The Bachelors in Performing Arts is envisioned for students who have a flair for dance, music and theatre and are looking for structured intervention at the UG level. The programme hopes to give a strong platform for our students to develop a passion for the arts, sharpen their artistic skills and broaden their theoretical base. While the focus will be predominantly within the parameters of dance, music and theatre, other art forms would act as subsidiaries under this three-dimensional approach. The primary aim of the programme is not to make students experts in one art form or the other, but introduce them to the possibilities with art and to help them get an integrated sense of art. It is desirable that every students continues to work under an artist/group in one art form or the other outside curriculum, towards long term development. As of now, the Performing Arts papers will function alongside of English and Psychology as a part of a triple-major combination. This combination will hopefully give linguistic, literary and psychological insights to the students. Since there is scope for accommodating only one paper from all the three fields in each of the first two semesters, the second year is conceptualized in a form where the students can choose an area of specialization in one of the three art forms- dance, music or theatre, through the elective option. However, they need to stick on to the same specialized area until the last semester. In the third year, they shall have two papers per semester in their specialized area to give them a deeper understanding of the subject.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO2: Recognize the social structures underlying our society Identify the implications of the same in our existence Analyse and engage with their social surroundings, problematize and raise questions based on academic inquiry Take informed actions

PO3: Communicate effectively based on the context within which one is operating Develop soft skills Operate effectively in multicultural spaces

PO4: Function as a collaborating member/leader in teams in multidisciplinary settings Demonstration of interpersonal intelligence or skills

PO5: Act with an informed awareness of issues Engage in initiatives that encourage equity and growth for all

PO6: Recognize and respect different value systems including ones own Follow the norms of academic integrity Take cognizance of the moral implications of our decisions

PO7: Demonstrate awareness of local, regional, national, and global needs Engage with their socio-cultural contexts along with environmental needs and concerns

PO8: Self-directed and Life-long Learning: Engage in lifelong learning Work on career enhancement and adapt to changing professional and societal needs

Programme Specific Outcome:

PSO2 : Analyze the connection between the art of movement and mind. (Movement psychotherapy)

PSO3: Use language and emotions for dance, music and theatre performances.

PSO4: Use psychological concepts to interact with the audience behaviour in different social contexts.

PSO5: Demonstrate understanding of the fundamental processes underlying human behaviour and the process of human development and change, from a biological and psychosocial perspective.

PSO6 : Inspire innovative thought by using creative expression to elevate moral discourse. Bringing together communities while prompting ethical dialogue between students, artists, scholars, and the general public.

POS7: Link performing arts to environment and sustainable development according to the socio-cultural context.

PSO8: Demonstrate creative self-expression, confidence, focus, teamwork and performance skills autonomously.

PSO9: Demonstrate flawless performance with optimal arousal through language and psychological discipline.

PSO10: Maintain a high quality of performances with clear communication skills and psychological understanding.

PSO 11: Demonstarte understanding of the use of psychology within the performing arts to deepen and solidify its value as an essential and critical factor for success.

PSO 12: Demonsrate the ability to discover parallels, connections and relationships between performing arts and other disciplines.

PSO 13: Reflect on the impact their performing has on community audience members

PSO 14: Critically assess performances (and seminal performers) based on the cultural traditions and their aesthetic principles

PSO 15: Demonstrate research-oriented thinking in the fields of dance, music and theatre

PSO 16: Investigate and incorporate complex thematic materials, universal themes, and understandings into performances.

Theoretical courses are examined through relevant tasks that ask students to demonstrate their individual, cumulative understandings of the syllabus content taught throughout the semester.

Practical courses are examined through various performance-based tasks that require students to demonstrate various combinations of individual fine-motor skills taught throughout the semester.

Both theoretical and practical tasks are assessed using rubrics that break each task down into their component criteria.

The Additional English course is offered as a second language course and seeks to introduce the students to the nuances of English literature in its varied forms and genres. The students who choose Additional English are generally proficient in the English language. Hence, instead of focusing on introducing them to language, challenging texts in terms of ideas, form, and technique are chosen. Additional English as a course is designed for students in place of a regional language. Non-Resident Indians (NRIs), foreign nationals and students who have not taken Hindi, Kannada, Tamil or French at the Plus 2 or Class XII levels are eligible to choose Additional English. The course is taught for students from different streams, namely, BA, BSc, BCom, and BBA in the first year and for BA, BSc and BCom (Regular) in the second year.

The first year syllabus is an attempt by the Department of English, Christ University to recognize and bring together the polyphonic Indian and Indian sub-continental voices in English in English translation for the Additional English students of the first year. This effort aims to familiarize the students with regional literatures in translation, Indian Writing in English (IWE) and literatures from Pakistan, Nepal and Srilanka, thereby, enabling the students to learn more about Indian culture and ethos through writings from different regions of the country. We have tried to represent in some way or the other the corners of India and the Indian sub-continent in this microcosmic world of short stories, poems and essays

There is a prescribed text bookfor the first year students, compiled by the Department of English, Christ University and intended for private circulation.

The first semester has a variety of writing from India, Pakistan and Nepal. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. An important addition to this syllabus is the preponderance of North-Eastern writing which was hitherto not well represented. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature.

The objectives of this course are

to expose students to the rich literary and cultural diversity of  Indian literatures

to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA

to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance

to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)

1.      Keki N Daruwala     “Migrations”

2.      Kamala Das            “Forest Fire”

3.      Agha Shahid Ali      “Snow on the Desert”

4.      Eunice D Souza       “Marriages are Made”

1.      Rabindranath Tagore    “Babus of Nayanjore”

2.      Ruskin Bond  “He said it with Arsenic”

3.      Bhisham Sahni       “The Boss Came to Dinner”

4.      N. Kunjamohan Singh    “The Taste of Hilsa”

5.      Mohan Thakuri                “Post Script”

1.      Mahatma Gandhi       “What is True Civilization?” (Excerpts from Hind Swaraj)

2.      Ela Bhatt                    “Organising for Change”

3.      Sitakant Mahapatra     “Beyond the Ego: New Values for a Global Neighborhood

4.      B R Ambedkar             “Waiting for A Visa”

The text book copy "Reading Diversity"

CIA 2: Mid-semester written exam for 50 marks

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive            creative assignments that might help students engage with India as a cultural space. This is to be done keeping in mind the objectives and learning outcomes of the course.

Question Paper Pattern

Mid Semester Exam: 2 hrs

Section A: 4x5= 20

Section B: 2x15=30

Total                  50

End Semester Exam: 2 hrs

Section A: 4 x 5 = 20

Section B: 2 x 15= 30

Total                   50

• To expose learners to a variety of texts to interact with
• To help learners classify ideologies and be able to express the same
• To expose learners to visual texts and its reading formulas
• To help learners develop a taste to appreciate works of literature through the organization of language
• To help develop critical thinking
• To help learners appreciate literature and the language nuances that enhances its literary values

• To help learners understand the relationship between the world around them and the text/literature
• To help learners negotiate with content and infer meaning contextually
• To help learners understand logical sequencing of content and process information

·         To help improve their communication skills for larger academic purposes and vocational purposes

·         To enable learners to learn the contextual use of words and the generic meaning

·         To enable learners to listen to audio content and infer contextual meaning

·         To enable learners to be able to speak for various purposes and occasions using context specific language and expressions

·         To enable learners to develop the ability to write for various purposes using suitable and precise language.

Common errors- subject-verb agreement, punctuation, tense errors 

1. Why We Travel-Pico Iyer

2. What Solo Travel Has Taught Me About the World – and Myself -ShivyaNath- Blogpost

sentence fragments, dangling modifiers, faulty parallelism,

Note taking

1. Thinking Like a Mountain

By Aldo Leopold

2. Short Text: On Cutting a Tree

By Gieve Patel

1. Violence in the name of God is Violence against God

By Rev Dr Tveit

2. Poem: Holy Willie's Prayer

By Robert Burns

Paragraph writing

Newspaper report

1. The Story of B24

By Sir Arthur Conan Doyle

 2. Short Text: Aarushi Murder case 

1.Long text:My Story- Nicole DeFreece

2. short text: Why You Should Never Aim for Six Packs

Essay writing

1.Long Text: Sir Ranjth Singh- Essay by SouravGanguly

2. Short text: Casey at the Bat-  Ernest Lawrence Thayer

Paraphrasing and interpretation skills

Visual Text: Before the Flood

CIA 2=50 

CIA 3= 20 

ESE= 50 marks online and 50 marks written exam

Course Description:

This course will serve as an introductory course for British Literature. The course will locate the texts in their respective socio-political and historical contexts. The selection aims to introduce different genres of British literature.

Course Objectives

• To introduce  students to the socio-political, religious, cultural, and linguistic aspects of the UK through English literary texts
• To help students understand texts as products of a historical, political and cultural processes
• To enable students to identify different forms, genres and subgenres in literature
• To sensitize students to human values through an exposure to socio-historical concerns of subjectivity, identity, community and nationhood.
• To sharpen critical appreciation and analytical writing skills through an introduction to models of literary criticism

Emergence of English language, History of England from 42 BC to Norman Conquest- salient features

 Impact of Norman rule on English social structure, English language in the medieval period,mystery, morality plays and miracle plays, feudalism 

Protestantism, Bible translation, religious literature, humanism, English Renaissance, Baroque and Rococo Styles

Metaphysical Poetry, Epic conventions, Mock epic, Puritanism, Restoration, Rise of the novel, the English novel in the eighteenth century, Gunpowder plot, Oliver Cromwell,

Dissolving the parliament, Periodical essays, empiricism, Influence of French culture through restoration, the enlightenment 

Romanticism, notion of literary creation and poets, closet drama, the French Revolution, Victorian morality, industrial revolution, utilitarianism, rise of nation-states, impact of colonialism on England, emergence of universal education in England 

William Shakespeare:          

Sonnet 116

‘O that this too solid flesh would melt” Soliloquy by Hamlet in Hamlet Act 1 Scene 2

‘To Be or Not To Be’ Soliloquy by Hamlet in Hamlet Act 3 Scene 1

Francis Bacon: “Of Truth”

John Donne: “Canonization”

John Milton: Excerpt from Satan’s speech in Book 1, Paradise Lost

John Dryden:  First three stanzas of “Mac Flecknoe”

Alexander Pope: Belinda’s Boudoir from The Rape of the Lock

Addison and Steele: “Character of Will Wimble”

Oliver Goldsmith: “Beau Tibbs”

Oliver Goldsmith: She Stoops to Conquer / Christopher Marlowe: Dr. Faustus 

William Wordsworth: “Lines Written in Early Spring”

S.T. Coleridge: “Christabel”

Shelley: “Ode to the Westwind”

Keats: “La Belle Dame Sans Merci”

Charles Lamb: “Dream Children”

Mary Shelley: Frankenstein

Ferguson, Margaret, Mary Jo Salter and Jon Stallworthy. Eds. The Norton Anthology of Poetry. 4^th Ed. New York: WW Norton, 1996. Print

Gordden, Malcom, and Michael Lapidge. The Cambridge Companion to Old English Literature. Rpt Cambridge: CUP, 2006. Print.

Gupta, Ambika Sen. Selected College Poems. Rpt. Hyderabad: Orient Longman,   1999.

Herman, Daniel. The Cambridge Companion to Narrative. Cambridge: CUP, 2007. Print.

John, Eileen, and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print

Maxwell, Richard, and Katie Trumpener. The Cambridge Companion to Fiction in the Romantic Period. Cambridge: CUP, 2008. Print

Sampson, George.The Concise Cambridge History of English Literature, 3^rd Ed. Cambridge: CUP, 2005. Print

Ramarao, Vimala. Ed.Explorations. Vol I. Bangalore: Prasaranga, Bangalore University, 2004. Print

Shingle, Michael. Daniel Defoe Robinson Crusoe. New York: WW Norton, 1994. Print

1. group presentations on topics relevant to British literature/Art and literary movements
2. an exhibition/display based on different eras, movements and literary and non-literary genres

CIA III will be a moddle test on the Novel

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 calibre of students.

Selected Texts chosen to be taught may be revised / used as extended reading which may be tested in CIA 1, 2 or 3. Example : only 1 soliloquy may be taught.

Mid Semester Examination CIA II: 2 Hours

Section A: Short Notes – 5x3 marks= 15 (5 questions out of 7)

Section B: Essay Questions – 2x10 marks = 20 (2 questions out of 3)

Section C: Long Essay Questions – 1x15 marks = 15 (1 question out of 2)

Total: 50 Marks

End Semester Examination: 3 Hours

Section A: Short Notes – 10x3 marks = 30 (10 questions out of 12)

Section B: Essay Questions – 4x10 marks = 40 (4 questions out of 6)

Section C: Long Essay Questions – 2x15 marks = 30 (2 questions out of 4)

Total: 100 Marks

French as a second language in the UG program. The method Génération A1 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. The structure of each unit marks a real learning journey.

Course Objectives

·       To develop linguistic competencies and sharpen oral and written communicative skills

·       To familiarize learners to certain aspects of francophone civilization.

·       To enable learners to engage in simple everyday situations

 Lexicon – Countries and nationalities, domestic animals, days of the week

 Grammar -Subject pronouns, verbs ‘to be’ and ‘to have’, definite and indefinite articles

 Speech acts – Greeting, asking how one is

Lesson 2: Hello, my name is Agnes.

Lexicon – Months of the year, numbers 0-69, the family

Grammar – Formation of the feminine / plural, possessive adjectives

Speech acts -Introducing oneself and others, asking and saying dates

La cigale et la fourmis (The grasshopper and the ant)

Le renard et le corbeau (The fox and the crow)

A French movie

      2.  De Lafontaine, Jean. Les Fables de la Fontaine.

           Paris, 1668

Course Description

The detailed text book “Samakaleen Hindi Kavitha” edited by Dr.N Mohanan is an anthology of contemporary Hindi Poems written by representative poets of Hindi Literature. From the medieval poetry ' Kabir Ke Dohe and Sur ke pad 'is also included.  The poets reflect on the social, cultural and political issues which are prevalent in our society since the medieval period. Hindusthani sangeeth-parampara eva kalakar is one of the module. Since translation is a significant area in language and literature, emphasis is being given on it in the syllabus.Bharath ki pramukh sanskruthik kalayein  Yakshagana,Kathakali,Ram Leela,Krishna Leela etc. included in the syllabus to enrich cultural values among students.

Course Objectves: 

Students will be exposed to read, analyse and appreciate poems by learning poetry. Through translation, students will be able to develop translation skills while translating from other language articles. Students will be able to analyses critically the different cultural art forms by learning about the Famous cultural art forms of India.

’  Samakaleen Hindi Kavitha (Collection ofcontemporary Poems)  Edited By: Mahendra Kulashreshta Rajpal and Son’s, New Delhi

Level of knowledge: Analytical

Translation-Practice                English to Hindi and vice- versa.

Ramleela,Krishnaleela,Yakshagaana,kathakali.

Utbhav,Vikas aur paramparaein

Pramukh Sangeethkar-1.Bhimsen Joshi 2.Gulam Ali 3.Pandit Ravishankar 4. Bismillah Khan.

1. 'Samakaleen Hindi Kavitha’ (Collection of Poems) Edited By: Dr.N Mohanan,  Rajpal and Son’s,New Delhi.

1. A Hand Book of Translation Studies         By: Das Bijay Kumar.               

2. Saral Subodh Hindi Vyakaran,                 By: Motilal Chaturvedi. Vinod pustak mandir, Agra-2

3. Anuvad Evam Sanchar –                         Dr Pooranchand Tantan, Rajpal and Son’s, Kashmiri

4. Anuvad Vignan                                       By: Bholanath Tiwar

5. Anuvad Kala                                           By: N.E Vishwanath Iyer.

CIA-2(Mid semester examination)-50 marks

CIA-3(Digital learning-article creation in Hindi Wikipedia)-20 marks

End sem examination-50 marks

Selections from Old Kannada, Medieval Kannada and Modern Kannada Literature are introduced for I Semester BA/ BSc. courses in the syllabus. This will enrich the students' Language and Communication skills, and also their critical and analytical skills.  This will help them to enhance their social sensitivity.  The rhythm of poetry helps the students to acquire natural speech rhythm.

1. Raghavanka- Harishchandra Kavya. Selected chapter( Purada Punyam Purusha Roopinde Pooguthide) 

2. Vachanas- Devara Dasimayya, Basavanna, Akkamahadevi, Aydakki Lakkamma, Gajesha Masanaiah.

    Keerthanegalu: Purandaradasa, Kanakadasa

3. Modern Kannada poetry: Mumbai Jataka- Dr. G.S. Shivarudrappa, Kari Heggadeya Magalu- B.M.Sri 

1. Dheera Kumara- A Folk tale

2. Mandannana Marriage- (An episode in Novel Karvalo) K. P. Poornachandra Tejaswi

3. Gili Kathe-(Translation) -  Ravindranath Tagore

1. Differences in Prounounciation ( L-l) (A-H) 

2. Change of meanings

3. Translation: English to Kannada 

1.Folk Art forms of Karnataka

1. Dollu Kunitha

2.Pooja Kunitha

3.Goravara Kunita

4. Patada Kunitha 

       2. Yashodhara Charite- Janna (Selected Episode) 

       3. Harishchandra Kavya- Raghavanka (Selected Episode) 

       4. Shree Sahitya- B M Shreekantaiah

       5. Janapada Kathegalu- Jee sham paramashivaiah

2. Vachana Chandrike- L Basavaraju

3. Purandara Sahitya Darshana- S K Ramachandra Rao

4. Kanakadasa- Basrur Subba Rao

5. Samagra Kannada Sahitya Charithre- Ed. G.S Shivarudrappa

CIA-2 Mid Semsester Examination- 50 Marks

CIA-3 Translation Assignment- English to Kannada -20 Marks

Attendance -05 Marks

End Semester Examination- 50 Marks

·         To introduce the students to the basics of Bharatanatyam.

·         To make the students understand the subtle nuances of expression and movement.

·         Tattadavu – 8

·         Naatadavu – 8

·         Paravaladavu – 4

·         Kudhittamettu adavu – 4

      Pakkadavu – 4

The origin of dance as per the Natyashastra of Bharata Muni

·         AsamyuthaHastas – Single Hand Gestures – From Pataka to Trishula

·         SamyuthaHastas – Double Hand Gestures – From Anjali to Avahita

2.       Indian Classical Dance Tradition in transition – Leela Venkataraman

3.       Hastha Prayogah – Vocabulary of hand gestures in Bharatanatyam – Jayalakshmi Eshwar

4.       The story of a Dance – Bharatanatyam – Krishna Sahai

5.       Panorama of Indian Dances – Prof. U.S. Krishna Rao and U.K. Chandrabhagadevi

CIA 2

CIA 3

Final Exam

: In this course the students will be introduced to the basic concepts of Bharatanatyam, Carnatic Music and Theatre to provide them with a clear overview of the three fields that they will be studying in the duration of this programme.

Objectives:

·         To give a strong base in the respective areas of dance, music and theatre.

·         To expose them to the terms and practices in the field.

·         To get an insider’s perspective of the field.

·         

·        The Origin of Dance as per the Natya Sastra of Bharatha Muni

·         AsamyuthaHastas – Single Hand Gestures – From Pataka to Trishula

·         SamyuthaHastas – Double Hand Gestures – From Anjali to Avahita

  Bharatanatyam

·         Kathak

·         Kathakali

·         Kuchipudi

·         Manipuri

·         Mohiniattam

·         Odissi

·         Sattriya

Introduction to the eight classical dance forms in terms of origin, history, technique, repertoire, costume and make up and accompaniments.

Natya

·         Nritta

·         Nritya

·         Adavu

·         Korvai

·         Jathi

·         Sollukettu

·         Nattuvangam

·         Tandava

·         Lasya

Definitions and the understanding of the terms in brief.

·         Structure of Adi Taala and Rupaka Tala

·         Tala notations for the Adavus

·         SwaravaliVarisai

·         JantaiVarisai

·         HechusthyaiVarisai

·         DhatuVarisai

·         Sapta tala alankaras.

The above mentioned preliminary lessons done in Mayamalavagoula raga, set to adi tala.

·         Mayamalavagowlai

·         Malahari

Arohana, avarohana of the raga, its essential features, raga sancharas and famous compositions in the raga.

Study of Musical form and Biography of Purandaradasa.

Geetham, Jathiswaram,Swarajathi, Varnam, Keerthana, Krithi, Keerthana, Padam Javali, Thillana

Classification of instruments like Thadha, Avanatha, Sushira and Gana vadyas.

Explanation and examples of each category.

The names of the seven talas, angas, symbols, akshara kalas and jathis.

·         Nada

·         Swara

·         Swarasthana

·         Shruthi

·         Arohana, Avarohana

·         Sthayi

·         Kala

·         Akshara Kala

·         Avartha

·         Prakriti Swara

·         Vikriti Swara

·         Shadangas

·         Dhatu, Matu

·         Poorvanga, Uttaranga

The detailed explanation of each term with types and examples.

Physical exercise

Yoga & Kalari

 Devi, R. (2002). Dance dialects of India. Delhi: MotilalBanarsidass.

Venkataraman, L., &Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

Eshwar, J. (2010). Bharatanatyam: how to-. Delhi: B.R. Rhythms.

Sahai, K. (2003). The story of a dance.Indialog Publications.

Rao, K., & Devi, C. (1993). A panorama of Indian dances. Delhi: Sri Satguru Publications.

Soneji, D. (2012). Bharatanatyam: a reader. New Delhi: Oxford India Paperbacks.

Khokar, A. (2003). Bharatanatyam.Rupa.

Music:

Sambamoorthy, P. (1966). South Indian music. Madras: Indian Music Pub. House.

Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation.

Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.

S., P. I. (1982).Gānāmruthabōdhini: sangeethabalapadam. Mylapore, Madras: GanamruthaPrachuram.

Theatre:

Adyarangacharya, Natyashastra.

Avasthī, S. (2008).Performance tradition in India. New Delhi: National Book Trust, India.

Jaina, N. (2007). From the wings: notes on Indian theatre. New Delhi: National School of Drama.–

Metzler, B. (2008). What we do: working in the theatre. West Conshohocken, PA: Infinity Publishing.com.

Miles-Brown, J. (1994). Directing drama. London: Peter Owen.

Gāragī, B. (1966). Folk theater of India. Seattle: University of Washington Press.

Dance:

 Devi, R. (2002). Dance dialects of India. Delhi: MotilalBanarsidass.

Venkataraman, L., &Pasricha, A. (2002). Indian classical dance: tradition in transition. New Delhi: Roli Books.

Eshwar, J. (2010). Bharatanatyam: how to-. Delhi: B.R. Rhythms.

Sahai, K. (2003). The story of a dance.Indialog Publications.

Rao, K., & Devi, C. (1993). A panorama of Indian dances. Delhi: Sri Satguru Publications.

Soneji, D. (2012). Bharatanatyam: a reader. New Delhi: Oxford India Paperbacks.

Khokar, A. (2003). Bharatanatyam.Rupa.

Music:

Sambamoorthy, P. (1966). South Indian music. Madras: Indian Music Pub. House.

Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation.

Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.

S., P. I. (1982).Gānāmruthabōdhini: sangeethabalapadam. Mylapore, Madras: GanamruthaPrachuram.

Theatre:

Adyarangacharya, Natyashastra.

Avasthī, S. (2008).Performance tradition in India. New Delhi: National Book Trust, India.

Jaina, N. (2007). From the wings: notes on Indian theatre. New Delhi: National School of Drama.–

Metzler, B. (2008). What we do: working in the theatre. West Conshohocken, PA: Infinity Publishing.com.

Miles-Brown, J. (1994). Directing drama. London: Peter Owen.

Gāragī, B. (1966). Folk theater of India. Seattle: University of Washington Press.

·         Performance as a class in the Darpan theatre festival involving aspects of dance, music and theatre.

·         2. CIA II – Mid Semester Examinations

·         This will have two components – Theory (50 marks), Practical (50 marks)

·         Theory: 5 questions to be answered out of 6 – 2 from each unit viz. dance, music, theatre. Practical: Practical exam from the portions covered in class.

·         3. CIA III – Swaraanjali

·         An annual musical event organized by the department which provides a platform for students to learn new musical compositions and perform.

This course is an introduction to the study of basic psychological processes offered to the first-semester undergraduate students of psychology. It is an introductory paper that gives an understanding of the field of psychology, scope, and multiple perspectives and disciplines that provide a holistic picture of human behaviour. Students will learn the key concepts, classic examples, and modern and practical applications of fundamental psychological theories, methods, and tools. Emphasis is on the basic psychological processes of personality, learning, consciousness, motivation and emotion. This course allows them to learn the basics and demonstrate the skills that a student needs to move on to the more specific and in-depth psychology courses that follow. This course will help the learner to learn about

• The world of Psychology with a brief historical sketch of the science of psychology, multiple perspectives and recent trends in the field.
• The biological basis of behaiour
• The fundamental processes underlying human behaviour such as learning, motivation, emotion, personality
• Ethics in studying human behaviour and using them in academic assignments. Students will have an opportunity to develop skills such as writing, making presentations and using technology for academic purposes and teamwork.

In this unit, we will examine the history of Western psychological theorizing from its beginnings in ancient Greece, through to the schools and perspectives of psychology including Structuralism, Functionalism, Psychodynamic, Biological, Behavioristic, Gestalt, Cognitive, Cross-cultural, Humanistic and Evolutionary. The aim is both to build a familiarity with psychology’s intellectual origins and to foster an awareness of its many false steps, dead-ends, and alternative pathways to gain a better appreciation of the social, cultural, and, above all, psychological influences on the theorizing of psychologists. Students will be able to define psychology and understand what psychologists do and identify the major fields of study and theoretical perspectives within psychology and know their similarities and differences. In the end, students will be ale to gain a better appreciation of why contemporary psychology takes the shape it does, describe the evolution of psychology and the major pioneers in the field, identify the various approaches, fields, and subfields of psychology along with their major concepts and important figures and describe the value of psychology and possible careers paths for those who study psychology

Explain the biological perspective of psychology as it applies to the role of the nervous system and endocrine system in regard to behaviour and mental processes. Identify and describe the important structures of these systems. It is an introductory survey of the relationship between human behaviour and brain function. Discuss the interaction between biological factors and experience, methods and issues related to biological advances, develop an understanding of the influence of behaviour, cognition, and the environment on the bodily systems, and develop an appreciation of the neurobiological basis of psychological function and dysfunction. 

Laboratory Demonstration: Biofeedback/ EEG/ Eye-tracking

This unit is an introduction to the psychological study of human personality, broadly speaking and more specifically in terms of how we may understand individual differences in personality and the personalities of individual persons. Personality psychologists use empirical methods of behavioural and clinical science to understand people in biological, social, and cultural contexts. Students will learn the strengths and weaknesses of the major personality theories, as well as how to assess, research and apply these theories. As much as possible, application to real-life situations will be discussed. Students would be able to identify the various perspectives that are common in the area of personality psychology and critically evaluate each in terms of its explanatory and predictive power, discuss theories and perspectives of personality development: psychoanalytic, humanistic, trait, and social-cognitive, understand classic and current empirical measurement tools and approaches to investigation for personality assessment in psychological and clinical science and develop an understanding of the concept of individual differences with the goal to promote self-reflection and understanding of self and others.

 Laboratory Demonstration: Sentence completion test, NEO-PI, Type A/B

The unit will explain how behaviour is energized and directed by the complex mixture of motives and emotions and describe the various theories that have been developed to explain motivation and emotion. Unit aims to explain motivation, how it is influenced, and major theories about motivation. We will describe hunger and eating in relation to motivation, obesity, anorexia, and bulimia; sexual behaviour and research about sexuality; and explain theories of emotion and how we express and recognise emotion

Laboratory Demonstration: Level of motivation, Achievement motivation, 

Gazzaniga, Heatherton, Halpern (2015). Psychological Science, 5th Edition, Norton.

Feldman.S.R.(2009).Essentials of understanding psychology ( 7th Ed.) Tata Mc Graw Hill.

•  CIA I –Written Assignment /Individual Assignment  - Total Marks 20     
•  CIA II – Mid Semester Examination                        - Total marks 50                          
•  CIA III –Activity-based Assignment                        - Total marks 20
•   CIA I + II + III                                                      = 90 /100 = 45/50 
•   Attendance                                                            = 5 marks 
•  Total                                                                      = 100 = 50 

End Semester Examination : Total Marks=100=50

Question paper pattern

•  Section A        Brief, concepts, definitions, applications               2 marks x 10 = 20
•  Section B         Short Answers: Conceptual/Application                5 marks x 4   = 20
•  Section C        Essay Type: Descriptive/Conceptual                       15 marks x 3 = 45
•  Section D        Compulsory: Case Study (Application)                    15 X 1           = 15

Janakiharana of Kumaradasa is the first Sanskrit mahakavya, so far as the extant literature goes, to deal solely with the whole of the Ramayana story. Its further interest is that it was produced in Ceylon, showing thereby the wider world over which Sanskrit had its sway. After manuscripts of the full text of the poem in twenty cantos had to come to light in South India, what is now presented was the first systematc and critical study to be undertaken to the author and the text and its position vis-a-vis other Mahakavyas. In addition to the above study and the critical edition of the cantos which were at that time unpublished the examination of the large number of extra-verses found in some MSS of the text and showing them as interpolations.

Selected shlokas 1-60 shlokas

Kumāradāsa is the author of a Sanskrit Mahākāvya called the Jānakī-haraṇa or Jānakī’s abduction. Jānakī is another name of Sita, wife of Rama. Sita was abducted by Ravana when she along with Rama, exiled from his kingdom, and Lakshmana was living in a forest which incident is taken from Ramayana ('Rama’s Journey'), the great Hindu epic written by Valmiki.

The Sinhalese translation of his work, Jānakī-haraṇa, gave credence to the belief that Kumāradāsa was King Kumāradhātusena (513-522 A.D.) of Sri Lanka but scholars do not make any such identification even though the poet at the end of his poem says that his father, Mānita, a commander of the rearguard of the Sinhalese King Kumāramaṇi, died in battle on the day he was born and that his maternal uncles, Megha and Agrabodhi, brought him up. Rajasekhara, who lived around 900 A.D., in his Kāvyamīmāmsā refers to the poet as born blind - मेधाविरुद्रकुमारदासादयः जात्यन्धाः. There is also a tradition that this poem was written by Kalidasa. Kumāradāsa came after Kalidasa and lived around 500 A.D., later than Bhāravi but before Māgha. While writing Jānakī-haraṇa, he certainly had before him Raghuvaṃśa of Kalidasa.^[1] 

Sandhis and lakaras          

Samasa prakaranam

1)      Janakiharanam of Kumaradasa edited by  C K Swaminathan

2)      Janakiharanam edited by G.R. Nandargikar

3)      Sanskrit Grammar Translation from English to Sanskrit by M.R. Kale

Sanskrit Grammar Kannada version by Satish Hegde.                                   

Champu Ramayana of Bhoja 

CIA 1 Wikipedia assignments

CIA 2 Mid semester examinations

CIA 3 Wikipedia assignments

Poems of Bharatiyar and Bharatidasan and poems by women poets with feminine sensibilities  will initiate the students into the modern period with all its complexities. The short stories by Ambai offers a matured vision of life through a varied characters and situatins. A new concept, Cultural Studies, will take the students beyond prescribed syllabus to include music, theatre, painting and films out of whcih the art form of music is taken up for the first semester.

1. Kannan yen sevagan

2. Kannan yen kozhandhai

3. Kannan yen vilayatu pillai

4. Kannan yen kadhalan

5. Kannan yen kadhali

1. Kadal

2. Kundram

3. Nyaairu

4. Aal

5. Chittrur

Prose including reference to contemporary literary issues

1. Oru karupu silanthi udan oru iravu- Ambai

Cultural studies, Indian festivals

1.Ottadai -Thamarai

2. Kapinaani thozhudhal- Ponmani vairamutu

3. Yendhan tozha- Subhathra

4. Kadal konda pen puram- Andal priya dharshini

5. Pen- P. Kalpana '

Pira mozhi chorkal

Isai

Malliga, R et al (ed).Thamilppathirattu I.Bangalore: Prasaranga,2011

     ‘Oru Karuppuchilanthiyudan Or Iravu’ by Ambai,

      published by Kalachuvadu Publications, Nagercoil, 2014

 Varadarajan, Mu.  Thamil Ilakkia Varalaru . New Delhi:Sahitya Akademi, 2008

 Sivathambi, Ka.Thamil Sirukathaiyin Thorramum Valarchiyum.Coimbatore: NCBH, 2009

 Ragunathan,C.Bharathi: Kalamum Karuthum, Chennai:NCBH, 1971

Ramakrishnan S 100 Sirantha Sirukathaigal, Chennai: Discovery Books, 2013

The second semester has a variety of writing from India, Pakistan and Srilanka. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature.

The objectives of this course are

to expose students to the rich literary and cultural diversity of  Indian literatures

to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA

to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance

to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)

1.      Jayanta Mahapatra    “Grandfather”

2.      Meena Alexander    “Rites of Sense”

3.      K.Satchidanandan      “Cactus”

4.      Jean Arasanayagam   “Nallur”

1.      Temsula Ao             “The Journey”

2.      A. K Ramanujan       “Annaya’s Anthropology”

3.      Sundara Ramswamy   “Waves”

4.      Ashfaq Ahmed            “Mohsin Mohalla”

5.      T.S Pillai                      “In the Floods”

1.      Salman Rushdie        “Gandhi Now”

2.      Amartya Sen             “Sharing the World”

3.      Suketu Mehta            “Country of the No”

4.      Rahul Bhattacharya     “Pundits From Pakistan” (An Excerpt)

CIA 1: Classroom assignment/test for 20 marks keeping in tune with the course objectives and learning outcomes.

CIA 2: Mid-semester written exam for 50 marks

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive            creative assignments that might help students engage with India as a cultural space. This is to be done keeping in tune with the course objectives and learning outcomes.