Style and Structure of the novel ‘A House for Mr. Biswas’ E.C - 401

Assignment Paper: - E-C 401 New Literatures

                                   

Topic                      : - Style and Structure of the novel

                                     ‘A House for Mr. Biswas’

 Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                 

                                              Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar  University.

         Style and Structure of the novel ‘A House for Mr. Biswas’

                                               ‘A House for Mr. Biswas’ is written in third person past tense, told from the point of view of an omniscient third parson narrator, who knows everything including the thoughts and feelings of many characters. The point of view stays relatively close to Mr. Biswas, the protagonist. Few scenes fail to include him. Mr. Biswas's innermost thoughts are frequently revealed, as are those of his son, Anand. The thoughts and feelings of female characters are totally excluded, leading some to accuse Naipaul - or his narrator - of sexism. The story is retrospective, told by a narrator who is familiar with the outcome, at some point after Mr. Biswas's death. The voice of the unidentified narrator, presumably Mr. Biswas's only son Anand, is paramount to the novel. The narrator is highly literate, well-educated and completely immersed in the Indo-Trinidadian culture.

                                        The Novel is divided into two parts, enclosed by a prologue and an Epilogue. The plot Structure is part of a long British novelistic tradition as represented by Charles Dickens (1812-70) with its concentration on the life history of a single protagonist and the tracing of his fortunes from birth to death, wit the accompanying search for Self – fulfillment and recognition. The novel also traces the rise and fall of the Tulsi Family, and the changes in society over a period of fifty years. It is difficult to date the events in the novel precisely, but it seems to cover the period between 1905 and 1951, so including the two major world’s wars – the second of which does impinge on the novel with its economic effects and the growing American influence. Naipaul, however, does not wholly conform to the model defined above. The hero’s death, for instance, is reported in the prologue and throughout the novel there is a subtle series of cross-references and recurring images.

                                    The most striking characteristic of Naipaul’s Style is his power of observation. He shows preasion and clarity, as well as a close attention to detail and ability to create mood and atmosphere in a realistic and evocative way. This sense of control comes partly from the material he is handling, which enables him to avoid falsely romanticizing his subject and makes the material seem realistic and credible. An example of this is the careful detailing of Mr. Biswas’s breakdown at Green Vale. By reporting this process in an unemotional tone, usually in the form of statements, he gives the writing great power and dramatic effect. When Mr. Biswas moves into his incomplete house he becomes obsessed with the asphalt on the roof which melts and looks like a number of snakes, when this horror occurs. It is reported in a matter of fact way which serves to intensify the horror far more than a more melodramatic description could have done. ‘A snake had fallen on him very thin and not long.’ When they looked up they saw the parent snake, waiting to release some more. This restraint in the writing is a difficult achievement for any writer, and is one of Naipaul’s great strengths. We experience the sufferings of Mr. Biswas more intensely because of this careful and delicate contrast between the awfulness of a particular event and the contained way in which it is described. A further example is the destruction of the Doll’s house which Mr. Biswas has given his daughter, one of the most traumatic experiences which he has in the novel. Once again however, the event is described in a simple style which allows the reader to imagine the emotions involved vividly. Mr. Biswas discovers the Doll’s house thrown against a fence in the yard at Hanuman House: A broken door, a ruined window, a staved - in wall or even roof – he had expected that but not this. The Doll’s house did not exist. He saw only a bundle of firewood. None of its parts was whole. Its delicate joints were exposed and useless.

E - E - 405 Thomas Hardy - “Jude the Obscure as Pessimistic Novel”

Assignment Paper: - E-E – 405 A study of special Author

                                 Thomas Hardy as aNovelist

                                   

Topic                      : -“Jude the Obscure as Pessimistic Novel”

 Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                 

                                              Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar University.

“Jude the Obscure as Pessimistic Novel”

                               Pessimism is a state of mind in which one perceives life negatively. Value judgments may vary dramatically between individuals, even when judgments of fact are undisputed. The most common example of this phenomenon is the "Is the glass half empty or half full?” situation. The degree in which situations like these are evaluated as something good or something bad can be described in terms of one's optimism or pessimism respectively.

                    Hardy was the painter of darker side of life as it was no wonder if people charged him of “pessimist”. The opinion is both right and wrong in this context. In fact, there are some factors that compel us to believe him a pessimist. He was hypersensitive; his own life was tragic and gloomy. For a speculative soul, this world is a thorny field. The gloomy effect of his age plays an important role in his writings. Doubts, despair, disbelief, frustration, industrial revolution, disintegration of old social and economic structure, Darwin’s theory of evolution were the chief characteristics of that age. All these factors probe deep into his writings and heighten its somber, melancholic and tragic vision. His pessimism is also the outcome of the impressions that he receives from villager’s life.  ‘Jude the obscure’ is a terribly dark work of art, perhaps even darker than the other tragic novels that Hardy wrote in his later years. The central tragic murderous act – committed by a child is probably one of the most hearts – breaking passages in literary history. Even at such an early age, the child realized how sad and empty the world is. Hardy imbued Jude with hope for everything that the author considered dear: intellectual vigor, rationality, unconventionality. But, the author then allows all of Jude's hopes to be utterly destroyed. While writing Jude the Obscure, something of Hardy's own optimism in the power of his fiction was slowly draining away.

                         The central character of the novel is Jude Fawley, whose situation can definitely be seen as emotionally tragic, because he is “trapped by a combination of external circumstances as well as his moral flaws”. Jude is “trapped by the things he can’t control from the very beginning of the novel. Jude’s dreams of university education are thwarted, Jude also gets “trapped” in his relationships with woman. Jude can also be considered as a tragic character, because he often makes wrong decisions; and this demonstrates the weaknesses of his character. Jude always dreamt about a university education, but he “has not even found out how to apply for admission to a college.” (Harvey 90) Even though he is naturally smart, he is just a working man. At Hardy’s time, it was impossible for a poor person to get an advanced education. This is represented by the ‘terribly sensible advice’ of the Master of one the colleges, that he should keep his trade. (Hardy 95) Jude ‘knew it was true. Yet it seemed a hard slap after ten years of labour.’(Hardy 95) After that, he starts drinking alcohol, because he can’t handle it. He feels being caught in a trap; instead of doing something to help the situation, he chooses being self-destructive. This shows Jude’s emotional weakness.

                                  Jude also gets ‘trapped’ in his relationship with Arabella and Sue. Arabella represents the lure of the flesh, but offends Jude by her grossness; while Sue stands for sensitivity and intellect, but frustrates him by her sexual reticence. Jude is in love with Sue, but she marries Phillotson. Besides, they are cousins, and they can’t be together because of social expectations of their time. Sue’s marriage rehearsal in the church is very painful for Jude. This shows Jude’s emotional weakness again. Jude and Sue have an emotional connection. Jude expects her to say that she loves him, but she doesn’t ‘arow it’ (Hardy, 140)

                               Jude begins to develop a tragic view of life. He feels that he is getting kicked around for no reason, and nobody seems to care about him, God in particular. Jude’s pessimism can be clearly seen in part third of the novel. “And then he again uneasily saw …. the scorn of Nature for man’s finer emotions, and her lack of interests in his aspirations”. (Hardy 141) Hardy called Jude’s experience the tragedy of unfulfilled aims, which is manifested in the series of human betrays and self – betrayals.

Cinema

Assignment Paper: - E-C-404  Mass Communication and Media

                                   Studies

Topic                     : - Cinema

Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                  Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar University.

Cinema

      Introduction:-

          Cinema has become the most influential art form of 20^th century from its marginal beginnings. India holds eminent position in film making in the world. It produces highest number of films every year whatever may be the quality of the film, they continues to be the popular mass media. Earlier cinema ,was a simple means of mechanical recording, preserving and reproducing mowing visual images ‘cinema’ and ‘Films’ are used interchangeably but there is a difference between these two terms. Cinema has specific means to create imaginary time and space, and utilization of these means defines how cinematic a film is! Films are made of stories dance, music, drama, photography, painting, architecture and many other things that we call cinema. Films mean the particular movies that we see with all the elements they contain and cinema means the some of the means made possible only by film technology which distinguish cinema.     

      A short history of Indian Cinema:-

              Following the screening of the Lumière moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the Lumière films had been in show in Bombay. The first full-length motion picture in India was produced by Dadasaheb Phalke, a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harish Chandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. Young Indian producers began to incorporate elements of India's social life and culture into cinema. Others brought with them ideas from across the world. This was also the time when global audiences and markets became aware of India's film industry. As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabha and Devi Devyani marking the beginning of song-and-dance in India's films. Studios emerged across major cities such as Chennai, Kolkata, and Mumbai as film making became an established craft by 1935, exemplified by the success of Devdas, which had managed to enthrall audiences nationwide. The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways.

      Types of Cinema:-

       1. Commercial Cinema,

               It primarily aims at providing entertainment to the people. It includes the ingredients of popular cinema star system, high budget, abundance of music, song and dance. For example, films like Vaqt, Sholay, Muqhdar ka sikkandar, Hum apke Hain Kaun, are few examples of such films.

      2. Art Cinema,

               It is more realistic and relevant to the needs of people and society. This form is not very popular. It is all called ‘parallel cinema’, ‘alternative cinema’ or ‘new wave cinema’. These new trend films are made at low cost, outside the main stream of commercial cinema.

      3. Regional cinema,

             Regional cinema also developed almost simultaneously in thirties in Gujarat, Maharashtra, Kerala, Bengal, Karnataka, Assam, Tamil Nadu, and Andhra Pradesh e.t.c….

      Hindi Cinema:-

         The Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of Indian cinema. Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959). International visibility came to the industry with Raj Kapoor's Awara. Hindi cinema grew during the 1990s with the release of as many as 215 films. With Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world. In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial enterprise. Institutions such as the Industrial Development Bank of India also came forward to finance Hindi films. A number of magazines such as Filmfare, Stardust, Cineblitz, etc., became popular.

      Gujarati Cinema:-

          The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely contributed to Indian cinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its origin Gujarati cisnema has experimented with stories and issues from the Indian society.   The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship- and family-oriented subjects with human aspirations and deal with Indian family culture. Thus, there can be no turning away from the essential humanity of these Gujarati cinema. The first Gujarati movie, Narasinh Mehta, was released in the year 1932 and was directed by Nanubhai Vakil.

      Bengali Cinema:-

                  The Bengali language cinematic tradition has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed. Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai. Bengali filmmaking also includes Bangla science fiction films and films that focus on social issues. In 1993, the Bengali industry's net output was 57 films. The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Kolkata. The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s.

      Bhojpuri Cinema:-

             Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region. Besides India, there is a large market for these films in other bhojpuri speaking countries of the West Indies, Oceania, and South America. Bhojpuri language film's history begins in 1962. for example, In 2002, the film ‘war and peace; depicting scenes of nuclear testing and the September 11, 2001 attacks, created by Anand  patwardhan, was asked to  asked to make 21 cuts before it was allowed to have the certificate for release.

      Punjabi Cinema :-

         K.D Mehra made the first Punjabi film Sheila, Baby Noor Jehan was introduced as an actress and singer in this film. Sheila was made in Calcutta and released in Lahore, the capital of Punjab; it ran very successfully and was a hit across the province. Due to the success of first film many more producers started making Punjabi between 900 and 1000 movies. The average number of releases per year in the 1970s was 11; it plummeted to seven in 1996 and touched a low of five in 1997. Since 2000s the Punjabi cinema has seen a revival with more releases every featuring bigger budgets, home grown stars as well as Bollywood ssactors of Punjabi descent taking part. The cinema saw its first production of a 3d feature film in 2011 titled pehchan 3d.

      Impact of cinema on society:-

         In the last fifty years, cinema has become not only a serious art form but a field of study by itself. Continues advancements in film technology and high level of conceptualization of the film take viewer to the world outside his day-to-day world providing entertainment which as made cinema a popular medium of masses. The art of cinema has created a widespread and profound impact on the society. The Indian box office has always been energetic and enthusiastic about every production that is being released every Friday. The art of Cinema and all those who have their strong connections with the silver screen entertainment have always been acknowledged and held in high esteem in the Indian society. Cinema has almost become a religion with the increases in number of such mad followers who can be termed as ‘cine extremists’ who would do anything for the cause of cinema.

         If literature has the capability to mirror life, cinema certainly inherits the ability to mirror society and culture.  Cinema is nothing but an attempt to showcase the reality and existence of a particular culture and society on the silver screen. A cinema can have various themes and can be categorically classified as a horror film, action film, and romantic film and so on. Though such themes do fancy the Minds of Film makers it is the social and cultural impact of a film that amounts and brings credit to its success.

      TAARE ZAMEEN  PAR:-

          A fantastic film revealing the true merits of Dyslexic Kids who are gifted with  something in place of the normal qualities . This was an eye opener in terms of educating kids with dyslexic complaints and also morally supports those parents with dyslexic kids. This film is an educational treatise on how children with such complaints must be handled and encouraged.  All wrong notions about dyslexic kids were erased and clarified to the optimum after watching this film.

      MY NAME IS KHAN :-

                 A film that conveys a strong message that Terrorism is not triggered by any religion and community. No religion exercises or empowers a person to kill another in the name of community. The film shows that people are branded in the name of religion and shows how the act of a terrorist from a particular religion could manifest serious trouble on the lives of the other innocent civilians from the same religion.   

                          The above instances are a few selective and creditable examples that stand testimonial to the fact that Indian Cinemas are capable of creating a healthy and positive impact on the society. On the other hand the majority of Indian cinemas of the present age are deliberately produced for commercial aspects which sacrifices ethics and values involved in Film making. Indian Cinemas of such type create and instill notorious thoughts on its viewers who attempt to ape such thoughts and deeds in reality.  Anti social activities such as sexual and communal violence, terrorism is being triggered by such films.  Moreover such films prosper in commercial aspects sending wrong signals to such film makers who consider such productions are liked by the public. Thus it is the hands of young citizens like us to create a change in the society by boycotting such notorious films and promote worthy and notable film productions with chaste ideas and values.

             Films have a hypnotic influence on most children and adults. They imitate the heroes and heroines. They indulge in day dreaming and fantasy and when it increases. Children become unable to accept the hard realities of life. Apart from these, film creates fear, terror, sorrow, and pathos, love and passion, thrill, and stimulation. People suffer from hang over after watching a film. Thus, films have a dynamic influence on people which ultimately affects the society as a whole.

      Film censorship:-

                       What is censorship? Censorship can be broadly defined as the suppression of knowledge or ideas.Used by Governments or organisations to prevent the circulation of material. In wartime information about troop activities, future battle plans etc., will be censored. In peacetime censorship can be more problematic and controversial.The Central Board of Film Certification, the regulatory film body of India, regularly orders directors to remove anything it deems offensive, including sex, nudity, violence or subjects considered politically subversive.

For e.g.   In 2002, the film War and Peace, depicting scenes of nuclear testing and the September 11, 2001 attacks, created by Anand Patwardhan, was asked to make 21 cuts before it was allowed to have the certificate for release. Patwardhan objected, saying "The cuts that they asked for are so ridiculous that they won't hold up in court" and "But if these cuts do make it, it will be the end of freedom of expression in the Indian media." The court decreed the cuts unconstitutional and the film was shown uncut.

      Film Review and Criticism:- 

               Film criticism is the analysis and evaluation of films, individually and collectively. In general, this can be divided into journalistic criticism that appears regularly in newspapers and other popular, mass-media outlets and academic criticism by film scholars that is informed by film theory and published in journals.  Traditionally, film reviews have been seen as a way to assess the artistic merit and public appeal of a movie. Filmgoers use reviews to help them determine whether to view a particular film. As the number of film fans following the advice of reviewers grew, film companies saw profits diminish across a broader number of films. In order to counter this development, film studios increased marketing budgets and avenues of marketing to create more interest in a movie prior to the opening. There has been a decline in the readership of many reviewers for newspapers and other print publications. The vast majority of film critics on television and radio have all but disappeared over the last thirty years, as well. It can be observed that most of the discussion of film on television is focused on the amount of box office business a film does, as if financial success were the only criterion needed to define artistic success. Today arts criticism in general does not hold the same place it once held with the general public

      Advantages of Films:-

            Films as a mass medium have similar advantages as television as far as motion and manipulation of time are concerned. Motion is essential for comprehending certain concepts and messages. For example, science experiments, operation of machines or industrial plants can be shown effectively with motion. Both the media show few hours long event in few minutes. The emotional impact left by films helps in shaping personal and social attitudes.

             Film provide for viewing of phenomena at extremely close range of from a vast distance, which is not possible in television.

              Films can be used for variety of purposes such as entertainment, education, changing motivation and opinions. The messages conveyed through films are retained better due to its reality element. They allow for a creative production approach. It is possible to make different language and cultural versions of a film.

      Limitations:-

          The main limitation of the films is its fixed pace. They move at a fixed pace. Some viewers are likely to fall behind. if they are unable to keep pace with the pace of the film.

         It is very difficult to define the limits of what is “controversial” in films. For example, the film “Aandhi” was banned during the emergency period in India. People did not find anything controversial or objectionable in the film.

          The production of film or a replication of a film are costly, and require huge amount of finances. It requires highly sophisticated equipment for production as well as projection. Film production also requires trained personal such as Director, photographer, sound effects experts, and musician. e.t.c. Once the film production is complete, it is very expensive to make any changes in the film,

   Each film requires individual distribution network, which requires investment of large amount of money and time.

E-C-402 English Language Teaching - 2

Assignment Paper: - E-C-402 English Language Teaching – 2

Topic                     : - CALL

Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                  Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar University.

 

Computer - assisted Language Learning (CALL)

                 Much of the early history of computers in language learning, in the 1980s and 1990s, was concerned with keeping abreast of technological change. Mainframe computers were at first seen as the task maker: a number of content courses, particularly in English grammar and computer science were provided by the Plato system (Bitzer 1960) at many universities. At the start of twenty - first century 'multimedia' has become virtually synonymous with ' computer’. With these changes, issues in computer - assisted language learning (Call) have also evolved from an early emphasis on how to use the new technology to research on technology's effects on learning. Higgins and Johns (1984) framed the major debate of the 1980s and early 1990s over whether the computer was 'master' of or ‘slave’ to the learning process: Was the computer to be a replacement for teachers, or merely an obedient servant to student? Coincidental with the development of the multimedia personal computer were the changes in our understanding of the teaching and learning of languages. Communicative approaches, content- based learning and task based learning are all enhanced by the use of the computer. Call has branched out in many ways in communicative pedagogy. Technology–enhanced language learning was given a huge theoretical boost when Sydney papert (1993) – creator of the computer language Logo- and others applied the principles of Dewey (1938) and Piaget (1950) to the use of computers. ‘Constructivism’ involves the use of problem- solving during tasks and projects, rather than or in addition to direct instruction by the teacher. In Call this theory implies learning by using computer tools to explore simulated worlds, to build presentations and websites that reflect on personally engaging and significant topics, and to undertake authentic communication with other learners around the world. The chaotic information of the internet, with its largely native-speaker-oriented content recourses, enhances the necessity for students to deploy schema and strategies for efficient learning. Technology thus becomes an ‘environment’ for learning, as well as both tutor and tool. (Egbert and Hanson-smith 1999; see also chapter 30 of this volume)

The Emergence of Call:-

               A definition of call that accommodates its changing nature is any process in which a leaner uses a computer and, as a result, improves his or her language. Although this definition might seem unworkably large, it at least encompasses a broad spectrum of current practice in the teaching and learning of language at the computer. An awareness of this spectrum allows learners, teachers and researchers to recognize appropriate materials and methodologies and adapt others to various teaching and learning styles.

Behaviorist CALL

In the 1960's and 1970's the first form of computer-assisted Language Learning featured repetitive language drills, the so-called drill-and-practice method. It was based on the behaviorist learning model and as such the computer was viewed as little more than a mechanical tutor that never grew tired. Behaviorist CALL was first designed and implemented in the era of the mainframe and the best-known tutorial system, PLATO, ran on its own special hardware. It was mainly used for extensive drills, explicit grammar instruction, and translation tests (Ahmad, et al., 1985).

Communicative CALL

Communicative CALL emerged in the 1970's and 1980's as a reaction to the behaviorist approach to language learning. Proponents of communicative CALL rejected behaviorist approaches at both the theoretical and pedagogical level. They stressed that CALL should focus more on using forms rather than on the forms themselves. Grammar should be taught implicitly and students should be encouraged to generate original utterances instead of manipulating prefabricated forms (Jones & Fortescue, 1987; Philips, 1987). This form of computer-based instruction corresponded to cognitive theories which recognized that learning was a creative process of discovery, expression, and development. The mainframe was replaced by personal computers that allowed greater possibilities for individual work. Popular CALL software in this era included text reconstruction programmers and simulations.

Integrative CALL

The last stage of computer-assisted Language Learning is integrative CALL. Communicative CALL was criticized for using the computer in an ad hoc and disconnected fashion and using the computer made 'a greater contribution to marginal rather than central elements' of language learning (Kenning & Kenning, 1990: 90). Teachers have moved away from a cognitive view of communicative language teaching to a socio-cognitive view that emphasizes real language use in a meaningful, authentic context. Integrative CALL seeks both to integrate the various skills of language learning (listening, speaking, writing, and reading) and to integrate technology more fully into language teaching (Warschauer & Healey, 1998). To this end the multimedia-networked computer provides a range of informational, communicative, and publishing tools that are potentially available to every student.

    The Four skills, grammar, vocabulary and Call:-

                     The term “Study Skills” a general term, which encompasses a wide? Variety of traits is associated with personal growth and development ranging from attitudes to behaviours.Study Skills are skills acquired for the purpose of self-development or for a good career. On the academic front, new learning styles, networking with other students, acquiring communication skills, ability to listen to lectures with concentration, reading a book and taking notes, participating in classroom activities are some of the study skills. The focus of teaching these skills centers on the individual academic or personal growth. The basis for success in academics is hard work, disciplined studying and acquiring the ability to critically assess. As

Time is very precious, time management can also be considered as a Study Skill. Study Skills also include reading academic texts efficiently and effectively; taking notes from lectures and books; doing basic research; using library or computer-based resources; writing academic papers; taking part in discussions; presenting papers; managing study time and preparing for examinations. Encouraging students to be creative and appreciating innovation in students motivate students to excel at what they are doing. Teaching them to plan projects inculcates a sense of responsibility and helping them to manage these projects infuses a sense of accountability. By giving focus to these different types of study skills the communication skills of learners can also be developed by using CALL.

   Grammar and Vocabulary Practice:-

         Beyond naked drills and exercises, teachers find that grammar and vocabulary games can be very motivating for learners in twos or three around one computer screen; e.g. Puzzle maker allows users to on line based on their own word list.

Advantages of a CALL classroom

ü  Computer Assisted Language Learning enhances the motivation level of students.

ü  Teachers can customize any CALL program to the syllabus or course design that they are using to increase the level of proficiency in students.

ü  Computers are useful in-group activities as well as in imparting individualized instruction, which is rarely possible in a traditional classroom.

ü  There are no limitations with regard to practice-sessions or time. Students can have as many practice-sessions as they wish, repeat the tasks any number of times to acquire mastery and select the material according to their individual requirements. Thus the computer is an efficient learner-centered device.

ü  It has a powerful self-access facility and gives immense scope for self learning.

          Teachers in language classes give students exercises to write. Students most often devise or correct the scripts immediately even though they are incorrect. The computer helps to reduce this handicap. CALL software has tutorial modes, which help the students explore the correct answers and learn from the errors they make. As computers can store, access and analyze more data than books, they create a technology enabled exciting learning environment. Computers maximize learning opportunities for their students.

   ADVANTAGES

               The immediate feedback given by computers helps the students to analyze patterns in the language. The novelty that is an integral part of CALL programmers increases the motivational level of students. CALL programmes besides helping the learner to learn a foreign language or a second language, also provides some computer literacy which is becoming essential in a technological era, and could be of great help in the future training and career prospects. CALL programmes provide the information requested in a very short time, almost instantaneously. By using CALL method the students will not only learn more number of words but also the usage of those words as well. The advantage of using CALL method is that they can do the entire study skill activity at their own pace and time using their own learning styles and strategies. Also, integrating CALL with language teaching provides the learner with an opportunity to become part of the skills. They are learning and address their subject related issues by the study skills approach. Having introduced to CALL method of learning at the tertiary level, the learners will continue the exercise of study skills approach and achieve distinctive mastery in their subjects when they come to their higher semesters.

LIMITATIONS

                 The computer is a means of communication between the programmer and the user. However in this analogy, the author and the programmer do not mostly share similar concerns. While the author is bound to be a subject expert, the programmer is mostly a technician. This gap between the author and the programmer is responsible for inappropriate lesson content, poor documentation, errors in format and content, improper feedback, etc. found in some CALL materials. Likewise, in most of the software packages, there is little chance for the teacher to add or modify the existing programmes, even if he wishes too, since most of its locked to prevent pirating. And for the few of those who develop their own material, the time spent on preparation and programming can be quite lengthy running to hours and days. But, these limitations or problems should be seen in the backdrop of a development stage of computerisation. The next generation of teachers and learners will be part of a computer generation. They will take for granted the skills demanded by computer technology and handle them as coolly as switching on a tape recorder or watching a television.

      CONCLUSION

The language teacher, who has the prime objective to develop study skills in learners, seeks to make an effective use of the computer-assisted language learning method. An analysis of the methods discussed so far leads the researcher to conclude that it is ultimately the teacher who has to be more innovative, more resourceful, and more thoughtful to create awareness in students about the importance of the study skills in English and to provide opportunities to practice the language by using CALL. Computers make excellent teaching tools, especially in teaching languages in any aspect, be it vocabulary, grammar, composition, pronunciation, or other linguistic and pragmatic-communicative skills. The major benefits offered by computer in enhancing language acquisition apparently outweigh its limitations.