Syllabus for
BA (Theatre Studies, Creative Media/Honours/Honours with Research)
Academic Year  (2023)

The Department of Theatre Studies holds the vision of providing ‘Integrity through Aesthetic performance’. Its mission is to inspire and mentor the birth and sustained growth of artists who, through cultural ethos, will embody respect, humanity, and discipline. The Performing Arts are a universal language that goes beyond the physical and geographical boundaries of the world. They bring people closer to themselves and a glimpse into the lived experiences of others and the shared experiences of humanity. The primary aim of the programme is to introduce the students to the possibilities of the art form and help them to gain an integrated sense of it through the application of theory via practical means.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO2: Critical Thinking: Use plays as a resource material about the time, space, weight and flow of people. Understanding the mentality of human archetypes using exercises specific to the theatre.

PO3: Effective Communication: Increase kinaesthetic discipline using accurate posture, delivery and stage presence. Making oneself truly humble, knowledgeable and easy to approach by prompting and accepting feedback from the audience.

PO4: Social Interaction: Aiming to create effective group leaders through a conservatoire method with an ensemble focus.

PO5: Effective Citizenship: Help students understand the fundamental processes underlying human behaviour, development and change from biological and psychosocial perspectives.

PO6: Ethics: Guiding them to create productions on their own making them understand the importance of accountability and responsibility. Respecting the academic integrity of the institution and course.

PO7: Environment and Sustainability: Engage with socio-cultural psychological contexts along with environmental needs and concerns.

PO8: Continue a dedicated path to the thespian disciplines without dousing the spark of curiosity.

Programme Specific Outcome:

PSO2: Develop a professional portfolio to apply for different kinds of specialisations under the the broad umbrella of theatre studies.

PSO3: Allow students to direct, stage manage, script-write, compose and act on their own in student-led productions.

PSO4: Apply aesthetics to practical skill sets using a mix of different schools and styles of theatre studies.

PSO5: Present research at a conference in the field of Performing Arts.

PSO6: Network with industry professionals to experience and engage in relevant theatrical career paths.

PSO7: Devise performance and rehearsal exercises directed towards developing character behaviour, psychology and mannerisms.

Programme Educational Objective:

PEO2: Emotional Self-Regulation: Demonstrate empathy by listening with respect for others.

PEO3: Communication Skills: Demonstrate creative thinking using verbal and non-verbal skills.

PEO4: Co-Creation: Demonstrate consultative decision-making using analytical thinking and assertiveness.

PEO5: Entrepreneurship: Demonstrate leadership and team-building skills through facilitation.

PEO6: Research Skills: Demonstrate a global perspective using critical thinking and knowledge application.

PEO7: Cultural Competency: Demonstrate respecting diversity with cross-cultural understanding and humility.

In the Department of Theatre Studies, examinations and assessments are designed to evaluate students' proficiency in both practical skills and theoretical knowledge. These assessments serve as a comprehensive measure of students' understanding, application, and mastery of the subject matter.

Practical Skills Assessments:

Practical skills assessments focus on evaluating students' ability to apply their knowledge in a practical setting. This may involve various aspects of theatre performance, such as acting, directing, stage design, or technical production. Students are typically evaluated through performances, rehearsals, presentations, or practical demonstrations of their skills. These assessments provide opportunities for students to showcase their creativity, technical proficiency, and stagecraft abilities.

Theory Knowledge Examinations:

Theory knowledge examinations are aimed at assessing students' understanding and comprehension of the theoretical aspects of theatre studies. These assessments cover a wide range of topics, including theatre history, dramatic literature, dramatic theory, critical analysis, and theatrical concepts. Students are tested through written exams, essays, research papers, or other written assignments that assess their ability to analyze, interpret, and articulate their knowledge of theatrical concepts and ideas.

 This course introduces students to the basic principles of biology. Students will learn about the organization of life, including the cell theory and taxonomy, the chemistry of life, genetics, evolution, and ecology. The course will also cover current issues in biology such as biotechnology and environmental sustainability.

The scientific method and experimental design; The organization of life: cells, tissues, organs, and organ systems; Taxonomy and the diversity of life; Chemical elements and molecules essential to living systems

Mendelian genetics and inheritance patterns; DNA structure and function, gene expression and regulation; Genetic diversity and evolution; Natural selection and adaptation

Ecosystems and biomes; Population dynamics and community interactions; Biodiversity and conservation; Human impact on the environment and sustainability

Applications of biotechnology in medicine, agriculture, and industry, Ethical issues related to biotechnology; The impact of biotechnology on society; Regulations and policies related to biotechnology

Midterm Examination- 30%

Review paper/Research Paper- 20%

Seminar presentation – 10%

Final Examination - 30%

This course provides an introduction to the basic concepts and principles of creative media. Students will explore various media forms including photography, video, audio, and graphic design. Through lectures, discussions, and hands-on projects, students will develop fundamental skills in media creation and production.

- Historical overview of creative media

- Evolution of media forms and technology

- Introduction to photography principles

- Composition and lighting

- Exposure and aperture

- Introduction to software

- Introduction to video production principles

- Storyboarding and scripting

- Cinematography and lighting

Graphic Designing will enable students to develop advertisements, logos and other digital entities for creating brand equity for assortment of products, services and organizations.

Course Objectives​

 This course will help the learner to

• Provide an overview of the Graphic designing.

• To familiarize the methods and techniques of Graphic designing.

• To enhance the skill set of the students in designing digital entities for businesses.

• To imbibe the concepts of graphics designing to strengthen the campaigns of digital marketing.

Photoshop Basics: History of Photoshop - About Photoshop, Photoshop Features - Opening and Importing images, Creating Documents with different sizes - Digital Marketing – Digital Branding.

Importance of Designs, Logos, Mascots and other Digital Entities in Marketing & Branding - Basic Concepts of Designing, Design principles, Basics of design elements, Typography, Colour theory.

Introduction to Graphics, Introduction to Photoshop, Bitmap and Vector Images, Understanding Image Size and Resolution

Assignment: 15

Attendance: 10

Course Description

Data visualization package for the statistical programming language R. It starts with simple datasets and then graduates to case studies about world health, economics, and infectious disease trends in the United States. This course starts with fundamental computational concepts underlying most programming languages and also the solution of small problems using a programming language.

Course Objectives​

1. To teach students about data visualization principles

2. To learn how to communicate data-driven findings 

3. To teach how to use ggplot2 to create custom plots

Introduction to Tableau: What is TABLEAU? Why Data Visualization - Unique Features compared to Traditional BI Tools - TABLEAU Overview & Architecture - File Types & Extensions - Start Page,  Show Me, Connecting to Excel Files, Connecting to Text Files, Connect to Microsoft SQL Server, Connecting to Microsoft Analysis Services, Creating and Removing Hierarchies - Bins, Joining Tables, Data Blending.

Parameters - Set - Combined Sets - Creating a First Report - Data Labels - Create Folders - Sorting Data - Add Totals, Subtotals and Grand Totals to Report. Types of charts.

Calculated Fields - Basic Approach to Calculate Rank, Advanced Approach to Calculate Rank , Calculating Running Total  - Filters Introduction - Quick Filters - Filters on Dimensions - Conditional Filters - Top and Bottom Filters - Filters on Measures - Context Filters  - Slicing Filters - Data Source Filters  - Extract Filters 

Assignment: 15

Attendance: 10

This course aims to provide a holistic and a deeper understanding of the trade-off between ecology and development. Through an inter-disciplinary lens an organic approach is adopted to understand the trade-off. This course, therefore, seeks to cultivate not only the moral and ethical thinking of the ecology but also it tries to put forth an action plan from a policy front. 

The Value Problem in Ecological Economics- Values in Ecological Value Analysis: What Should We Be Learning from Contingent Valuation Studies? - Natural Capital in Ecological Economics-Entropy in Ecological Economics.

The environmental impact of land development-Development of water resources-Development and changing air quality- Urban development and environmental change-Environmental economics and ecological economics: Where they can converge?- Power Inequality and the Environment.

Gender and environment; Ecofeminism; androcentrism; Deep ecology – ecofeminism debate; Ecocriticism; Nature writings; Thinking like a mountain; The forgetting and remembering of the air - The Varna Trophic System An Ecological Theory of Caste Formation. 

Reading Ecology, Reinventing Democracy-Scientists or Spies?- Revisiting the Debates on Man-Nature Relation- Lecture of Medha Patkar- Ecological Fiscal Transfers and State-level Budgetary Spending in India- -Bourgeois Environmentalism, the State, the Judiciary, Urban Poor, Significance of Silent Valley- Silent Valley: A controversy that focused global attention on a rainforest 40 years ago- Equity and Justice

2.Daly & Farley. (2011). Ecological Economics (Principles and Applications). Island Press

3.Pepper, D. (2002). Eco-socialism: from deep ecology to social justice. Routledge

1.      4.Gupta, Avijit. (1998).Ecology and Development in Third World. Routledge

4. Patel, S. (1997). Ecology and Development. Economic and Political Weekly, 2388-2391.

5. Sankar, U. (ed.) (2000). Environmental Economics. Oxford University Press

6. Burkett, Paul. (2006). Marxism and Ecological Economics. Brill

7.Venkatachalam, L. (2007). Environmental economics and ecological economics: Where they can converge?. Ecological economics, 61(2-3), 550-558.

2. Warren, K.J. (ed), (1994).  Ecological Feminism. London: Routledge.

3.Shiva, V. (2016). Staying alive: Women, ecology, and development. North Atlantic Books.

4.Kavoori, P. S. (2002). The Varna Trophic system: an ecological theory of caste formation. Economic and Political Weekly, 1156-1164. 

5.Gill, K. (2009). Bourgeois environmentalism’, the State, the Judiciary, and the ‘urban poor’: The political mobilization of a scheduled caste market. Of Poverty and Plastic (Oxford, UK: Oxford University Press, 2010), 209.

6. Kaur, A., Mohanty, R. K., Chakraborty, L., & Rangan, D. (2021). Ecological fiscal transfers and state-level budgetary spending in India: Analyzing the flypaper effects. Levy Economics Institute, Working Papers Series July.

7.Parameswaran, M. P. (1979). Significance of Silent Valley. Economic and Political Weekly, 1117-1119.

8. Lewis, M. (2002). Scientists or spies? Ecology in a climate of Cold War suspicion. Economic and Political Weekly, 2323-2332.

CIA 2- 25 Marks

CIA 3- 50 Marks 

The ‘English Phonetics and Communication’ course focuses on the vital knowledge and skill area of the pronunciation of English sounds and speech for the students of Theatre and Music. It also focuses on platform speeches to support the platform roles integral to the program involving theatre. Topics of universal concern, appeal, and relevance have been included to sustain the interests of all students. The selection of topics also progresses in complexity with each semester, enabling the students to gradually move into more severe and sustained reading patterns and become increasingly wise and conscious of themselves and the world they see around them. In a nutshell, we aim to bring out a text that will empower the holistic development of every student. 

Mother Tongue influence in India

British and American Language and Power

 English and Social Mobility in India

Public Speeches

Type of Speeches

Talks and Presentations

Seminar/Conference Presentation

Group Discussion

Syllable

 Morphemes

 Assimilation and Elision

 Word Accent

 Intonation

 Tag

Mother Tongue influence in India

British and American Language and Power

English and Social Mobility in India

LAVER, J. (1994). Principles of Phonetics. Cambridge: Cambridge University Press. 

Reppen, R. (2010). Using corpora in the language classroom. Cambridge: Cambridge University Press.

Course Description

 Rock Music is a sound and dissonance rich discourse with its own socio-cultural practices and aesthetics. This course is an academic introduction to this space and its role in the identity formation of a generation, of a people and a Nation in motion.

Course Objectives

• To engage with popular music as aural texts 
• To study the popular music practitioner as an activist and artist
• To appreciate the significance of  social critique and a counter cultural aesthetic

Tin Pan Alley and song pluggers, World War II

Sheet Music

Swing and ragtime

Vaudeville

Frank Sinatra: My Way. Strangers in The Night, New York, New York

Nashville, Music Row, Elvis Presley

 Bill Haley 

Chuck Berry

  Buddy Holly   

The Beatles and Beatlemania

Establishing an aesthetic of Mod

  TV and bands 

The Rolling Stones  

Bands as Artists                                                                                                                 

Beatles / Sgt Pepper’s  

Pink Floyd /The Wall

The Who / Tommy

Counter Culture: Vietnam, Draft, Gender, the Mystic East, Woodstock, Ban the Bomb   

Woody Guthrie

Bob Dylan

Joan Baez

Janis Joplin

Simon and Garfunkel

Jimi Hendrix

Pearl Jam

Riot bands

Jon CovachUniversity of Rochester

and the Eastman School of Music

Andrew Flory

Carleton College

W. W. NORTON AND COMPANY

NEW YORK • LONDON

fifth Edition

Camilleri, Lelio. “Shaping Sounds, Shaping Spaces”.  Popular Music, Vol. 29, No. 2 (May 2010): 199-211. JSTOR.  Cambridge University Press. Web. 16August, 2016. <http://www.jstor.org/stable/40926918>

Chrysalis, Thanos. “Spatio-Aural Terrains”. Leonardo Music Journal, Vol. 16, Noises Off: Sound Beyond Music (2006):40-42. JSTOR. The MIT Press. Web. 29 April, 2015. http://www.jstor.org/stable/4540592

Denisoff R.S. The Sounds of Social Change: Studies in Popular USA Culture. 1972. Rand Mcnally& Co.

Denisoff, R. S.  Great Day Coming.  1991. Ann Arbor, MI: U-M-I Out-of-Print Books on Demand.

Denisoff, R. S. "Sing a Song of Social Significance": Political Consciousness and the Song of Persuasion.  1972.  Ohio: Bowling Green State University Popular Press.

Denisoff, R. S. Solid Gold Popular Record Industry.  1975. New Brunswick, New Jersey Transactions Inc

Ewen, D. Great Men of American Popular Song: The History of the American Popular Song told through the Lives, Careers, Achievements, and Personalities of its Foremost Composers and Lyricists--from William Billings of the Revolutionary War through Bob Dylan, Johnny Cash, Burt Bacharach.  1972. Englewood Cliffs, NJ, New Jersey: Prentice-Hall.

Forcucci, S. L. A Folk Song History of America: America through its Songs.  1984. Englewood Cliffs, NJ: Prentice-Hall

Fox, Aaron A.. “The Jukebox of History: Narratives of Loss and Desire in the Discourse of Country Music”. Popular Music, Vol. 11, No. 1 (Jan,1992): 53-72. JSTOR, Cambridge University Press. Web. 18March, 2011. < http://www.jstor.org/stable/853227 >

Ganchrow, Raviv. “Perspectives on Sound-Space: The Story of Acoustic Defense”. Leonardo Music Journal, Vol. 19, Our Crowd—Four Composers Pick Composers (2009): 71-75. JSTOR. The MIT Press. Web. 29April, 2015. <http://www.jstor.org/stable/40926354>

Hamm, C.  Music in the New World. 1983. New York: W.W. Norton and Company.

Hampton, W. Guerrilla Minstrels.  1986. Knoxville: University of Tennessee Press.

Kingman, D.  American Music: A Panorama. 1979. New York: Schirmer books.

Klonsky, M. “Down in The Village: A Discourse on Hip”. New American Review, 13. 1971. New York: Simon and Schuster.

Kostelanetz, Richard. “Text-Sound Art: A Survey (Concluded)”. Performing Arts Journal, Vol. 2, No. 3 (Winter, 1978): 71-84. JSTOR. Performing Arts Journal, Inc. Web. 16 August,2016. <http://www.jstor.org/stable/3245364 >

Kramer, Lawrence. “Music, Metaphor and Metaphysics”.  The Musical Times, Vol. 145, No. 1888 (Autumn, 2004): 5-18. JSTOR.  Musical Times Publications Ltd. Web. 26 March,2011. < http://www.jstor.org/stable/4149109>

Kun, Josh D. “The Aural Border”. Theatre Journal, Vol. 52, No. 1, Latino Performance (March. 2000): 1-21. The John Hopkins University Press. Web. 18March, 2011. < http://www.jstor.org/stable/25068738 >

Poulin, A. The American Folk Scene: Dimensions of the Folksong Revival.  1967. New York: Dell Pub. Co.

Qureshi, Regula Burckhardt. “Music Anthropologies and Music Histories: A Preface and an Agenda”. Journal of the American Musicology Society, Vol. 48, No. 3 (Autumn 1995): 331-342. JSTOR. University of California Press. Web. 18March, 2011. < http://www.jstor.org/stable/3519830 >

Račić, Ladislav. “On the Aesthetics of Rock Music”. International Review of the Aesthetics and Sociology of Music, Vol. 12, No. 2 (Dec.1981): 199-202. JSTOR. Croatian Musicological Society. Web. 1Dec., 2017. < http://www.jstor.org/stable/836562>

Ricks, C.  The Force of Poetry. 1995. Oxford University Press.

Rodnitzky, J. L.  Minstrels of the Dawn: The Folk-Protest Singer as a Cultural Hero. 1976. Chicago: Nelson-Hall.

Tagg, Philip. “Analyzing popular music: theory, method and practice.” Popular Music 1 (1979): 68-70. Web.

Choose a song that has been an effective anthem for a cause or genre and analyse it in about 500-750 words.  

CIA II: (Mid Sem 50 marks) Choose a pivotal figure from Rock history and trace their career and impact on society. Consider image and sound in the construction of this image.

CIA III:(20marks) The class in groups of 5-6 will anthologise a series of songs, artists and their work.

Archiving:

End Semester:

 Identify a Bangalore based band or genre of popular music with approval of your course instructor . Conduct a study of their work and evolution and impact on the city and vice versa. Use data beyond library sources and provide due evidence. Your archive entry must include a 750-1000word reflective essay that validates your choice of artist, understanding of the form and significance of the work. You must also identify, interview and record these interactions. Provide clips from concerts duly cited. Include memorabilia like tickets, album art, newspaper or magazine clips  

Moving from land to ocean marks a shift in our understanding with fluidity as the focal point. ‘Blue Humanities’ or ‘Blue Cultural Studies’ uses the ocean as the lens to foreground diverse historical, social, cultural, economic and political aspects. The expansive field of Blue Humanities adopts a multidisciplinary approach, weaving together insights from environmental studies, oceanography, marine studies, cultural studies, film studies, history, etc. The course specifically focuses on revisiting the cliched conceptualization of the ocean as vast, alien, terra nullis and ahistorical. The ‘Oceanic Turn’ transitions from the surface to the depths below to explore the three-dimensional ocean through socio-cultural representations. Reading the ocean and the sea through cinema from across the world will help understand how the ocean is portrayed in myriad ways ‘foregrounding and problematizing issues connected to gender, race, pollution, social justice, maritime activities, privatization, globalization, capitalism ontologies’ to revisit our established thought regimes. 

The unit will provide an alternative reading of our established understanding of ‘Origins’ with reference to the ocean – formation of the earth, the oceans, plants and animals and human beings. Destabilizing the pre-set reading of the formation of the world and prioritizing the land over the sea, the unit will help refocus the establishment of life in the Universe.

·       Excerpts from Rachel Carson, The Sea Around Us

·       Steve Mentz, “Two Origins: Alien or Core?”

·       Philip E. Steinberg and Kimberley Peters, “Wet Ontologies, Fluid Spaces: Giving Depth to Volume Through Oceanic Thinking”

The unit will throw light on the field of Ecocriticism with specific focus on Blue Humanities and its emerging engagement with the oceans around the world. The unit will help position the study of the oceans in the field of Humanities with specific reference to Cultural studies to frame the Blue Cultural Studies.

·       Excerpts from Sidney I. Dobrin, “Unearthing Ecocriticism”

·       John R.  Gillis – “The Blue Humanities”https://www.neh.gov/humanities/2013/mayjune/feature/the-blue-humanities

·       Helen M Rozwadowski, Oceans in three Paradoxes: Knowing the Blue through Humanities – Virtual Exhibition https://www.environmentandsociety.org/exhibitions/oceans-three-paradoxes

The unit will probe into pivotal aspects surrounding the construction of the ocean space through filmic representations of the ocean. The intent is to analyze through a range of issues informing the oceanic representations in films to unearth the pluri-focussed politics, both explicit and otherwise, manoeuvring through them - Maritime histories and activities, Aquatic world, Disasters, Conquests, Wars, Exploration, Adventure, Folk Tales and Myths, Colonialism and Postcolonialism, Gender, Race, Capitalism, International Relations, Globalization, Ecology and Medical Humanities.

·       James L. Smith and Steve Mentz - Learning an Inclusive Blue Humanities: Oceania and Academia through the Lens of Cinema

·       Stefan Helmreich, “Massive movie waves and the Anthropic Ocean”

·       Dilip M Menon, “Sea-Ing Malayalam Cinema”

·       Rie Karatsu, “The Representation of the Sea and the Feminine in Takeshi Kitano's A Scene at the Sea (1991) and Sonatine (1993)” (SLA)

Dobrin, Sidney I. Blue Ecocriticism and the Oceanic Imperative. Routledge, 2021.

Mentz, Steve. An Introduction to Blue Humanities. Routledge, 2023.

·       Chen, Cecilia, Janine MacLeod, and Astrida Neimanis, editors. Thinking with Water. McGill-Queens Univ. Press, 2013. 

·       DeLoughrey, Elizabeth. “Toward a Critical Ocean Studies for the Anthropocene.” English Language Notes, vol. 57, no. 1, Apr. 2019, pp. 21–36.

·       Di Leo, Jeffrey R., editor. “Blue Humanities,” Symploke, vol. 27 no. 1, 2019, pp. 7-10. · 

·       Gillis, John R. “The Blue Humanities.” HUMANITIES, vol. 34, no. 3, May/June 2013.

·       Jue, Melody. Wild Blue Media: Thinking through Seawater. Duke Univ. Press, 2020.

·       Mentz, Steve. “Toward a Blue Cultural Studies: The Sea, Maritime Culture, and Early Modern English Literature.” Literature Compass, vol. 6, no. 5, Sept. 2009, pp. 997–1013. 

·       Mentz, Steve. Ocean. Bloomsbury Academic, 2020.

·       Mentz, Steve. Shipwreck Modernity: Ecologies of Globalization, 1550-1719. Univ. of Minnesota Press, 2016.

·       Raban, Jonathan, editor. The Oxford Book of the Sea. Oxford Univ. Press, 1993.

·       Roorda, Eric. The Ocean Reader: History, Culture, Politics. Duke Univ. Press, 2020. 

·       Steinberg, Philip E. The Social Construction of the Ocean. Cambridge Univ. Press, 2001.

 End semester evaluation will be based on students setting up an online archive. They shall create an online archive selecting topics and presenting them by blending texts, theory and research. The submission will also have a viva component.  

This course attempts to map out the connection between history and cinema. It aims to look at how cinema can be treated as a visual text and a source for understanding history. 

a)   History as a narrative – History and Truth Contested Notions –Ideology, Sources and Historian

b)   Multiple Identities and Histories – History as a point of reference – Issues of Legitimacy & Justification.

a)     Cinema as a narrative – Words and Images – Genre- Representation Vs. Reality – Propaganda – selling History. 

b)    Language of Cinema- Color – Angles – Movement

a)     Cinema as a narrative – Words and Images – Genre- Representation Vs. Reality – Propaganda – selling History. 

b)    Language of Cinema- Color – Angles – Movement

a)     Between History and Cinema:  The problem of linear narratives and flash back – questions of authenticity – definition of authenticity.

b)    Cinema as a political, social and historical text.

Chapman, J., Glancy, M., & Harper, S. (Eds.). (2007). The new film history: sources, methods, approaches. Springer.

Ferro, M. (1988). Cinema and history. Wayne State University Press.

Chapman, J. (2005). Past and present: national identity and the British historical. London: IB Tauris.

Miskell, P. (2004). Historians and film. In Making History (pp. 253-264). Routledge.

Nowell-Smith, G. (Ed.). (1996). The Oxford history of world cinema. OUP Oxford.

Raghavendra, M. K. (2014). Seduced by the Familiar: Narration and Meaning in Indian Popular Cinema. Oxford University Press.

Miskell, P. (2005). Seduced by the silver screen: Film addicts, critics and cinema regulation in Britain in the 1930s and 1940s. Business History, 47(3), 433-448.

Sedgwick, J., Miskell, P., & Nicoli, M. (2019). The market for films in postwar Italy: Evidence for both national and regional patterns of taste. Enterprise & Society, 20(1), 199-228.

Raghavendra, M. K. (2011). Bipolar identity: Region, nation, and the Kannada language film. Oxford University Press.

Raghavendra, M. K. (2014). The Politics of Hindi Cinema in the New Millennium: Bollywood and the Anglophone Indian Nation.

Sanyal, D. (2021). MK Raghavendra, “Locating World Cinema: Interpretations of Film as Culture” (Bloomsbury Academic India, 2020).

CIA 2:  Mid Semester Examinations 25 Marks

CIA 3:  10 Marks

End semester examination: 50 Marks

Attendance: 5 Marks

Subaltern Studies emerged as an intellectual project to counter the elitism prevailing in dominant historical narratives. This project aimed at giving voice to the people’s autonomous agency and struggles against the dominant forces. They offered a new outlook to narratives of Peasant, Adivasi and Woman’s movements in history. Over time, subaltern perspective was adopted to understand several issues concerning India and it still holds significant relevance in shedding light on contemporary issues. This course aims to introduce the students to subaltern studies and cultivate a new standpoint to understand and interpret the world.

Foundation of Subaltern Studies Collective, Ranajit Guha, Need of subaltern studies, Resources, Subaltern life narratives

State and subaltern citizens, Dominance without Hegemony, Peasant rebellions, Dalit and Adivasi Assertion, Indian Nationalism, Women’s question and the emergence of counter narratives

Cricket and caste, Environmental movements, political and social mobilization of marginalized classes, public theatre and reclaiming dignity

-       Films: Laggan, Karnan, and The Discreet Charm of the Savarnas

-       Fiction: Subaltern in Mahasweta Devi’s stories (Jamunabati’s Mother, and Mother of 1084)

-       Folklore: Folktales from India, “So Many Words, So many sounds”: An Interview

-       People’s Archive of Rural India

- Exploring the Relevance and Irrelevance of subaltern studies

- Adding new locations? Or After subaltern studies?

Guha, R. (1982). On Some Aspects of the Historiography of Colonial India. In R. Guha (Ed.), Subaltern Studies I (pp. 1–8). Oxford University Press.

Kumar, R. (2021). Police Matters: The Everyday State and Caste Politics in South India, 1900–1975. Cornell University Press.

Guha, R. (2005). ‘The Moral that can be Safely Drawn from the Hindus’ Magnificent Victory’: Cricket, Caste and the Palwankar Brothers. In J. H. Mills (Ed.), Subaltern Sports: Politics and Sport in South Asia (pp. 83–106). Anthem Press.

        Ahuja, A. (2019). Mobilizing the Marginalized. Oxford University Press.

       Chatterjee, P. (2012). After subaltern studies. In Economic and Political Weekly (Vol. 47, Issue 35).

       Ramanujan, A. K. (2009). Folktales From India. Penguin India.

Berg, D. E. (2021).Casteism and the Tsundur Atrocity. In Dynamics of Caste and Law (pp. 127–149). Cambridge University Press.

Chemmencheri, S. R. (2015). State, social policy and subaltern citizens in adivasi India. Citizenship Studies, 19(3–4), 436–449.

Das, A. N. (1983). Agrarian Change from Above and Below: Bihar 1947-78. In Ranajit Guha (Ed.), SS II (pp. 180–227). Oxford University Press.

Devi, M. (2005). Jamunabati’s Mother. In In the Name of the Mother. Seagull Books.

Devi, M. (2008). Mother of 1084. Seagull Books.

Guha, R. (1995). Review: Subaltern and Bhadralok Studies. Economic and Political Weekly, 30(33), 2056–2058.

Guha, R. (1996). The Small Voice of History. In  Amin & Chakrabarty (Ed.), SS IX (pp. 1–12). Oxford University Press.

“So Many Words, So many sounds”: An Interview. (2004). In Romtha. Seagull Books.

CIA II-25 Marks

CIA III-50 Marks

·      This course aims at giving basic in the Theatre and its elements.

·      Orientation to the Theatre Ensemble.

Introduction to Playwriting, Acting, Directing, Setting, Costume, Makeup, Lighting &Sound

·      Introduction to Theatre spaces- Amphitheatre, Proscenium, Theatre in the round (Arena), Thrust stage, Found space, Environmental space.

·      Poster, Leaflet/Brochure development

·        Developing clarity, articulation, and voice modulation.

·        Voice projection

·        Creating voice for building a character

·        Resonances in singing

• Exercises to develop the flexibility and endurance of a body.

• Removing physical ‘blocks’.

• Body language as a part of ‘building’ a character.

• Creating an ensemble

This course has been conceptualized to help students focus on their writing skills by exposing them to different forms of writing in keeping with the varied platforms-- print, broadcast and online media. They will be introduced to different writing styles and understand the mechanics of writing for diferent mass media platforms encompassing different genres, thereby providing students a foundation to build on for advanced courses in future. The ability to analyze complex situations and translate them into clear, concise written segments will benefit them in their media career.

1. Is Writing Important? The Significance of Writing for the Media
2. Understanding News, News Values and Journalistic Writing
3. Lead Writing, Creating Headlines, Cutlines and Photo Captions
4. Writing Hard News Stories & Feature Stories 
5. Writing Editorials 
6. Drafting Press Releases 

1. Writing to Be Heard -Techniques and Conventions
2. Radio Scripting - News Piece, Commercials
3. Writing to Visuals

1. How is Writing for the web different from other forms?
2. The Art of Blogging
3. Web Newswriting
4. 4.Writing for microblogging sites - Twitter and Instagram: Understanding trends, using second-person pronouns, evoking emotional response, brevity, using hashtags and multimedia content

• Sissons, H. (2006). Writing for broadcast. . SAGE Publications Ltd. https://doi.org/10.4135/9781446216828.n5
• Pickering, I. (2018). Writing for news media: The storyteller's craft. Routledge.
• Wheeler, S. (2009). Feature writing for journalists. Routledge.

• Lucas, F. L. (2012). Style: The art of writing well. Harriman House Limited

Sample Assignment:

• Feature Writing

• Blog Post

• Live Tweet 

• In-depth Interview

• Radio Drama Script

*Rubrics for each activity will be provided by the concerned faculty offering the course.

** Keep duplicate copies of all work submitted in this course. Save all returned, graded work until the semester is over.

The ‘Writing Skills’ course introduces the students of Theatre and Music to the various forms of writings in a workplace.  Communication in a workplace depends on clear, effective written words. It emphasizes the importance of writing at work; helps the students to observe, to think, to plan, to organize and to communicate. 

a.   Writer

b.   Purpose

c.   Audience

d.   Tone

e.   Context 

1.  The different kinds of Essays

a. Planning

b. Drafting

c. Revising

1. The Purpose of Research

a.     Basic Skills of Researching

b.     Collecting Information from People

c.     Collecting Published Information

d.     Designing Pages

e.     Design for Readers

f.      Elements of Page Design

 Basic Design Guidelines

1. MLA style, APA style, Chicago Manual Style

1. Creating and Discussing Visual Aids
2. Using: Tables; Line graphs; Bar graphs; Pie charts; Flow charts
3. Using illustrations: Photographs; Drawings; Guidelines

1. Memorandums
2.  Informal Reports -

a.     IMRD Reports

b.      Progress Reports

c.     Formal Reports

d.     Recommendation Reports

e.     Feasibility Reports

f.       Oral Reports

3.  Proposals

CIA 2: 50

CIA 3: 20

ESE: 50

Assessment pattern:

This paper is a short introduction to the Indo-Western philosophical traditions with the aim of setting into an interweaving motion the dialogic and contemplative. Its purpose is not merely to discern and register similarities and differences between the two traditions, but more importantly to open a dialogic space in the intersection of their central concerns.

Course Objectives:

• To introduce students to the art of thinking for themselves.
• To enable students to study how humans have reflected upon the riddles of human existence.
• To encourage students to understand the course through some of the important philosophers, their thoughts, their times and climes.
• To equip students with skills necessary for being a thinker in the field of philosophy.
• To encourage students to become citizens of the world by exposing them to ideas and events (literary and otherwise) that shape our world.
• To develop the interest of the students in reading, appreciating and critiquing the philosophies and societies of the world with genuine empathy.
• To develop their skills of thinking, reading, understanding and writing the Self and the world – logos redeemed by pathos.

Unit II                                                                                                                         20 Hours

Schools of Indian philosophy - Darsana 

This unit focuses on some of the important schools of Indian Philosophy. 

• A Critical Survey of Indian Philosophy - Chandradhar Sharma 
• The Story of Indian Philosophy - Prasanna Gautam 

Unit III                                                                                                                       20 Hours

This unit attempts to briefly introduce some of the important currents and cross-currents in Western Philosophy.

• The Story of Philosophy ­– Will Durant
• From Socrates to Sartre: The Philosophic Quest - T. Z. Lavine 

Philosophy: An Introduction

 Key Questions and problems:

•  What is Darsana - Vichara and Anviksiki?
• What is Philosophy?
• The Non-translatables

Tentative Texts:

• “On the Concept of Philosophy in India” - Mind, Language and World - Bimal Krishna Matilal 
• “Introduction” - The Story of Indian Philosophy - Prasanna Gautam 
• “On the Uses of Philosophy” - The Story of Philosophy - Will Durant 
• “On Thinking for Oneself” - Arthur Schopenhauer 

Unit II                                                                                                                         20 Hours

Schools of Indian philosophy - Darsana 

This unit focuses on some of the important schools of Indian Philosophy. 

• A Critical Survey of Indian Philosophy - Chandradhar Sharma 
• The Story of Indian Philosophy - Prasanna Gautam 

Unit III                                                                                                                       20 Hours

This unit attempts to briefly introduce some of the important currents and cross-currents in Western Philosophy.

• The Story of Philosophy ­– Will Durant
• From Socrates to Sartre: The Philosophic Quest - T. Z. Lavine 

Tentative Additional Reading List:

• The Cultural Heritage of India: Ramakrishna  Mission Institute for Culture
• Outlines of Indian Philosophy – M. Hiriyanna
• Eastern Religions and Western Thought – Sarvapalli Radhakrishnan
• The Varieties of Religious Experience: A Study in Human Nature – William James
• Great Philosophers: From Socrates to Sartre - Gary Cox
• Sophie’s World - Jostein Gaarder

CIA I: (20 Marks)

The students have to submit an analytic essay on any of the thinkers/philosophers, philosophical schools, ideas and contexts of their choice. 

Parameters of Evaluation:

• Analytic and not Descriptive– 5 marks
• Comparative in nature – 5 marks
• Contemporary relevance – 5 marks
• Inventiveness in the use of language and grammatical correctness – 5 marks

 CIA II (20 Marks)

The students have to record a two-minute audio on a philosophical concept/tradition of their choice and upload the same on the Google Classroom platform. 

• Incisive articulation - 5
• Contemporary relevance - 5
• Dialogic - 5
• Analytic argumentation - 5

The students have to debate ideas that matter.

• Analytic – 5 marks
• Comparative in nature – 5 marks
• Contemporary relevance – 5 marks
• Inventiveness in presenting and arguing philosophically  – 5 marks

End-Semester Portfolio Submission (50 Marks)

The students have to write a meditative essay in about 1000-2000 words pertaining to a philosophical idea/problem of their choice.

• Analytic 
• Contemporaneity 
• Originality  
• Argumentative 

15-20 marks – if the answer bears no connection with the question and there is no

conceptual clarity at all.

20-25 marks – if the answer is not precise, lacks conceptual clarity, ideas are not

properly organized and is technically imperfect with grammatical mistakes and spelling

errors.

25-30 marks – if the answer shows conceptual clarity but is not precise, is technically

imperfect and fraught with grammatical mistakes and spelling errors.

30 - 35 marks – if the answer is precise, shows conceptual clarity and is grammatically

and technically perfect, but ideas are not properly organized.

35-42 marks – if the answer is precise, shows conceptual clarity, ideas are properly

organized and is technically perfect without grammatical mistakes and spelling errors.

Course Description:

Partition is a significant and recurring theme in the history of many nations. It represents not just a division of land but also a rupture in the lives of people, impacting their identities, cultures, and relationships. Through a diverse selection of literature, this course seeks to examine the complex, multifaceted, and often painful narratives that emerge from partition events around the world. It is an engaging and thought-provoking exploration of literary works that delve into the multifaceted and often traumatic experiences of partition in various countries. This course delves into the human, emotional, and societal consequences of dividing nations and communities, providing a comprehensive view of this historical phenomenon. The course will journey into different regions (with a focus on Indian Partition), exploring literary responses to partition, both in the form of creative works such as novels, short stories, and poetry, as well as critical essays that provide theoretical frameworks for understanding these narratives.

Course Objectives:

CO1: To develop a nuanced understanding of the historical, cultural, and human dimensions of partition through the study of literature from various affected countries.

CO2: To analyze and critically engage with the ways in which literature serves as a medium for reflecting the impact of partition on individuals and societies.

Introduction to Partition and connected themes - Identity and Belonging, Displacement and Migration, Violence and Trauma, Loss and Grief, Family and Relationships, Nationalism and Politics, Cultural and Social Changes, Memory and Remembrance, Reconciliation and Healing, Borders and Geopolitics, Nation-Building, Resistance and Resilience

“Toba Tek Singh” – Saadat Hasan Manto

“Cranes” – Hwang Sun-Won

“East-West Tale of a Sundered City” – Jill Smolove (non-fiction)

Earth – Deepa Mehta (movie)

“Dekh Tere Sansaar ki Haalat kya ho gayi Bhagwan”- Nastik ­– Pradeep (song)

The Migration Series – Jacob Lawrence (select paintings)

“Blind Smoke” – Arjan ‘Shad’ Mirchandani

“To Waris Shah” – Amrita Pritam

“Migrations” – Keki Daruwalla

“Neither an Elegey nor a Manifesto” – John Hewitt

“A Poem that Came Easily” - Yun Tongju

"Sri Lanka: The Last Phase in Eelam War IV" - SinhaRaja Tammita-Delgoda (Case-study)

Introduction to Remembering Partition: Violence, Nationalism, and History - Gyanendra Pandey

“Berlin Wall anniversary: Stories from the wall from those who remember” – BBC (video)

Anindya Raychaudhuri. Narrating South Asian Partition : Oral History, Literature, Cinema. New York, Ny, Oxford University Press, 2019.

Pandey, Gyanendra. "Remembering Partition: Violence, Nationalism, and History." Modern Asian Studies, vol. 31, no. 3, 1997, pp. 763-810.

Demick, Barbara. Nothing to Envy: Ordinary Lives in North Korea. Spiegel & Grau, 2009.

Khan, Yasmin. The Great Partition: The Making of India and Pakistan. Yale University Press, 2007.

Laffan, Michael. "The Partition of Ireland: 1911-25." Irish Historical Studies, vol. 36, no. 141, 2008, pp. 36-54.

Nico Medina, What was the Berlin Wall. Penguin Books, 2019.

Puri, Kavita, editor. Partition Voices: Untold British Stories, Bloomsbury Publishing, 2019.

Rushdie, Salman. Midnight's Children. Random House, 1981.

Schneider, Peter. The Wall Jumper. University of Chicago Press, 1983.

Sen, Sanghita and Neeta Gupta, editors. Partition: Stories of Separation. HarperCollins India, 2017.

Sidhwa, Bapsi. Ice-Candy Man. Penguin Books, 1991.

Singh, Khushwant. Train to Pakistan. Penguin Books, 2008.

Taylor, Frederick. The Berlin Wall: A World Divided, 1961-1989. Harper, 2006.

Partition Museum - The Partition Museum

Un-Divided Identities: Unknown Stories of the Partition | Retihaas| ReReeti

BBC Radio 4 - Partition Voices

CIA I – 20 Marks

Creative Writing – Partition Memoir – Write a fictional memoir/journal entries/short story from the perspective of someone who has lived through any historical partition

CIA II (Mid Semester) – 20 Marks

1.     Partition and Popular Culture – Group presentation

These are suggested examples of CIAs. However, during the course of teaching, there could be other suggestions, and CIAs could be slightly modified based on class dynamics and caliber of students.

End Semester Project – 50 Marks

Partition-inspired/themed Visual Art or Multimedia Project: Choose a partition event or theme and create a visual art piece or multimedia project (video, photography exhibit, or digital storyboard) that conveys the impact of partition.

Course Description

This course will explore the diverse traditions of Indian epics through retellings in Indian literature and other art forms well into the twenty-first century. The primary interest will be understanding the social, cultural, and political stakes attached to individual retellings of each epic. We will also engage with the new adaptations of the epics like Indian television serials, film versions and invocations of the epic stories in contemporary art and culture. Students will gain exposure to the diversified social structures in India that these stories reproduce, as well as resistance to those structures.

Course Objectives

CO1     To demonstrate a comprehensive understanding of the major Indian epics and their historical and cultural significance.

CO2     To critically analyse and compare multiple retellings of Indian epics in different literary forms, such as prose, poetry, drama, and visual media, highlighting variations in themes, interpretations, and artistic choices.

CO3     To place these epics within the broader cultural and historical context of India, considering how they have influenced and been influenced by various aspects of Indian society, including religion, philosophy, art, and politics.

CO4     To apply their knowledge by creating their creative adaptations of Indian epics. This includes writing, performance, or other forms of artistic expression that reflect an in-depth understanding of the source material.

CO5     To engage in critical discourse by participating in class discussions, presenting research findings, and writing essays demonstrating their ability to analyse, interpret, and critically evaluate retellings of Indian epics while considering their cultural and literary implications.

Rohit Sharma: “The Art of Rewriting Indian Epics” (National)

A.K. Ramanujan: “Three Hundred Ramayanas: Five Examples and Three Thoughts on

          Translation” (Regional)

Pradip Bhattacharya: “The Mahabharata on Screen” (National) (Skill Development)

Satya Chaitanya: “Bheel Bharath: When the Mahabharata Incarnates Down Under” (National)

Sharayu Shejale: “The Ramayana and its Retellings: Deconstructing the Myth” (National)

Toru Dutt: “Lakshamana” (Poem) (National)

Sreekantan Nair: “Kanchana Sita” (Play) (Regional) (Skill Development)

M.T. Vasudevan Nair: “Bhima Lone Warrior” (Novel) (Regional)

Ramanand Sagar: “Ramayan” (1987 TV series) (National)

Ravi Chopra:“Mahabharat” (1988 TV series) (National)

Peter Stephen Paul Brook:“The Mahabharata” (Play) (Global) (Skill Development)

G.Aravindan: “Kanchana Sita” (Film) (Regional) (Skill Development)

Kottayam Thampuran: “Bakavadham” (The Slaying of Baka) (Kathakali) (Regional)

·       Ramanujan, A K. "Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation." The Collected Essays of A K Ramanujan. Ed. Vinay Dharwadker. New Delhi: Oxford University Press, 1999. Print, pp 131-60.

·       Pradip Bhattacharya. “The Mahabharata on Screen” Kalyan Kumar Chakravarthy (ed.), Text and Variations of the Mahabharata: Contextual, Regional and Performance Traditions,Delhi, National Museum for Manuscripts & Indira Gandhi Centre for the Arts, 2009. Print, pp. 247-270.

·       Satya Chaitanya: “Bheel Bharath: When the Mahabharata Incarnates Down Under” Kalyan Kumar Chakravarthy (ed.), Text and Variations of the Mahabharata: Contextual, Regional and Performance Traditions, Delhi, National Museum for Manuscripts & Indira Gandhi Centre for the Arts, 2009. Print, pp. 185-220.

·       Sharayu Shejale: “The Ramayana and its Retellings: Deconstructing the Myth” http://intersections.anu.edu.au/issue45/shejale.html

·       Dutt, Toru. “Ancient Ballads and Legends of Hindustan”. 1882. Open Knowledge Foundation Network, India, 2013, https://in.okfn.org/files/2013/07/Ancient-Ballads-and-Legends-of-Hindustan.pdf.

·       Nair, Sreekantan, &Joseph, Sara. (2005). “Retelling the Ramayana: Voices from Kerala: “Kanchana Sita” &’ Five Ramayana Stories”. OUP India.

·       Nair, M. T. “Bhima Lone Warrior.” Harper Collins, 2013.

·       Ravi Chopra: “Mahabharat” (1988 TV series) https://www.youtube.com/watch?v=HnXkv_ozPQw&list=PLa6CHPhFNfadNcnVZRXa6csHL5sFdkwmV

·       Ramanand Sagar: “Ramayan” (1987 TV series) https://www.youtube.com/watch?v=vIh99bkSc_w&list=PL-nbe4FPvDBElyW0Iww5suxJqqmuGBgIH&index=3

·       Peter Stephen Paul Brook: “The Mahabharata https://www.youtube.com/results?search_query=Peter+Stephen+Paul+Brook%3A+%E2%80%9CThe+Mahabharata

·       Kottayam Thampuran: “Bakavadham” https://www.youtube.com/watch?v=LTR1nbhLPzE&t=11491s

·       G.Aravindan, Kanchanasita (film),  https://www.youtube.com/watch?v=d2m9n0aKgn4

·       Karve, Irawati.Yuganta: The End of an Epoch. Mumbai: Orient Blackswan, 2008. Print.

·       Mukherjee, Meenakshi. “Epic and Novel in India.” The Novel: Volume 1 History, Geography and Culture. Ed. Franco Moretti. Princeton: Princeton UP, 2006. 596-631. Print.

·       Weimann, Robert. “History, Appropiation, and the Uses of Representation in Modern Narrative.” The Aims of Representation: Subject/Text/History. Ed. Murray Krieger. Stanford: Stanford UP, 1987. 175-215. Print.

·       Chandra, Rai Govind. 1996.Indian Symbolism. Symbols as Sources of our Customs and Beliefs. New Delhi: Munshiram Manoharlal.

·       Cooper, J.C. 1978. An Encyclopedia of Traditional Symbols. London: Thames and Hudson.

·       Dutt, Romesh Chander. 1961.The Ramayana and Mahabharata. London: J.M. Dent and Sons.

·       Ganguli, Kisari Mohan, trans. 2008. The Mahabharata. Delhi: MunshiramManoharlal

·       Kosambi, D D. 1983. Myth and Reality: Studies in the formation of Indian Culture. Bombay: Popular Prakashan. (1962)

·       Levi- Strauss, Claude. 1995. Myth and Meaning: Cracking the Code of Culture. Foreword by Wendy Doniger. New York: Schocken Books. (1979).

·       Segal, Robert. 2012.Myth: A Very Short Introduction. Oxford: OUP. (2004).

·       Frye, Northrop. 1976.Spiritus Mundi: Essays on Literature, Myth and Society. Bloomington: Indiana UP.

·       Paula Richman, Many Ramayanas: The Diversity of a Narrative Tradition in India. Oxford University Press. 1997.

·       Satchidanandan, K. (2003). Myth in Contemporary Indian Literature. New Delhi: Sahitya Akademi.

·       Abhichandani, Param, (2005) Encyclopedia of Indian Literature 6, New Delhi: Sahitya Akademi.

·       Agrawal, K. A. (2000) Indian Writing In English, New Delhi: Atlantic Publishers Ltd.

·       Ramanujan, A K. "Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation." The Collected Essays of A K Ramanujan. Ed. Vinay Dharwadker. New Delhi: Oxford University Press, 1999. Print, pp 131-60.

·       Pradip Bhattacharya. “The Mahabharata on Screen” Kalyan Kumar Chakravarthy (ed.), Text and Variations of the Mahabharata: Contextual, Regional and Performance Traditions,Delhi, National Museum for Manuscripts & Indira Gandhi Centre for the Arts, 2009. Print, pp. 247-270.

·       Satya Chaitanya: “Bheel Bharath: When the Mahabharata Incarnates Down Under” Kalyan Kumar Chakravarthy (ed.), Text and Variations of the Mahabharata: Contextual, Regional and Performance Traditions, Delhi, National Museum for Manuscripts & Indira Gandhi Centre for the Arts, 2009. Print, pp. 185-220.

·       Sharayu Shejale: “The Ramayana and its Retellings: Deconstructing the Myth” http://intersections.anu.edu.au/issue45/shejale.html

·       Dutt, Toru. “Ancient Ballads and Legends of Hindustan”. 1882. Open Knowledge Foundation Network, India, 2013, https://in.okfn.org/files/2013/07/Ancient-Ballads-and-Legends-of-Hindustan.pdf.

·       Nair, Sreekantan, &Joseph, Sara. (2005). “Retelling the Ramayana: Voices from Kerala: “Kanchana Sita” &’ Five Ramayana Stories”. OUP India.

·       Nair, M. T. “Bhima Lone Warrior.” Harper Collins, 2013.

·       Ravi Chopra: “Mahabharat” (1988 TV series) https://www.youtube.com/watch?v=HnXkv_ozPQw&list=PLa6CHPhFNfadNcnVZRXa6csHL5sFdkwmV

·       Ramanand Sagar: “Ramayan” (1987 TV series) https://www.youtube.com/watch?v=vIh99bkSc_w&list=PL-nbe4FPvDBElyW0Iww5suxJqqmuGBgIH&index=3

·       Peter Stephen Paul Brook: “The Mahabharata https://www.youtube.com/results?search_query=Peter+Stephen+Paul+Brook%3A+%E2%80%9CThe+Mahabharata

·       Kottayam Thampuran: “Bakavadham” https://www.youtube.com/watch?v=LTR1nbhLPzE&t=11491s

·       G.Aravindan, Kanchanasita (film),  https://www.youtube.com/watch?v=d2m9n0aKgn4

·       Karve, Irawati.Yuganta: The End of an Epoch. Mumbai: Orient Blackswan, 2008. Print.

·       Mukherjee, Meenakshi. “Epic and Novel in India.” The Novel: Volume 1 History, Geography and Culture. Ed. Franco Moretti. Princeton: Princeton UP, 2006. 596-631. Print.

·       Weimann, Robert. “History, Appropiation, and the Uses of Representation in Modern Narrative.” The Aims of Representation: Subject/Text/History. Ed. Murray Krieger. Stanford: Stanford UP, 1987. 175-215. Print.

·       Chandra, Rai Govind. 1996.Indian Symbolism. Symbols as Sources of our Customs and Beliefs. New Delhi: Munshiram Manoharlal.

·       Cooper, J.C. 1978. An Encyclopedia of Traditional Symbols. London: Thames and Hudson.

·       Dutt, Romesh Chander. 1961.The Ramayana and Mahabharata. London: J.M. Dent and Sons.

·       Ganguli, Kisari Mohan, trans. 2008. The Mahabharata. Delhi: MunshiramManoharlal

·       Kosambi, D D. 1983. Myth and Reality: Studies in the formation of Indian Culture. Bombay: Popular Prakashan. (1962)

·       Levi- Strauss, Claude. 1995. Myth and Meaning: Cracking the Code of Culture. Foreword by Wendy Doniger. New York: Schocken Books. (1979).

·       Segal, Robert. 2012.Myth: A Very Short Introduction. Oxford: OUP. (2004).

·       Frye, Northrop. 1976.Spiritus Mundi: Essays on Literature, Myth and Society. Bloomington: Indiana UP.

·       Paula Richman, Many Ramayanas: The Diversity of a Narrative Tradition in India. Oxford University Press. 1997.

·       Satchidanandan, K. (2003). Myth in Contemporary Indian Literature. New Delhi: Sahitya Akademi.

·       Abhichandani, Param, (2005) Encyclopedia of Indian Literature 6, New Delhi: Sahitya Akademi.

·       Agrawal, K. A. (2000) Indian Writing In English, New Delhi: Atlantic Publishers Ltd.

CIA II: The student is required to submit a draft, which will include literature review and the uniqueness of the study. (20 marks)

CIA III: Submission of the final essay (50 Marks)

This course discusses various social issues which are of relevance for contemporary world. These issues surround the broad themes of population, health, development. In relation to population and health this course would cover issues like aging, reproductive health, HIV AIDS, euthanasia, drug abuse, etc. In relation to development this course would look into issues like urban land use, farmer’s suicide, displacement, etc.

 Course Objective:

Students shall be able to identify and analyze contemporary social problems. They will be able to apply interdisciplinary approach to relevant policies at local, national, and international levels.

1. Study of ‘Social Problems’
2. Characteristics, Stages and Reactions 

1. Study of ‘Social Problems’
2. Characteristics, Stages and Reactions 

1. Demographic Transition
2. HIV AIDS and societal alienation
3. Drug Abuse

1. Demographic Transition
2. HIV AIDS and societal alienation
3. Drug Abuse

1. Poverty
2. Corruption
3. Development induced displacement

1. Poverty
2. Corruption
3. Development induced displacement

1. Covenants
2. Human Rights Organizations
3. Domestic Violence and child abuse

1. Covenants
2. Human Rights Organizations
3. Domestic Violence and child abuse

Ahuja R.  (2014). Social problems in India. New Delhi: Rawat Publication.  

Merton, R. and Nisbet. (1966). Contemporary Social Problems, New York: Harcourt, Brace and World.

Shah, G. (2001). Cultural Subordination & Dalit Challenge. Vol. II

Weeks, J. (2011). Population: An Introduction to Concepts and Issues. Wadsworth Publishing Company, California.

Ahuja R.  (2014). Social problems in India. New Delhi: Rawat Publication.  

Merton, R. and Nisbet. (1966). Contemporary Social Problems, New York: Harcourt, Brace and World.

Shah, G. (2001). Cultural Subordination & Dalit Challenge. Vol. II

Weeks, J. (2011). Population: An Introduction to Concepts and Issues. Wadsworth Publishing Company, California.

Course Description: The course introduces students to theories associated with organizational behavior, facilitating their comprehension of individual and group behavior within an organization. Additionally, this paper equips students with essential knowledge of personality, motivation, theories, and leadership, establishing a foundational background in these areas.

Course Objectives:

1. To develop familiarity with the origins and evolution of organizational behavior (OB).
2. To comprehend the concept of motivation through the exploration of various theories.
3. To gain theoretical andpractical knowledge and tools for implementing organizational development interventions.

Definition and scope-approaches to Organizational Behaviour- Elements of Organizational Behaviour- Hawthorne studies-classical and modern approaches to Management- Human Relations movement and Behavioural systems approach to OB, OB Model- Definition, Developing OB model- Inputs, process, outcomes- Roles and challenges of OB- Skills of OB Manager

Personality- Definition, Determinants and Theories of Personality-psychoanalytic theories, socio-psychological theories, trait theories and holistic theories- Personality and Organizational Behaviour,

Motivation: Meaning of   Motivation, Motivation-Traditional Theories of Work Motivation; Maslow’s hierarchy of needs - Herzberg Two Factor theory, , McGregor ‘s Theory X-and Adam ‘s Equity Theory of Work Motivation.

Group Behaviour- Definition, Classification and stages, Techniques in decision making, Effective Team Building, Leadership- Definition, Types

Organizational Development- Definition- Scope of Organizational Development- Characteristics of OD, OD Interventions-Management By Objectives

Organizational change, forces of change; Resistance to change; Managing planned change, approaches to organizational change

Organizational Culture-Key cultures [Power culture, people/person culture. Task culture, role culture]- How culture is created- How culture is sustained

Organizational   Climate- methods to study organizational climate

Gupta, Ananda Das. (2014). Organizational behaviour design, structure and culture. Delhi: Biztantra.

King, D., & Lawley, S. (2012). Organizational behaviour. Oxford: Oxford University Press. Luthans, F. (2011). Organizational behaviour (12th ed.). New York: McGraw-Hill International.

Robbins, Judge and Vohra (2012).  Organizational behaviour. New Delhi: Pearson.

Robbins, S. P., Judge, T.A. & Vohra, N. (2012). Organizational behaviour, Pearson.

Raisa Arvinen-Muondo. (2013). Organizational behaviour: People, process, work and human resource management. London: Kogan Page.

Schermerhorn, J. R & Osborn, R. N. (2012). Organizational behaviour (12th ed.).New Delhi Wiley.

Seijts, Gerard H. (2006).Cases in Organizational behaviour. New Delhi: Sage.

Singh,Kavita.(2010). Organizational behaviour: Text and cases. New Delhi: Perason Publication.

Thomas Kalliath,Paula Brough,Michael O'Driscoll,  Manimala  &  Oi-Ling Siu (2011). Organizational behaviour: A psychological perspective. Australia: McGraw-Hill.

Weber, Emma, Phillips, Patricia Pulliam &; Phillips, Jack J. (2016). Making change work: How to create behavioural change in organizations to drive impact and ROI.  London:  Kogan Page.

Medieval Theatre, Commedia Dell’Arte, Shakespeare, Christianity and Theatre,

Innovations in Plot, Characters, Costumes and Themes, Soliloquy, Globe Theatre.

2.Media

3.Antigone

4.Lysistrata 

5.Menaechmi 

6.Everyman 

7.The Merchant of Venice 

8.A Midsummer Night's Dream 

9.Romeo and Juliet 

10.Othello 

11.Hamlet 

12.The Importance of Being Earnest

13.The Seagull

14.A Streetcar Named Desire

15.Machinal

16.Mother Courage and Her Children

17.Death of a Salesman

18.Waiting for Godot

19.Rhinoceros

20.Rabbit Hole

21.West Side Story

22.Sweeney Todd

23.Mamma Mia

2.Elam, Keir. Semiotics of Theatre and Drama. 2007. Print.

3.Postlewait, Thomas. Cambridge Introduction to Theatre Historiography. New York: Cambridge University Press, 2008. Print.

4.Powell, Kerry. Cambridge Companion to Victorian and Edwardian Theatre. New York: Cambridge University Press, 2004. Print.

5.Jones, David Richard. Great Directors at Work: Stanislavsky, Brecht, Kazan, Brook. 

6.Zarrilli, Phillip, B.Theatre Histories: An Introduction.New York: Rutledge, Taylor&Francis, 2010.Print.

7.Brandt, George W. Modern Theories of Drama: A Selection of Writings on Drama and Theatre 1850-1990. New York: Oxford University Press, 1998. Print.

8.Chambers, Colin. The Continuum Companion to Twentieth-Century Theatre. London: Continuum, 2002. Print.

9.Meyer-Dinkgrafe, Daniel. Who`s Who in Contemporary World Theatre. 2002. Print. 

10.Postlewait, Thomas. Cambridge Introduction to Theatre Historiography. New York: Cambridge University Press, 2008. Print.

11.Shepherd, Simon. The Cambridge Introduction to Modern British Theatre. New York: Cambridge University Press, 2009. Print.

Mid-Semester Examination: Written centralized exam.

CIA 3: A group presentation.

End Semester Examination: Written centralized exam.

l  To gain an understanding of acting principles and techniques.

l  Develop skills in the analysis and interpretation of dramatic texts for performance.

Observations of animals and humans of different ages, creating a body language of historical personalities with the help of fine arts, sectors of gestures, energy centers, and muscle control. 

Exercises in improvisation, repetition, coordinating a mise-en-scene, finding a conflict, objectives and super objectives, subtext, and analyzing a script from the actor’s point of view.

Major tenets of auditioning practices and expectations, including mock auditions and building a repertoire book.