Renaissance Impact on Drama
The Renaissance exercised a great influence on the course of the English drama. It is under
its influence that the moralities underwent a kind of change and evolved into a form of drama
called Interlude. The regular English drama is the product of the Renaissance. In comedy the
principle influences of the dramas were of Plautus and Terence.
The most important comedy in English was Ralph Roister Doister (Nicholas Udall)
and Gammer Gurton’s Needle (anonymous). They were deeply influenced was the by
Plautus and Terence. They were divided into five acts.
In Tragedy the principal influence were the tragedies of Seneca.The first English
Tragedy 'Gorboduc' is modeled on Seneca. It is divided into five acts and each act ends
with a chorus, in imitation of the Senecan Tragedy.
The influence of the Renaissance is very clearly seen in the dramas of the University
Wits - Marlowe, Lyly, Robert Greene, Peele, Nash, Lodge and Kyd. The typicalRenaissance spirit is reflected in the plays of Marlowe – 'Tamburlaine', 'Jew of Malta',
'Edward IV' and 'Doctor Faustus'.
The Renaissance exercised a great influence on the course of the English drama. It is under
its influence that the moralities underwent a kind of change and evolved into a form of drama
called Interlude. The regular English drama is the product of the Renaissance. In comedy the
principle influences of the dramas were of Plautus and Terence.
The most important comedy in English was Ralph Roister Doister (Nicholas Udall)
and Gammer Gurton’s Needle (anonymous). They were deeply influenced was the by
Plautus and Terence. They were divided into five acts.
In Tragedy the principal influence were the tragedies of Seneca.The first English
Tragedy 'Gorboduc' is modeled on Seneca. It is divided into five acts and each act ends
with a chorus, in imitation of the Senecan Tragedy.
The influence of the Renaissance is very clearly seen in the dramas of the University
Wits - Marlowe, Lyly, Robert Greene, Peele, Nash, Lodge and Kyd. The typicalRenaissance spirit is reflected in the plays of Marlowe – 'Tamburlaine', 'Jew of Malta',
'Edward IV' and 'Doctor Faustus'.
*Robert Frost: Poems Summary and Analysis of "The Road Not Taken" (1916)*
The narrator comes upon a fork in the road while walking through a yellow wood. He considers both paths and concludes that each one is equally well-traveled and appealing. After choosing one of the roads, the narrator tells himself that he will come back to this fork one day in order to try the other road. However, he realizes that it is unlikely that he will ever have the opportunity to come back to this specific point in time because his choice of path will simply lead to other forks in the road (and other decisions). The narrator ends on a nostalgic note, wondering how different things would have been had he chosen the other path.
*Analysis*
This poem is made up of four stanzas of five lines, each with a rhyme scheme of ABAAB.
Along with “Stopping by Woods on a Snowy Evening,” this poem is one of Frost’s most beloved works and is frequently studied in high school literature classes. Since its publication, many readers have analyzed the poem as a nostalgic commentary on life choices. The narrator decided to seize the day and express himself as an individual by choosing the road that was “less traveled by.” As a result of this decision, the narrator claims, his life was fundamentally different that it would have been had he chosen the more well-traveled path.
This reading of the poem is extremely popular because every reader can empathize with the narrator’s decision: having to choose between two paths without having any knowledge of where each road will lead. Moreover, the narrator’s decision to choose the “less traveled” path demonstrates his courage. Rather than taking the safe path that others have traveled, the narrator prefers to make his own way in the world.
However, when we look closer at the text of the poem, it becomes clear that such an idealistic analysis is largely inaccurate. The narrator only distinguishes the paths from one another after he has already selected one and traveled many years through life. When he first comes upon the fork in the road, the paths are described as being fundamentally identical. In terms of beauty, both paths are equally “fair,” and the overall “…passing there / Had worn them really about the same.”
It is only as an old man that the narrator looks back on his life and decides to place such importance on this particular decision in his life. During the first three stanzas, the narrator shows no sense of remorse for his decision nor any acknowledgement that such a decision might be important to his life. Yet, as an old man, the narrator attempts to give a sense of order to his past and perhaps explain why certain things happened to him. Of course, the excuse that he took the road “less traveled by” is false, but the narrator still clings to this decision as a defining moment of his life, not only because of the path that he chose but because he had to make a choice
The narrator comes upon a fork in the road while walking through a yellow wood. He considers both paths and concludes that each one is equally well-traveled and appealing. After choosing one of the roads, the narrator tells himself that he will come back to this fork one day in order to try the other road. However, he realizes that it is unlikely that he will ever have the opportunity to come back to this specific point in time because his choice of path will simply lead to other forks in the road (and other decisions). The narrator ends on a nostalgic note, wondering how different things would have been had he chosen the other path.
*Analysis*
This poem is made up of four stanzas of five lines, each with a rhyme scheme of ABAAB.
Along with “Stopping by Woods on a Snowy Evening,” this poem is one of Frost’s most beloved works and is frequently studied in high school literature classes. Since its publication, many readers have analyzed the poem as a nostalgic commentary on life choices. The narrator decided to seize the day and express himself as an individual by choosing the road that was “less traveled by.” As a result of this decision, the narrator claims, his life was fundamentally different that it would have been had he chosen the more well-traveled path.
This reading of the poem is extremely popular because every reader can empathize with the narrator’s decision: having to choose between two paths without having any knowledge of where each road will lead. Moreover, the narrator’s decision to choose the “less traveled” path demonstrates his courage. Rather than taking the safe path that others have traveled, the narrator prefers to make his own way in the world.
However, when we look closer at the text of the poem, it becomes clear that such an idealistic analysis is largely inaccurate. The narrator only distinguishes the paths from one another after he has already selected one and traveled many years through life. When he first comes upon the fork in the road, the paths are described as being fundamentally identical. In terms of beauty, both paths are equally “fair,” and the overall “…passing there / Had worn them really about the same.”
It is only as an old man that the narrator looks back on his life and decides to place such importance on this particular decision in his life. During the first three stanzas, the narrator shows no sense of remorse for his decision nor any acknowledgement that such a decision might be important to his life. Yet, as an old man, the narrator attempts to give a sense of order to his past and perhaps explain why certain things happened to him. Of course, the excuse that he took the road “less traveled by” is false, but the narrator still clings to this decision as a defining moment of his life, not only because of the path that he chose but because he had to make a choice
List of 25 coined words of twentieth century writers :
This post lists a number of words that were introduced to the English lexicon by novelists and other writers during the twentieth century.
1. beep: Scientist and novelist Arthur C. Clarke came up with this onomatopoeic word for a small, high-pitched signal.
2. blurb: Humorist Gelet Burgess coined this term for a short piece of promotional copy.
3. catch-22: Novelist Joseph Heller named his best-known novel after his term for the concept of a lose-lose predicament.
4. cojones: Novelist Ernest Hemingway borrowed the Spanish word meaning “testicles” to refer to courage.
5. cyberspace: Novelist William Gibson combined the extant prefix cyber with space to describe an online environment.
6. debunk: Novelist William E. Woodward created this word to describe the concept of disproving fraudulent claims.
7. doublethink: Novelist George Orwell named the concept of having contradictory simultaneous ideas.
8. dreamscape: Poet Sylvia Plath came up with this word for a dreamlike scene.
9. factoid: Novelist Norman Mailer coined this term for an invented fact or a false claim that becomes accepted as fact; by extension, it has also come to refer to a trivial fact.
10. groupthink: Writer William H. Whyte coined this word, which refers to self-deceiving conformity, on the model of doublethink.
11. litterbug: Writer Alice Rush McKeon came up with this term for people who carelessly drop litter.
12. meme: Scientist Richard Dawkins coined this term for behaviors, ideas, or styles passed between people; it is now widely associated with images from popular culture that express a concept.
13. microcomputer: Scientist and novelist Isaac Asimov attached a prefix meaning “very small” to computer to create a word for a portable computing device.
14. nerd: Writer Dr. Seuss gave no definition for this nonsense word he coined and did not associate it with any of his illustrations, but it came to refer to a socially inept person, especially one with advanced academic or intellectual skills but poor social skills.
15. nymphet: Novelist Vladimir Nabokov came up with this word for a sexually precocious pubescent girl; by extension, it came to apply to an attractive young woman.
16. piehole: Novelist Stephen King introduced this slang for the mouth, with the connotation that someone associated with the word (as when told, “Shut your piehole”) should use one’s mouth only for eating because the thoughts the person voices with it are not worthwhile for anyone to hear.
17. quark: Scientist Murray Gell-Mann, inspired by writer James Joyce’s use of the word in its existing sense of “a fermented dairy product resembling cottage cheese,” adopted the spelling of that word for a term he had coined that referred to a type of subatomic particle.
18. robot: The brother of Czech writer Karel Čapek suggested that he use robota, Czech for “forced labor,” as a name for machines that resemble and perform tasks normally carried out by humans; it was translated into English as robot, and Isaac Asimov came up with the noun robotics to refer to the science behind such machines, as well as the adjective robotic.
19. scaredy-cat: Satirist Dorothy Parker came up with this slang word for a timid person.
20. superman: Playwright George Bernard Shaw translated philosopher Friedrich Nietzche’s term Übermensch for the title of his play Man and Superman; the word also applies generically to a person with extraordinary abilities as well as to the superhero of that name.
21. tightwad: Humorist George Ade used this term in a colloquial retelling of fairy tales.
22. tween: Philologist and novelist J. R. R. Tolkien coined this word to describe hobbit adolescence, alluding to the span of life known as the twenties (hobbits came of age in their early thirties), but it later arose independently as a truncation of between to refer to the transitional years between childhood and adolescence.
23. unputdownable: Mystery writer Raymond Chandler came up with this word for a compelling read.
24. whodunit: Book critic Donal
This post lists a number of words that were introduced to the English lexicon by novelists and other writers during the twentieth century.
1. beep: Scientist and novelist Arthur C. Clarke came up with this onomatopoeic word for a small, high-pitched signal.
2. blurb: Humorist Gelet Burgess coined this term for a short piece of promotional copy.
3. catch-22: Novelist Joseph Heller named his best-known novel after his term for the concept of a lose-lose predicament.
4. cojones: Novelist Ernest Hemingway borrowed the Spanish word meaning “testicles” to refer to courage.
5. cyberspace: Novelist William Gibson combined the extant prefix cyber with space to describe an online environment.
6. debunk: Novelist William E. Woodward created this word to describe the concept of disproving fraudulent claims.
7. doublethink: Novelist George Orwell named the concept of having contradictory simultaneous ideas.
8. dreamscape: Poet Sylvia Plath came up with this word for a dreamlike scene.
9. factoid: Novelist Norman Mailer coined this term for an invented fact or a false claim that becomes accepted as fact; by extension, it has also come to refer to a trivial fact.
10. groupthink: Writer William H. Whyte coined this word, which refers to self-deceiving conformity, on the model of doublethink.
11. litterbug: Writer Alice Rush McKeon came up with this term for people who carelessly drop litter.
12. meme: Scientist Richard Dawkins coined this term for behaviors, ideas, or styles passed between people; it is now widely associated with images from popular culture that express a concept.
13. microcomputer: Scientist and novelist Isaac Asimov attached a prefix meaning “very small” to computer to create a word for a portable computing device.
14. nerd: Writer Dr. Seuss gave no definition for this nonsense word he coined and did not associate it with any of his illustrations, but it came to refer to a socially inept person, especially one with advanced academic or intellectual skills but poor social skills.
15. nymphet: Novelist Vladimir Nabokov came up with this word for a sexually precocious pubescent girl; by extension, it came to apply to an attractive young woman.
16. piehole: Novelist Stephen King introduced this slang for the mouth, with the connotation that someone associated with the word (as when told, “Shut your piehole”) should use one’s mouth only for eating because the thoughts the person voices with it are not worthwhile for anyone to hear.
17. quark: Scientist Murray Gell-Mann, inspired by writer James Joyce’s use of the word in its existing sense of “a fermented dairy product resembling cottage cheese,” adopted the spelling of that word for a term he had coined that referred to a type of subatomic particle.
18. robot: The brother of Czech writer Karel Čapek suggested that he use robota, Czech for “forced labor,” as a name for machines that resemble and perform tasks normally carried out by humans; it was translated into English as robot, and Isaac Asimov came up with the noun robotics to refer to the science behind such machines, as well as the adjective robotic.
19. scaredy-cat: Satirist Dorothy Parker came up with this slang word for a timid person.
20. superman: Playwright George Bernard Shaw translated philosopher Friedrich Nietzche’s term Übermensch for the title of his play Man and Superman; the word also applies generically to a person with extraordinary abilities as well as to the superhero of that name.
21. tightwad: Humorist George Ade used this term in a colloquial retelling of fairy tales.
22. tween: Philologist and novelist J. R. R. Tolkien coined this word to describe hobbit adolescence, alluding to the span of life known as the twenties (hobbits came of age in their early thirties), but it later arose independently as a truncation of between to refer to the transitional years between childhood and adolescence.
23. unputdownable: Mystery writer Raymond Chandler came up with this word for a compelling read.
24. whodunit: Book critic Donal
d Gordon described a mystery novel with this word.
25. workaholic: Psychologist Wayne E. Oates coined this term on the model of alcoholic; although it was not the first -aholic coinage, its popularity inspired many similar constructions.
25. workaholic: Psychologist Wayne E. Oates coined this term on the model of alcoholic; although it was not the first -aholic coinage, its popularity inspired many similar constructions.
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Michel Foucault's theories primarily address the relationship between power and knowledge, and how they are used as a form of social control through societal institutions. Though often cited as a post-structuralist and postmodernist, Foucault rejected these labels.His thought has influenced academics, especially those working in communication studies, anthropology, sociology, criminology, cultural studies, literary theory, feminism, and critical theory.
Notable work
Madness and Civilization (1961)
The Order of Things (1966)
Discipline and Punish (1975)
The History of Sexuality (1976)
Foucault's discussions of the relationship between power and knowledge has influenced postcolonial critiques in explaining the discursive formation of colonialism, particularly in Edward Said's work Orientalism.
Notable work
Madness and Civilization (1961)
The Order of Things (1966)
Discipline and Punish (1975)
The History of Sexuality (1976)
Foucault's discussions of the relationship between power and knowledge has influenced postcolonial critiques in explaining the discursive formation of colonialism, particularly in Edward Said's work Orientalism.
Arms and the man
By G.B Shaw
The play begins in the fall of 1885 during the Serbo-Bulgarian War. Raina, a Bulgarian woman from a wealthy family, learns from her mother, Catherine, that the Bulgarian cavalry have won a battle against the Serbs. Catherine adds that Sergius, Raina’s fiancé, was at the head of the charge, and was as heroic in life as he appears in the picture Raina keeps in her bedroom. Louka, their servant, enters and warns Catherine and Raina that escaped Serbs fleeing the battlefield might be in the area, seeking refuge in the houses of Bulgarian families. Raina is not worried, and chooses to keep her window unlocked. In the night, a man enters the room through the unlocked window and says he will kill Raina if she makes a noise. The man is Swiss and an escaped soldier, fighting as a mercenary for the Serbians.
Raina is shocked to see that the man is tired and hungry, that he does not glorify battle, and that he is merely happy to have escaped the carnage alive. Raina helps him hide behind a curtain just as Catherine, Louka, and a Bulgarian officer enter to search the room for any Serbs who might be hiding in the area. Raina convinces them that no one is in her room, and they leave. Raina gives the man chocolate creams, which she keeps in a box in her room, and is shocked to hear that the man has no ammunition for his pistol, as he normally only keeps candies in his pockets. The man argues that Sergius’s cavalry charge against the Serbs was foolish, and succeeded only by sheer luck. The Serbs had machine guns but were given the wrong ammunition by accident, and therefore could not mow down Sergius and his men. Raina agrees to help the man escape later that night, though she rebukes him for making fun of her fiancé Sergius. The man sleeps as Raina enlists Catherine’s help, and when Raina and Catherine return, they allow the man to rest since he has not slept for days.
The second act begins in the garden of the same house, though it is now spring of 1886. Louka is engaged to the house’s head male servant, Nicola. Louka tells Nicola that he will never be more than a servant, and that she has higher aspirations. Louka tells him she knows many secrets about the Petkoff family, and Nicola says that he does, too, but would never blackmail his masters. Major Petkoff, the head of the family, returns from the war. He reports to Catherine that Sergius will never receive the military promotion Sergius craves, because Sergius has no command of military strategy. Sergius enters and is greeted warmly by the family, and especially by Raina, who still considers him a hero. Sergius says he has abandoned his commission in the army out of anger that he will never move up in the ranks. Sergius and Petkoff tell a story they heard about this Swiss soldier being hidden by two Bulgarian women during the soldier’s retreat. Catherine and Raina realize the story is about them, but do not say anything.
Sergius speaks with Louka in private, and begins flirting with her. Louka reveals to Sergius that Raina might not remain faithful to Sergius, and Sergius is taken aback. They exit. A man named Bluntschli enters the family garden and Louka brings him to Catherine. Catherine realizes that he is the man that hid in Raina’s room, the same man that she and Raina helped escape. Catherine worries that Sergius and Petkoff, who are conferring over military plans in the library, might encounter the soldier. Sergius and Petkoff have no idea that the story they heard about a soldier being helped by two Bulgarian women involves the Petkoffs. Bluntschli has come to return Major Petkoff’s coat that Catherine and Raina lent him to escape. Raina is so happy to see him that she blurts out, “the chocolate cream soldier!” when she walks in the room, only to recover herself and blame her outburst, implausibly, on Nicola. Petkoff and Sergius, who have in fact already met Bluntschli during the war, ask Bluntschli to stay and pass the time.
In the final act, the various tensions of the play thus far are exposed. Louka tells Sergius that the man with whom
By G.B Shaw
The play begins in the fall of 1885 during the Serbo-Bulgarian War. Raina, a Bulgarian woman from a wealthy family, learns from her mother, Catherine, that the Bulgarian cavalry have won a battle against the Serbs. Catherine adds that Sergius, Raina’s fiancé, was at the head of the charge, and was as heroic in life as he appears in the picture Raina keeps in her bedroom. Louka, their servant, enters and warns Catherine and Raina that escaped Serbs fleeing the battlefield might be in the area, seeking refuge in the houses of Bulgarian families. Raina is not worried, and chooses to keep her window unlocked. In the night, a man enters the room through the unlocked window and says he will kill Raina if she makes a noise. The man is Swiss and an escaped soldier, fighting as a mercenary for the Serbians.
Raina is shocked to see that the man is tired and hungry, that he does not glorify battle, and that he is merely happy to have escaped the carnage alive. Raina helps him hide behind a curtain just as Catherine, Louka, and a Bulgarian officer enter to search the room for any Serbs who might be hiding in the area. Raina convinces them that no one is in her room, and they leave. Raina gives the man chocolate creams, which she keeps in a box in her room, and is shocked to hear that the man has no ammunition for his pistol, as he normally only keeps candies in his pockets. The man argues that Sergius’s cavalry charge against the Serbs was foolish, and succeeded only by sheer luck. The Serbs had machine guns but were given the wrong ammunition by accident, and therefore could not mow down Sergius and his men. Raina agrees to help the man escape later that night, though she rebukes him for making fun of her fiancé Sergius. The man sleeps as Raina enlists Catherine’s help, and when Raina and Catherine return, they allow the man to rest since he has not slept for days.
The second act begins in the garden of the same house, though it is now spring of 1886. Louka is engaged to the house’s head male servant, Nicola. Louka tells Nicola that he will never be more than a servant, and that she has higher aspirations. Louka tells him she knows many secrets about the Petkoff family, and Nicola says that he does, too, but would never blackmail his masters. Major Petkoff, the head of the family, returns from the war. He reports to Catherine that Sergius will never receive the military promotion Sergius craves, because Sergius has no command of military strategy. Sergius enters and is greeted warmly by the family, and especially by Raina, who still considers him a hero. Sergius says he has abandoned his commission in the army out of anger that he will never move up in the ranks. Sergius and Petkoff tell a story they heard about this Swiss soldier being hidden by two Bulgarian women during the soldier’s retreat. Catherine and Raina realize the story is about them, but do not say anything.
Sergius speaks with Louka in private, and begins flirting with her. Louka reveals to Sergius that Raina might not remain faithful to Sergius, and Sergius is taken aback. They exit. A man named Bluntschli enters the family garden and Louka brings him to Catherine. Catherine realizes that he is the man that hid in Raina’s room, the same man that she and Raina helped escape. Catherine worries that Sergius and Petkoff, who are conferring over military plans in the library, might encounter the soldier. Sergius and Petkoff have no idea that the story they heard about a soldier being helped by two Bulgarian women involves the Petkoffs. Bluntschli has come to return Major Petkoff’s coat that Catherine and Raina lent him to escape. Raina is so happy to see him that she blurts out, “the chocolate cream soldier!” when she walks in the room, only to recover herself and blame her outburst, implausibly, on Nicola. Petkoff and Sergius, who have in fact already met Bluntschli during the war, ask Bluntschli to stay and pass the time.
In the final act, the various tensions of the play thus far are exposed. Louka tells Sergius that the man with whom
Raina is in love is Bluntschli. Sergius challenges Bluntschli to a duel because of this, but Bluntschli explains his way out of it. A picture of herself that Raina placed in her father’s cloak for Bluntschli to find is exposed, proving that Raina has not been entirely truthful to Sergius. Raina admits that she has had feelings for Bluntschli since they first met. Major Petkoff is aghast. When Bluntschli acknowledges that he has loved Raina, Sergius and Louka reveal that they have been having a secret affair at Sergius’ instigation, and Nicola releases Louka from their engagement. Bluntschli, whose father has just died, has come into a great deal of money, so Raina’s parents are glad to marry her off to him and his handsome fortune. Raina is revealed to be twenty-three rather than seventeen, enabling Bluntschli in good conscience to ask for her hand in marriage. Bluntschli promises to hire Nicola, whom he admires, to run the hotels he has just received as part of his inheritance. Sergius accepts Louka has his lover in public, thus satisfying Louka’s desire to move up in the social ranks. The play ends with Sergius exclaiming, of Bluntschli, “What a man!”
Preparation schedule for Net Set Jrf..... English...
Week 1 (Day 1-7) General topics
Ancient/ Classical Drama (3 Days)
History of English Literature and Language (3 Days)
Chaucer to Shakespeare (1 Day)
Week 2 (Day 8-14) Unit I: Drama
Shakespeare and his Contemporaries (3 Days)
Jacobean Drama (2 Day)
Revise what you studied so far (2 Days)
Week 3 (Day 15-21) Unit I: Drama
Jacobean Drama (1 Day)
17th and 18th Century Drama (2 Days)
The theatre from 1901–45 (2 Days)
Modern drama (2 Days)
Week 4 (Day 22-28) Unit I: Drama
American and other Non- British Drama (3 Days)
Revise Unit I (4 Days)
Week 5 (Day 8-14) Unit II: Poetry
Canterbury Tales (2 Days)
Elizabethan Poetry (3 Days)
Revise Poetry covered so far (2 Days)
Week 6 (Day 8-14) Unit II: Poetry
Jacobean, Restoration and Augustan poetry (2 Days)
Romantic poetry (3 Days)
Solve Previous Year Papers (2 Days)
Week 7 (Day 8-14) Unit II: Poetry
Romantic poetry (1 Day)
Victorian Poetry (4 Days)
Contemporary Poetry and War Poets (2 Days)
Week 8 (Day 8-14) Unit II: Poetry
Modern Poetry (3 Days)
American and other non-British poets (3)
Revise Unit II (1 Day)
Week 9 (Day 8-14) Unit- III: Fiction, short story
Early Novels [Thomas Moore’s Utopia, etc.] (1 Day)
Novels of the Romantic Period (3 Day)
Victorian Novels (3 Days)
Week 10 (Day 8-14) Unit- III: Fiction, short story Unit- IV: Non-Fictional Prose
Victorian Novels (1 day)
British Short Stories (2 Days)
American Short Stories (2 days)
Unit IV (2 Days)
Week 11 (Day 8-14) Unit- IV: Non-Fictional Prose Unit- V: Language: Basic concepts, theories and pedagogy. English in Use.
Unit IV (3 Days)
Unit V (3 Days)
Solve Previous Year Papers (1 Day)
Week 12 (Day 8-14) Unit- VI: English in India: history, evolution and futures.
Unit 6 (4 days)
Revise Poetry (2 Days)
Solve Past Year Question Paper (1 Day)
Week 13 (Day 8-14) Unit- VII: Cultural Studies
Unit VII (4 Days)
Revise Unit 3 (3 Days)
Week 14 (Day 8-14) Unit- VIII: Literary Criticism
Unit VIII (5 Days)
Attempt Mock Tests (2 Day)
Week 15 (Day 8-14) Unit- IX: Literary Theory post World War II
Unit IX (4 Days)
Google major contemporary writers and their works across the world (1 Day)
Revise Units V, VI and VII (2 Days)
Week 16 (Day 8-14) Unit- X: Research Methods and Materials in English
Unit X (1 Day)
Revise Units VIII & IX (2 Days)
Revise Units I and II (2 Days)
Revise Units III
Week 1 (Day 1-7) General topics
Ancient/ Classical Drama (3 Days)
History of English Literature and Language (3 Days)
Chaucer to Shakespeare (1 Day)
Week 2 (Day 8-14) Unit I: Drama
Shakespeare and his Contemporaries (3 Days)
Jacobean Drama (2 Day)
Revise what you studied so far (2 Days)
Week 3 (Day 15-21) Unit I: Drama
Jacobean Drama (1 Day)
17th and 18th Century Drama (2 Days)
The theatre from 1901–45 (2 Days)
Modern drama (2 Days)
Week 4 (Day 22-28) Unit I: Drama
American and other Non- British Drama (3 Days)
Revise Unit I (4 Days)
Week 5 (Day 8-14) Unit II: Poetry
Canterbury Tales (2 Days)
Elizabethan Poetry (3 Days)
Revise Poetry covered so far (2 Days)
Week 6 (Day 8-14) Unit II: Poetry
Jacobean, Restoration and Augustan poetry (2 Days)
Romantic poetry (3 Days)
Solve Previous Year Papers (2 Days)
Week 7 (Day 8-14) Unit II: Poetry
Romantic poetry (1 Day)
Victorian Poetry (4 Days)
Contemporary Poetry and War Poets (2 Days)
Week 8 (Day 8-14) Unit II: Poetry
Modern Poetry (3 Days)
American and other non-British poets (3)
Revise Unit II (1 Day)
Week 9 (Day 8-14) Unit- III: Fiction, short story
Early Novels [Thomas Moore’s Utopia, etc.] (1 Day)
Novels of the Romantic Period (3 Day)
Victorian Novels (3 Days)
Week 10 (Day 8-14) Unit- III: Fiction, short story Unit- IV: Non-Fictional Prose
Victorian Novels (1 day)
British Short Stories (2 Days)
American Short Stories (2 days)
Unit IV (2 Days)
Week 11 (Day 8-14) Unit- IV: Non-Fictional Prose Unit- V: Language: Basic concepts, theories and pedagogy. English in Use.
Unit IV (3 Days)
Unit V (3 Days)
Solve Previous Year Papers (1 Day)
Week 12 (Day 8-14) Unit- VI: English in India: history, evolution and futures.
Unit 6 (4 days)
Revise Poetry (2 Days)
Solve Past Year Question Paper (1 Day)
Week 13 (Day 8-14) Unit- VII: Cultural Studies
Unit VII (4 Days)
Revise Unit 3 (3 Days)
Week 14 (Day 8-14) Unit- VIII: Literary Criticism
Unit VIII (5 Days)
Attempt Mock Tests (2 Day)
Week 15 (Day 8-14) Unit- IX: Literary Theory post World War II
Unit IX (4 Days)
Google major contemporary writers and their works across the world (1 Day)
Revise Units V, VI and VII (2 Days)
Week 16 (Day 8-14) Unit- X: Research Methods and Materials in English
Unit X (1 Day)
Revise Units VIII & IX (2 Days)
Revise Units I and II (2 Days)
Revise Units III
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NET SET English
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This group has been created for lover of literature and those candidate who are preparing UGC Net and Set Examination.