OMR_Sample_2019.pdf

Covid-19_Preventive_measures.pdf

For Maharastra set examination only👆👆👆👆👍

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*Misanthropy*
It is the general hatred, dislike, distrust or contempt of the human species,  human behavior and/or human nature. *A misanthrope* or 
*misanthropist* is someone who holds such views or feelings. In literature we also find the example such as  William Shakespeare ( *Timon of Athens* ). Jonathan Swift is widely believed to have been misanthropic
( A Tale of a Tub and, most especially, *Book IV of Gulliver's Travels* ). Poet Philip Larkin has been described as a misanthropy

*_List of Nobel Prize Winner ( English
Literature)*_

Nobel prize is one among the prestiginious award in the world , every year Swedish Academy choose a best work in the literature not particularly for English alone.

1. Rudyard Kipling - 1907
2. William Butler Yeats - 1923
3. George Bernard Shaw- 1925
4. Sinclair Lewis- 1930
5. John Galsworthy- 1932
6. Eugene O'Neill - 1936
7. Pearl S. Buck - 1938
8. T. S. Eliot. - 1948
9. William Faulkner - 1949
10. Bertrand Russell- 1953
11. Sir Winston Churchill - 1953
12. Ernest Hemingway- 1954
13. John Steinbeck - 1962
14. Samuel Beckett- 1969
15. Patrick White - 1973
16. Saul Bellow- 1976
17. William Golding - 1983
18. Akinwande Oluwole Soyinka - 1986
19. Joseph Brodsky - 1987
20. Nadine Gordimer - 1991
21. Derek Walcott - 1992
22. Toni Morrison- 1993
23. Seamus Heaney- 1995
24. Vidiadhar Surajprasad Naipaul - 2001
25. John Maxwell Coetzee - 2003
26. Harold Painter - 2005
27. Doris Lessing - 2007
28. Alice Munro - 2013

AbsurdTheatre

Theatre of the Absurd, dramatic works of certain European and American dramatists of the 1950s and early ’60s who agreed with the Existentialist philosopher Albert Camus’s assessment, in his essay “The Myth of Sisyphus” (1942), that the human situation is essentially absurd, devoid of purpose. The term is also loosely applied to those dramatists and the production of those works. Though no formal Absurdist movement existed as such, dramatists as diverse as Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, and a few others shared a pessimistic vision of humanity struggling vainly to find a purpose and to control its fate. Humankind in this view is left feeling hopeless, bewildered, and anxious.
The ideas that inform the plays also dictate their structure. Absurdist playwrights, therefore, did away with most of the logical structures of traditional theatre. There is little dramatic action as conventionally understood; however frantically the characters perform, their busyness serves to underscore the fact that nothing happens to change their existence. In Beckett’s Waiting for Godot (1952), plot is eliminated, and a timeless, circular quality emerges as two lost creatures, usually played as tramps, spend their days waiting—but without any certainty of whom they are waiting for or of whether he, or it, will ever come.
Language in an Absurdist play is often dislocated, full of cliches, puns, repetitions, and non sequiturs. The characters in Ionesco’s The Bald Soprano (1950) sit and talk, repeating the obvious until it sounds like nonsense, thus revealing the inadequacies of verbal communication. The ridiculous, purposeless behaviour and talk give the plays a sometimes dazzling comic surface, but there is an underlying serious message of metaphysical distress. This reflects the influence of comic tradition drawn from such sources as commedia dell’arte, vaudeville, and music hall combined with such theatre arts as mime and acrobatics. At the same time, the impact of ideas as expressed by the Surrealist, Existentialist, and Expressionist schools and the writings of Franz Kafka is evident.
Originally shocking in its flouting of theatrical convention while popular for its apt expression of the preoccupations of the mid-20th century, the Theatre of the Absurd declined somewhat by the mid-1960s; some of its innovations had been absorbed into the mainstream of theatre even while serving to inspire further experiments. Some of the chief authors of the Absurd have sought new directions in their art, while others continue to work in the same vein.

📖New Criticism📖
👉 The term new criticism was first used by Joel E. Swingarm in an address at Columbia University on the 'The New Criticism'.
👉The address itself may be regarded as the manifesto of the new criticism.
👉 The term into general use after John Crowe Ransom, a great American critic, published his 'The New Criticism' in 1941. In it, he studied great contemporary critics and made a forceful plea for 'Ontological Criticism'.
👉Ransom, William Empson, T. S. Eliot, I. A. Richards, R. R. Blackmur, Allen Tate, Cleanth Brooks, Robert Penn Warren are brilliant practitioners of this School of criticism.
👉Factors for rising the New Criticism:-
i) There was widespread dissatisfaction, both in England and America with contemporary literary situation.
ii) Imagism and it's critical defenders prepared the way for the rise of the New Criticism.
iii) The psychologists contributed their own bit to its rise.
👉T. E. Hulme's 'Speculations' is regarded as is the most important prose document in the formation of modern critics. Hulme stressed close study of the text which is basic tenet of the school.
👉Doctrines and Principals of New Criticism School:-
1. To the new critics, a poem or a work of art is the thing itself. The critic must concentrate all attention on it and illuminate it.
2. The function of a critic is to analyse, interpret and evaluate a work of art. The critic must devote himself to close texual study.
3. The critic must approach the work with an open mind, ready to study it., "as it is in itself."
4. The critic must not allow himself to be hampered and prejudiced by any literary theories.
5. A poem has both form and content and both should be closely studied and analysed before a true understanding of its meaning that becomes possible.
6. Words, images, rhythm, metre etc. constitute the form of poetry and are to be closely studied.
7. The study of words, their Arrangement, the way in which they act and react on each other is all important.
8. Poetry is communication an language is the means of communication. So new critics seek to understand the full meaning of a poem through a study of poetic language.
9. The new critics are opposed both to the historical and comparative method of criticism.
10. The new critics are anti-impressionistic.
11. The new critics concentrate on close texual study, on the study of form, design and the texture of poetry.
🌹William Empson;:-
👉Literary critic and poet.
👉His work is largely concerned with early and pre-modern works in the English literary canon.
👉He was a significant scholar of Milton (see below), Shakespeare (Essays on Shakespeare) and Elizabethan drama (Essays on Renaissance Literature, Volume 2: The Drama).
👉He published a monograph, Faustus and the Censor, on the subject of censorship and the authoritative version of Marlowe's Doctor Faustus.
👉He was also an important scholar of the metaphysical poets John Donne (Essays on Renaissance Literature, Volume 1: Donne and the New Philosophy) and Andrew Marvell.

👉Empson brought his critical genius to bear on modern writers; Using Biography, for instance, contains papers on Henry Fielding's Tom Jones as well as the poems of W. B. Yeats and T. S. Eliot, and Joyce's Ulysses.
👉Frank Kermode- "Empson is the critic of genius".
👉Harold Bloom- "Empson is among a handful of critics who matter most to him because of their force and eccentricity."
👉 "licensed buffoon" - phrase by Empson
👉Empson's poems are clever, learned, dry, aethereal and technically virtuosic, not wholly dissimilar to his critical work. His high regard for the metaphysical poet John Donne is to be seen in many places within his work, tempered with his appreciation of Buddhist thinking, an occasional tendency to satire and a larger awareness of intellectual trends. 👉He wrote very few poems after 1940.
👉Frank Kermode commended that Empson is a "most noteworthy poet".

Works
1) Seven Types of Ambiguity:- It's full title is 'Seven Types of Ambiguity: A Study of Its Effects on English Verse'. It firstly published in 1930.The book is organized around seven types of ambiguity that Empson finds in the poetry he criticises. It was influential foundation of the school of literary theory known as New Criticism.
In it, Empson sought to enhance the reader’s understanding of a poem by isolating the linguistic properties of the text. He suggested that words or references in poems are often ambiguous and, if presented coherently, carry multiple meanings that can enrich the reader’s appreciation of the work. He argued that the complexities of cognitive and tonal meanings in poetry form the basis of the reader’s emotional response. It ushered in New Criticism in the United States. We have ambiguity when "alternative views might be taken without sheer misreading." Empson reads poetry as an exploration of conflicts within the author.

*7 Types:-
1 The first type of ambiguity is the metaphor. when two things are said to be alike which have different properties. This concept is similar to that of metaphysical conceit.
2 Two or more meanings are resolved into one. Empson characterizes this as using two different metaphors at once.
3 Two ideas that are connected through context can be given in one word simultaneously.
4 Two or more meanings that do not agree but combine to make clear a complicated state of mind in the author.
5 When the author discovers his idea in the act of writing. Empson describes a simile that lies halfway between two statements made by the author.
6 When a statement says nothing and the readers are forced to invent a statement of their own, most likely in conflict with that of the author.
7 Two words that within context are opposites that expose a fundamental division in the author's mind.

2) The Face of Buddha:-
Empson's manuscript of a major work outside literary criticism, 'The Face of the Buddha', begun in 1931 on the basis of often gruelling research across many parts of the Buddhist world. The book provides an engaging record of Empson's reactions to the cultures and artworks he encountered during his travels, and presents experimental theories about Buddhist art that many authorities of today have found to be remarkably prescient. It also casts important new light on Empson's other works, highlighting in particular the affinities of his thinking with that of the religious and philosophical traditions of Asia.