Introduction To Prose Question Paper
Introduction To Prose
Course:Bachelor Of Education(Arts) ()
Institution: Kabarak University question papers
Exam Year:2011
KABARAK UNIVERSITY
EXAMINATIONS FOR THE DEGREE OF BACHELOR OF EDUCATION (ARTS)
TIME: 2 HOURS DAY:
DATE: --7-2011
LITT 121: INTRODUCTION TO PROSE
Instruction: Answer three questions, one from section 1 and two from section 2.
SECTION 1
1. Review any novel you have read and the ways in which it can influence you as a writer (30
MKS).
2. Write a short short story based on the most terrible experience of your life (30 MKS).
SECTION 2
3. “Art is man’s constant effort to create for himself a different order of reality from that which
is given to him; an inspiration to provide himself with a second handle on existence through
his imagination.” How true is this statement to your own imaginative experience? (20 MKS)
4. Write an article based on any of the following subjects: love and marriage, politics, death or
the professions(20 MKS).
5. How can you as a writer make use of childhood memories in composing a novel?(20 MKS)
6. Imagine you’re witnessing the end of the world. Give your impressions in the form of a diary
running for five days.(20 MKS)
7. Comment on the stylistic techniques of ANY one of the following works you have read in this
course: ‘The Aleph’ by Luis Borges, ‘The School’ by Donald Barthelme or Heart of Wilderness
by Adrian Onyando. (20 MKS)
SCHOOL-BASED EXAMS
KABARAK UNIVERSITY
EXAMINATIONS FOR THE DEGREE OF BACHELOR OF EDUCATION (ARTS)
Lite 320: GENRES OF ORAL LITERATURE
TIME: 2 HOURS
DAY:
DATE: -8-2011
Instruction: Answer three questions, one from Section 1 and two from Section 2.
SECTION 1
1. Review recorded genres from any East African community and argue for or against the
statement that scholars have done a shoddy collection of oral literature materials and
ignored the context in which they exist (30 mks).
2. Define the term ‘oral literature’ and any other three terms that have been used
interchangeably with it (30 marks).
3. In what ways has either Chinua Achebe or Okot p’Bitek or Taban lo Liyong or Gabriel Okara
employed oral literary style in his works? Refer to any one work by the above-mentioned
writers (30 mks).
SECTION 2
4. ‘The difference between one genre and another is a matter of degree rather than of kind.’
Discuss this statement with reference to related genres (20 mks).
5. Write an essay on the role of performance in Oral Literature (20 mks).
6. EITHER (a) Do the media enhance rather than eliminate orality? Refer to any one medium,
electronic or print (20 mks).
OR (b) Which electronic medium is most suited for recording folklore and oral literature?
Why? (20 mks)
7. From your understanding of oral literature genres, what can you say is their relevance to
you? Discuss with specific illustrations from oral or recorded texts (20 mks).
8. Write an essay on the future of oral literature in Africa (20 mks).
SSP EXAMS
KABARAK UNIVERSITY
EXAMINATIONS FOR THE DEGREE OF BACHELOR OF EDUCATION (ARTS)
TIME: 2 HOURS DAY:
DATE: --8-2011
LITE 321: THEATRE, SCRIPT WRITING AND PERFORMANCE
INSTRUCTION: Answer three questions, one from Section 1 and two from Section 2.
SECTION 1
1. Define and illustrate the following concepts in this course:
i. Theatre (10 MKS)
ii. Performance(10 MKS)
iii. Script (10 MKS)
TOTALS 30 MKS
2. With illustrations from any play you read as part of class requirement, discuss all the
steps a director goes through in preparing a script for production (30 MKS).
3. Choose a role from a play and analyse it closely as if you were going to play the
character in a production (30 MKS).
SECTION 2
4. Either (a) Consider at least three major characters in Sophocles’ King Oedipus and
discuss their relative importance and relationships among them (20 mks).
OR (b) Discuss the characters in Becket’s Waiting for Godot and what they mean for the
structure of the play (20 mks).
5. What are the similarities and differences in acting in life and acting onstage? Do you
think the two kinds of acting complement each other? (20 mks)
6. Referring to EITHER Sophocles’ King Oedipus and Ola Rotimi’s The Gods Are Not to
Blame OR Adrian Onyando’s Taming the Wild and The Epic of Gor Mahia, review the
relationship between any one play and its source text, paying attention to the ways in
which the former seeks to interpret or transcribe the latter (20 mks).
7. Consider any play you have read or discussed in this course and explain which type of
theatre space would be best for it (20 mks).
KABARAK UNIVERSITY
EXAMINATIONS FOR THE DEGREE OF BACHELOR OF EDUCATION (ARTS)
Litt 211: EAST AFRICAN POETRY AND DRAMA
TIME: 2 HOURS
DAY:
DATE: -7-2011
Instruction: Answer any three questions, one from Section 1 and at least one from other sections.
SECTION 1: GENERAL
1. Evaluate the phenomenon of ‘the Okot school and poetic tradition’ in East African poetry (30
marks).
2. Discuss the treatment of the theme of struggle for freedom in either Ibrahim Hussein’s Kinjeketile or
Adrian Onyando’s Taming the Wild or Ngugi wa Thiong’o’s and Micere Githae Mugo’s The
Trial of Dedan Kimathi.(30 marks)
SECTION 2: POETRY
3. EITHER a) ‘African feminism tends to highlight and re-evaluate attitudes and misconceptions
about women with a view to changing institutionalized subjugation and oppression of
women.’ Discuss this statement with reference to Micere Githae Mugo’s My Mother’s Song
and Other Poems. (20 marks)
4. EITHER a) In what ways does the studying of oral literature help us read either Song of
Lawino or The Epic of Gor Mahia (20 marks).
OR b) Discuss how B.S. Tibenderana’s “The Bastard” and Henry Barlow’s “Building the
Nation” capture the collapsing morality in modern East African states. (20 mks)
5. Examine the use of symbols and imagery in the poetry of either Jonathan Kariara or Jared
Angira. (20 marks)
SECTION 3: DRAMA
6. Discuss how effectively John Ruganda uses Kyeyune as a witness character to Uganda’s
postcolonial society in The Floods. (20 marks)
7. “Imbuga’s success as a dramatist stems from his choice of topical social and political themes
and his fusion of English and elements of modern drama with African idioms such as
proverbs, sayings and dance, which appeal to the tastes and sensibilities of local
communities.” (Simon Gikandi and Evan Mwangi, 2007). Discuss this view with reference to
any of Imbuga’s plays.(20 mks)
8. Discuss the concerns of any East African dramatist (excluding the titles mentioned above)
you have studied in this course. (20 marks)
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