Assignment Code: BEGC-106/TMA/2024-25 Course Code: BEGC-106 Assignment Name: Popular Literature

Year: 2024-2025 Verification Status: Verified by Professor Answer all questions. 

Section A 

Write short notes in about 100 words each: 4 × 5 = 20 

(i) Culture: 

Culture refers to the collective customs, beliefs, values, arts, and social behaviors of a group or society. It shapes how people interact, communicate, and view the world. Culture encompasses language, traditions, religious practices, cuisine, and social norms, and is passed down through generations. It influences identity, community, and social cohesion, while also evolving with time and external influences. Culture is not static; it changes with technological advances, globalization, and cultural exchanges, reflecting the dynamic nature of societies. 

(ii) Hegemony: 

Hegemony refers to the dominance of one group or ideology over others, often exercised through cultural, political, or economic means. In cultural hegemony, powerful groups influence societal values, norms, and beliefs, making their ideas appear natural or universally accepted. This control is not always enforced through coercion but through the consent of the subordinated groups, who internalize the dominant culture’s ideologies. Italian philosopher Antonio Gramsci popularized the concept, emphasizing how power structures are maintained not only through force but through cultural dominance. 

(iii) Literature and Media: 

Literature and media play crucial roles in shaping public opinion and reflecting cultural narratives. Literature, through novels, poetry, and plays, offers deep insights into human experiences, emotions, and societal issues. Media, including news, films, and digital content, informs and influences how people view the world. Both serve as mirrors of society, capturing its complexities, conflicts, and changes. They can educate, entertain, or challenge existing norms, often acting as tools for social change by highlighting issues like inequality, justice, or political corruption. 

(iv) Literary Canon(s): 

A literary canon refers to a collection of works considered important, influential, and representative of a particular period, culture, or genre. These works are often regarded as classics and form the foundation of literary studies. Canons reflect societal values and preferences at specific times, but they are not fixed; they evolve as new voices and perspectives emerge. Historically, the literary canon was dominated by Western, male authors, but in recent years, there has been a push to include more diverse voices from marginalized communities, broadening the understanding of literature. 

Section B 

Answer the following in about 300 words each: 16 X 5 = 80 

1) Write a detailed essay on some of the important issues in Popular Literature. 

Ans) Important Issues in Popular Literature 

 Popular literature, defined by its broad appeal and mass readership, encompasses genres like romance, crime, fantasy, and science fiction. While it plays a crucial role in contemporary culture, there are several important issues that surround it. 

One key issue is commercialization. In popular literature, the demand for profit often drives the production of formulaic and repetitive narratives. Publishers may prioritize works that are guaranteed to sell, leading to a focus on best-seller formulas over originality. This has raised concerns that the artistic value and depth of storytelling might be compromised in favor of market trends. 

Another issue is genre conformity. Popular literature frequently adheres to strict genre conventions, limiting creativity. For instance, romance novels follow predictable patterns of love and conflict, while detective fiction sticks to established methods of solving mysteries. This adherence to genre norms restricts experimentation, reducing the space for innovation in plot development, character arcs, and narrative styles. 

Representation is also a critical issue. Popular literature has historically reflected and perpetuated societal stereotypes, especially in terms of gender, race, and sexuality. Female characters may be confined to passive roles, and minority groups are often underrepresented or portrayed through stereotypical lenses. This lack of diverse voices can reinforce harmful narratives and limit readers’ exposure to varied perspectives. 

Additionally, literary merit in popular literature is often questioned. It is sometimes viewed as lacking the intellectual depth and complexity associated with classic or highbrow literature. Critics argue that popular literature is more focused on entertainment than artistic or philosophical exploration. However, proponents argue that its accessibility and ability to engage large audiences give it cultural significance. 

Finally, literary elitism poses a challenge, as it tends to dismiss the cultural value of popular literature. While often criticized by scholars, popular literature reflects contemporary societal trends and serves as a mirror of public interests and concerns, making it a vital part of the literary ecosystem. 

2) Examine Funny Boy as an example of Young Adult Fiction. 

Ans) Shyam Selvadurai's Funny Boy is a compelling example of young adult (YA) fiction, as it centers around the coming-of-age journey of its protagonist, Arjie, and explores themes commonly associated with the genre, such as identity, belonging, and self-discovery. YA fiction often focuses on adolescents grappling with personal and social challenges, and Funny Boy fits this mold through its portrayal of Arjie’s growth and understanding of his sexuality, set against the backdrop of political and social unrest in Sri Lanka. 

One of the primary themes in YA fiction is identity exploration, and Arjie’s journey of self-discovery is a key element of Funny Boy. From a young age, Arjie feels different from other boys, preferring to play "bride-bride" with his female cousins, an inclination that confuses and alienates him from his traditional Sri Lankan family. As he grows older, he becomes more aware of his sexual orientation and the societal stigma attached to it. This exploration of sexual identity, a common theme in YA fiction, is intricately tied to Arjie’s emotional struggles and eventual acceptance of his true self. 

The novel also reflects a sense of alienation and the desire for belonging, which are central concerns for young adult readers. Arjie is not only marginalized for his emerging queerness but also experiences the ethnic conflict between Tamils and Sinhalese in Sri Lanka, which alienates him from his peers and adds complexity to his identity. Through this, Selvadurai captures the tension between personal and political identities, highlighting how Arjie’s internal and external worlds collide. 

Finally, the novel’s coming-of-age narrative—another hallmark of YA fiction—emphasizes growth, understanding, and acceptance. Arjie’s journey reflects the transition from innocence to maturity, a core feature of the young adult genre, making Funny Boy a rich contribution to the field of YA literature. 

3) Highlight the rules of detective fiction that were re-written in Christie’s Murder of Roger Ackroyd.  

Ans) The Rules of Detective Fiction Rewritten in Christie's Murder of Roger Ackroyd 

Agatha Christie’s The Murder of Roger Ackroyd is renowned for breaking traditional detective fiction rules and subverting reader expectations, thereby reshaping the genre. At the time, detective fiction followed a strict set of conventions that established clear boundaries between the reader, detective, and the plot’s resolution. Christie’s novel, however, rewrites several of these rules, making it a groundbreaking work. 

One major convention Christie challenges is the reliability of the narrator. Traditionally, the narrator in detective fiction is expected to be truthful, guiding the reader through the mystery without misleading them. In The Murder of Roger Ackroyd, the narrator, Dr. James Sheppard, is revealed to be the murderer. This twist fundamentally alters the reader’s trust in the narrator, breaking the convention that the detective’s assistant (or storyteller) must be honest. This unreliable narration was a bold move that reshaped expectations for the genre. 

Christie also rewrote the rule regarding the detective’s infallibility. Hercule Poirot, the novel’s detective, solves the mystery, but the surprise comes from the fact that his closest ally, the narrator, is the criminal. While Poirot remains brilliant, the reader’s trust is manipulated because the clues provided by the narrator are skewed. This shifts the focus of the puzzle-solving from merely identifying the culprit to rethinking the entire narrative structure. 

Another rule Christie challenged is the fair play rule, which suggests that readers should have all the necessary clues to solve the mystery themselves. While Christie technically follows this rule by providing subtle hints about Sheppard’s guilt, these clues are cleverly hidden in plain sight, making them easy to overlook. Thus, while fair play is maintained, the twist redefines how clues should be interpreted.  Through these rule-breaking elements, Christie revolutionized detective fiction, making The Murder of Roger Ackroyd a classic example of narrative innovation in the genre. 

4) Analyse the role of the miserable child in “The Ones who walk away from Omelas”. 

Ans) The Role of the Miserable Child in “The Ones Who Walk Away from Omelas” 

In Ursula K. Le Guin's short story The Ones Who Walk Away from Omelas, the miserable child plays a central symbolic role, serving as a representation of the moral and ethical dilemma faced by the utopian society of Omelas. The child is kept in abject misery and isolation, confined in a small, filthy room, with no hope of rescue or relief. The happiness, prosperity, and peace of the entire city depend on the perpetual suffering of this child, which creates a profound moral conflict for the citizens. 

The child symbolizes the moral cost of utopia. In Omelas, the society’s joy and well-being are contingent upon the extreme suffering of one individual, representing the utilitarian principle where the happiness of the majority is justified by the suffering of a minority. The child’s suffering forces readers to confront the uncomfortable reality of how often, in real-world societies, prosperity and progress are built on the oppression or exploitation of others. 

Furthermore, the child plays a role in the moral awakening of the citizens. Every citizen of Omelas, upon reaching a certain age, is told about the child’s condition. Some accept this injustice as a necessary evil, continuing to live in Omelas with this burdened knowledge. Others, however, are unable to reconcile this moral compromise and choose to walk away from Omelas, disappearing into the unknown. This choice highlights the ethical struggle between passive complicity in a flawed system and the rejection of happiness built on suffering. 

The miserable child, thus, serves as the moral linchpin of the story. Its suffering questions the price of happiness and forces both the citizens of Omelas and the readers to reflect on their own societal compromises and the cost of maintaining comfort at the expense of others.