DuSol Assignment Answers: आजके इस आर्टिकल में हम जानने वाले है Sol DU के कोर इंग्लिश (Core English – Language Through Literature) के दूसरे सवाल के जवाब के बारे में, काफी बच्चे अभी भी लगे हुए है Sol DU के असाइनमेंट डाउनलोड करने में, लेकिन सर्वर की दिक्कत की वजह से नहीं हो पा रहा है इस आर्टिकल में आपको मै आपको SOL DU के कोर इंग्लिश (Core English – Language Through Literature) के दूसरे सवाल का जवाब बताने वाला हु, Du Sol Assignment Answers
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Comment on Ambai’s retelling of Sita’s story crossing the river.
In the first section of the play itself the river has begun to acquire a metaphorical meaning. In the traditional sense, it is a metaphor for life. In life too some things are clear while other are hidden. The woman’s speech and the river’s flow are going at the same slow pace. Just as the slow flowing river hides within it the fury that wreaks havoc when it breaches its banks, so also the play will build up to unleash the fury that lies buried and hidden inside any being who may appear to be calm on the outside but may have buried within her/him the pain which comes from years of injustice and oppression.
Movement and action on stage is important for any performance. A stage cannot be static. It is a combination of action and dialogue that from the basis for sustaining the interest of the audience in a performance. One has to read meaning into every action that happens on stage. If the woman has shown one side of her face to the audience it may signify that she is about to reveal who she is.
The identity or the name of the river does not matter according to the woman who speaks. All rivers are the same. The actor’s movement on stage adds force to her speech. When she faces the audience and asks ‘Does it matter which river is it’ she is addressing them directly getting them involved in the performance and forcing them to think. One the metaphorical level the identity of the woman also should not matter because she speaks for all women down the ages till present times. The movement of an actor is an important aspect of his/her performance.
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Speech and movement together build up a character. The woman’s involvement with the audience continues as she walks to the front of the stage telling them about a time when she was happy. There was a time when she used to laugh, there was a time when she used to think but then with a sudden twist she brings us to the present movement when she says ‘destroyed I came.’ This generates curiosity in the minds of the readers and audience alike. What changed her from a carefree, happy person to the present dejected one? What destroyed her happiness or took away her freedom? Notice also that she continues to speak in the first person. The narrative is focused on just one person at this point in the play.
The white screen is now being used to create an illusion of people surrounding the woman on stage. The shadows and the voices imply that. An atmosphere 19 can be created on stage through the use of sound and light even when there are no physical props. The sound of whistling wind creates an eerie atmosphere. The voices put innumerable question to the woman.
As mentioned before any performance on stage cannot be static. There has to be movement on stage and in this particular section of the play, the woman had woman had been 21 simply standing on stage begins to move. Her movement is in circles for two reasons. One is a requirement of the stage – she has to move but she cannot move but she cannot move out of vision. She has to remain visible to the audience. Hence her movement in circles.
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Ambai has however used this movement very skillfully to covey the strong agitation in the women’s heart. The image of her going round to round on the stage also expresses the fact that she feels trapped. She is not able to find a way to break her shackles and soar to freedom. She finally reveals her name.
We are in the realm of fantasy here. When the women reveals her name to be Sita, the Sita of Ramayana, we immediately know that we are straddling two worlds here – one of reality and the other of fantasy; one of the past and the other of present. The Sita of Ramayana has come into out contemporary world.
The woman discloses her name, knowing that she is Sita we immediately understand why there was this element of familiarity with her. Who doesn’t know about Sita or who hasn’t heard of her, read about her? She has always been a part of our socio-cultural consciousness. We are all familiar with her story and with her image of being an ideal 22 daughter, wife, and mother. In the patriarchal narrative she is the epitome of womanhood. But that is a narrative written by men. What if it was written by women? Her words in the play through a challenge to this hegemonic narrative that has sealed the fate of women from time immemorial.
आशा है कि आप सभी असाइनमेंट अच्छे तरीके से बना रहे है सोशल मीडिया पर थोड़ा प्यार देकर हमारी मदद करे
The image of the always silent Sita, the uncomplaining, docile Sita, the Sita who was merely the shadow of Rama — has been deeply ingrained in the Indian ethos. It is obvious that Ambai is going to challenge this ethos and recreate and retell the story of Sita from her point of view. In crossing the river we get to see Sita’s story from a different angle altogether.
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As against a male rendition we are given a woman centric interpretation of events of events in this retelling of the age-old myth. The most striking difference is that in her retelling of the myth, Ambai gives a Sita a voice. Her century of silence is broken! She speaks out against her victimization in a strident manner and recounts with bitter irony the events that hurt and humiliated her. If Sita never uttered a word does it mean she never felt the pain and the suffering that was inflicted on her?
Does her silence mean that she felt she deserved the treatment that she received? Ambai play takes a glimpse inside her mind and her heart. We we understand now why her eyes are sad. She is emotionally wounded and she is angry too. She knows she has been a victim – as she puts it quite succinctly – a victim of love, lust and politics. The moment she utters these words she becomes every woman who has ever suffered due to the love, lust and politics of men. If we try to explain these lines in the context of Ramayana however, we can clearly make the connection. At first she roamed the forest because of her love of Rama whom she followed unquestioningly when he was exiled. Nest she was imprisoned in the forest because of the lust of Ravana.
Ultimately she was banished to the forest because of the politics which demanded that Rama being a king should renounce his wife, his queen who is considered impure because she lived in the captivity of a man who was not her husband. Was Sita ever asked what she felt or thought? No! She was merely a pawn in the hands of the powers that decided her fate.
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She felt cheated and humiliated. Ultimately everything is taken from her. She is left with nothing. Ambai’s portrayal of Sita is certainly radical! For the first time we are seeing her from her own perspective, from a woman’s perspective. She never raised her voice against her oppression, her subjugation, her victimization. But that does not mean that she did not feel cheated and victimized. Ambai’s Sita however, is not a mute victim. She doesn’t lack agency and is vocal. She chooses to her angst.
The play interrogates the idea of a woman, as constructed, shaped and imposed by social and cultural forces, through the metaphor of Sita, who is banished to the forest by Ram, the play embarks upon a series of uncomfortable question at patriarchy. Different characters from our culture and mythological memory resurface blurring who Sita is…. Locating a ‘Sita’ in all individuals who refuse to confirm. A transformative text coming back to life after a decade!
नमस्ते मेरा नाम अजीत ठाकुर ज्ञानवर्ल्ड में आपका स्वागत है, मै पिछले 4 सालो से कंप्यूटर सॉफ्टवेयर टीचर हूँ और साथ ही ज्ञानवर्ल्ड वेबसाइट का लेखक हूँ। मेरा उद्देशय और इस वेबसाइट के माध्यम से ज्ञानवर्धक जानकारियां उपलब्ध करवाना है जो विभिन्न विषयो में आपका ज्ञान बढ़ाएगी। उम्मीद करता हूँ आपको यह एजुकेशनल वेबसाइट पसंद आएगी