a city in a fairy tale, long ago and far away, once upon a time. Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion, for certainly I cannot suit you all.” Since readers are asked to develop their own perceptions of Omelas, they are implicated in the creation of Omelas as well as in the horrible situation on which the society rests.
Le Guin manipulates the narrative, and therefore the reader, by shifting tenses throughout the story. In the first paragraph, the narrator describes the festival in the past tense. As the narrator begins to describe Omelas in more detail, he/she moves to the conditional tense, a verb tense which is subject to or dependent on a condition. In this case, the reality of Omelas is dependent on the involvement of the reader. Finally, after the third paragraph, the narrative shifts to the present tense. Consequently, as Shoshanna Knapp writes in The Journal of Narrative Technique, the reader becomes “stuck in the story, to be set free only when a few of the people of Omelas stride out of the land and the story, headed for a country that the narrator cannot describe and that, consequently, may not ’exist.’” The narrator’s use of the pronoun “it” to describe the child also adds to the manipulation of the reader because it makes the child seem less than human. Therefore, it is easier for readers to justify the mistreatment and abuse of the child.
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IGNOU Instructions for the BEGC 106 American Literature
IGNOU BEGC 106 Solved Assignment 2022-23 Before attempting the assignment, please read the following instructions carefully.
- Read the detailed instructions about the assignment given in the Handbook and Programme Guide.
- Write your enrolment number, name, full address and date on the top right corner of the first page of your response sheet(s).
- Write the course title, assignment number and the name of the study centre you are attached to in the centre of the first page of your response sheet(s).
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- Write the relevant question number with each answer.
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GUIDELINES FOR IGNOU Assignments 2022-23
BEGC 106 Solved Assignment 2022-23 You will find it useful to keep the following points in mind:
- Planning: Read the questions carefully. IGNOU BEGC 106 Solved Assignment 2022-23 Download PDF Go through the units on which they are based. Make some points regarding each question and then rearrange these in a logical order. And please write the answers in your own words. Do not reproduce passages from the units.
- Organisation: Be a little more selective and analytic before drawing up a rough outline of your answer. In an essay-type question, give adequate attention to your introduction and conclusion. IGNOU BEGC 106 Solved Assignment 2022-23 Download PDF The introduction must offer your brief interpretation of the question and how you propose to develop it. The conclusion must summarise your response to the question. In the course of your answer, you may like to make references to other texts or critics as this will add some depth to your analysis.
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BEGC 106 Handwritten Assignment 2022-23
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