Syllabus for
Bachelor of Arts (Performing Arts, English, Psychology)
Academic Year  (2023)

Course Description

This course is taught in the second year for students from different streams, namely BA, BSc

and BCom. If the first year syllabus is an attempt by the Department of English, Christ

University to recognize and bring together the polyphonic Indian voices in English and Indian

regional literatures in translation for the Additional English students of the first year, the

second year syllabus intends to take that project a little further and open up the engagement

of the students to texts from across the world. The syllabus - selection of texts will

concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-

American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of

belongingness experienced by humanity all over the globe.

The syllabus will extend the concerns of nation and nationality and marginalization,

discussed within the Indian context to a more inclusive and wider global platform. We have

consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns

from across the world. There is an implicit recognition in this project that though the aspects

of marginalization and the problems facing subalterns are present across cultures and

nations, the experiences, expressions and reflections are specific to each race and culture.

The course will address these nuances and specificities and enable our students to become

more aware and sensitive to life and reality around them. This will equip the students, who

are global citizens, to understand not just the Indian scenario, but also situate themselves

within the wider global contexts and understand the spaces they will move into and negotiate

in their future.

There is a prescribed text book Blends: Voices from Margins for the second year students,

compiled by the Department of English, Christ University and intended for private circulation.

Course Objectives

The course objectives are

 to enable students to look at different cultures through Literature

 to help students develop an understanding of subaltern realities and identity politics

 to inculcate literary sensibility/taste among students across disciplines

 to improve language skills –speaking, reading, writing and listening

 to equip the students with tools for developing lateral thinking

 to equip students with critical reading and thinking habits

 to reiterate the study skills and communication skills they developed in the previous

year and extend it.

TetsukoKuroyanagi: Tottochan: The Little Girl at the Window12

Liliana Heker : “The Stolen Party

 Higuchi Ichiyo: “Separate Ways”

 Harukki Murakami "Birthday Girl"

 Luisa Valenzuela: “I’m your Horse in the Night”

Poetry 12 Hrs

 Silvio Curbelo: “Summer Storm”

 Nancy Morejon: “Black Woman”

 Ruben Dario: “To Roosevelt”

 Mina Asadi: “A Ring to me is a Bondage”

Essay 9Hrs

 Amy Tan: “Mother Tongue

 Linda Hogan: “Waking Up the Rake”

 Isabelle Allande: “Open Veins of Latin America”

Children's Literature -  Kimberley Reynolds (CUP)

CIA 1: A written test for 20 marks. It can be an Open Book test, a classroom assignment, an

objective or descriptive test pertaining to the texts and ideas discussed in class.

CIA2: Mid-semester written exam for 50 works

CIA 3: This is to be a creative test/ project in small groups by students. They may do

Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates,

charts or any other creative test for 20 marks. This test should allow the students to explore

their creativity and engage with the real world around them and marks can be allotted to

students depending on how much they are able to link the ideas and discussions in the texts

to the world around them.

Question Paper Pattern

Mid Semester Exam: 2 hrs

Section A: 4x5= 20

Section B: 2x15=30

Total 50

End Semester Exam: 3 hrs

Section A: 4 x 5 = 20

Section B: 2 x 15= 30

Total 50

Course Description

English is offered as a course for all the students in BA, BSc, BCom, and BBA F&A classes in the third and fourth semesters. The aim is to strengthen the communication skills, and particularly study skills of the learners further, through adequate practice and exposure to good examples of writing, thought, ideas and human values. In addition, they will be trained in study skills through tasks in academic genres such as message, letter, essay, data interpretation etc. It aims to not only equip learners with skills but also sensitize them towards issues that concern human life in today’s globalised context. The course content is selected to meet the requirements of the departmental goal of “empowering the individual to read oneself, the social context and the imagined”; institutional goal of ensuring “holistic development”; and the national goal of creating competent and valuable citizens. The primary objective of this course is to help learners develop appropriate employability skills and demonstrate suitable conduct with regards to communication skills. The units are organised in order to help the learners understand the academic and workplace demands and learn by practice.

Course Objectives     

·       To enable learners to develop reading comprehension for various purposes

·       To enable learners to develop writing skills for academic and professional needs

·       To enable learners to develop the ability to think critically and express logically

·       To enable learner to communicate in a socially and ethically acceptable manner

·       To enable learners, to read, write and speak with clarity, precision and accuracy

Subject verb agreement

Tenses

Preposition

Voices

Clauses

Skimming and scanning

Strategies of reading

Reading and understanding reports

Reading content/ texts of various kinds

Inferencing skills

Academic vocab

Academic phrases

Professional expression

Study skills- library and referencing skills (organising reading, making notes, managing time, prioritising)

Mind mapping

Organising ideas

Accurate usage of vocabulary

Paragraph strategy

Cohesion and sequencing (jumbled sentences to paragraph)

Extended writing 

Formal and informal writing

Reports (all types including illustration to report and report to illustration and/or graphs, charts, tables and other statistical data)

Proposal writing (for projects, for research)

Academic essays/ articles

Persuasive writing, extrapolative writings

Case study writing

Executive summaries

Editing, proofreading skills

Resume vs CV

Self-introduction

Body language

Talks, speeches and presentations

Conversation

Telephone conversation

Meetings

Group discussion

Seminar / conference presentation

Principles of communication

Process of communication

Types of communication

Barriers in communication

Evaluation Pattern

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

CIA 2: Mid-semester exam for 50 marks.

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any creative assignments.

 End- semester 50 marks 

End Semester Exam: 2 hrs

• To introduce the students to the socio-political, religious and cultural aspects of America through literary texts
• To enable students to  read texts as products of  historical, political and cultural context
• To provide insights into different styles of writing over different centuries
• To encourage clear understanding of different genres and prosody/forms/literary devices.
• To enable learners to give their perspective on the texts prescribed
• To brainstorm learners to use their knowledge of History, Psychology, Sociology, etc to read literary works

Description: This unit will introduce American History and literature. An outline of important events would be briefed.

• The Navajo Creation Story
• John Smith- The New Land
• Anne Bradstreet – In Honour of that Highness

Description: This unit will move further into specific texts relevant to the century and sensitize learners in that direction. 

• Doctor Richard Shuckburgh- Yankee Doodle (popular version)
• Benjamin Franklin- Rules by which a Great Empire...
• Sarah Wentworth Morton- Stanzas to a Husband Recently United

Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required

• James Lowell- Stanzas on Freedom
• Washington Irving- Rip Van Winkle
• Emerson- I Become a Transparent Eyeball/Brahma
• Hawthorne- Young Goodman Brown
• Martin Luther King- I have a Dream (speech)
• Longfellow- My Lost youth
• Douglas- What the Black Man Wants
• Whitman- A noiseless Patient Spider
• Dickinson- I years had been from Home
• Harriet Beecher Stowe- Excerpts- Uncle Tom’s Cabin
• Kate Chopin- Lilacs

Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required.

• Hemingway- The Snows of Kilimanjaro
• Frost- Meeting and Passing
• Ezra Pound- An Immorality
• Langston Hughes- Daybreak in Alabama
• Fitzgerald- The Curious Case of Benjamin Button
• Cummings- Even a Pencil has Fear to
• Ginsberg- Howl or A Supermarket in California
• Eugene O Neill- The Emperor Jones or Hairy Ape

Description: This unit will introduce war and the effect of it on the minds of American writers and the society. It will also take the learners through different styles of writing.

• Alice Walker- The Color Purple
• Sylvia Plath- Gold Mouths Cry
• William Burroughs- Naked Lunch
• James Thurber- A Couple of Hamburgers

Text compiled for internal circulation

1. Abel, Darrel. American Literature, Volume 1: Colonial and Early National Writing, (ed)
2. Abel, Darrel. American Literature, Volume 2: Literature of the Atlantic Culture, (ed) Abel, Darrel.
3. Recent American Literature to 1930, (ed) Heiney and Downs Lenthiel H, Volume 3; Barron’s Educational Series
4. Recent American Literature After 1930, (ed) Heiney and Downs, Lenthiel H. Volume 4; Barron’s Educational Series
5. Literary History of The United States:  (ed) Spiller, Thorp, Johnson, Canby, Ludwig, Third Edition: Revised; Amerind Publishing Co. Pvt. Ltd.
6. The Heath Anthology of American Literature, Volume 1, Second Edition; (ed) Lauter, Yarborough et al, Heath
7. The Harper American Literature, Compact Edition; (ed) McQuade, Atwan et al, Harper and Row

Question Paper Pattern

Mid Semester Exam

 End Semester Exam

Section A – 15x4 = 60

Section B – 20x2 = 40

The prescribed texts could form the subject matter of CIA 1 as well as CIA 3.

In particular, the texts could be extended to meet CIA 3 requirements.  

French as second language for the Arts, Science and Commerce UG program

To perform a tribute: artist, work, you are going to…..

Towards a working life

France Seen by...

Mediamania

Act 1, 2 & 3

2.      Gonnet, Georges. Molière- Le Bourgeois Gentilhomme .Paris : Hachette, 1971

2.      French websites like Bonjour de France, FluentU French, Learn French Lab, Point du FLE etc.

Course Description:

The detailed text book “Shambook” is a Khanda Kavya written by Jagdeesh Gupta. To improve the creative writing skills, Nibandh, Kahani and Kavitha lekhan are included.Bharathiya chitrakala is also a part of the syllabus to improve the knowledge aboutIndian paintings.

Course Objectives:

Students are exposed to different forms of poetry especially, Khanda Kavya. It will help them to understand the contemporary socio-political issues.By learning about the tradition of Indian painting and legendary painters of India , students get to know about the richness and culture  of the Indian paintings. Creative writing sharpens their thinking, analytical  and writing skills 

Khanda Kavya “Shambook” [Poetry] By:Jagdeesh Gupta. Pub: Raj Pal & Sons

Level of knowledge:Analitical    

Nibandh lekhan, Katha lekhan, Kavitha lekhan.

Level of knowledge:Conceptual

Utbhav, vikas aur pramukh shailiyam

pramukh kalakar-1.M F Hussain 2.Ravindranath Tagore 3.Raja Ravi Varma 4.Jamini Roy.

Level of knowledge: Conceptual

1. Khanda Kavya”Shambook[Poetry] ByJagdeesh Gupta.Pub: Raj Pal & Sons

2. Essentials of Screen writing: The art, craft and business of film and television writing

By: Walter Richard.

3. Writing and Script: A very short introduction

By: Robinson, Andrew.

4 .Creative writing By John Singleton

5. Adhunik  Hindi Nibandh By Bhuvaneshwarichandran Saksena.

CIA-2(Mid sem examination)

CIA-3(wikipedia article creation)

End semester examination

Course Description: Language Kannada is offered to students of third Semester BA/B.Sc as Second language for fifty marks. Students of this semester will study an anthology of Modern Kannada Poetry and an Autobiography of Laxman Gaikwad. This course prepares the students to understand the new era. At the dawn of the twentieth century, B.M. Srikantiah, regarded as the “Father of modern Kannada Literature”, called for a new era of writing original works in modern Kannada while moving away from archaic Kannada forms. Students will study modern Kannada poetry from B.M.Sri to Dalit poet Dr. Siddalingiah. An anthology of modern poetry is selected to understand the beauty of modern Kannada poets through their writings. Uchalya is an autobiographical novel that carries the memories of Laxman Gaikwad right from his childhood till he became an adult. Laxman Gaikwad took birth in a criminal tribe of India belonging to Orissa/ Maharastra. The original text is translated to Kannada by Chandrakantha Pokale.

Course Objectives:

Understand and appreciate poetry as a literary art form.

Analyse the various elements of Poetry, such as diction, tone, form, genre, imagery, symbolism, theme, etc.

Appreciates to  learn the elements of autobiography.

1. Kariheggadeya Magalu- B.M.Sri

2. Hunnime Ratri- Kuvempu

3. Anna Yagna-Bendre

4.Mankuthimmana Kagga-D.V.G

5.Ikkala- K.S. Narasimha Swamy

6. Kannad padgol- G.P.Rajarathnam

7.Hanathe hachchuttene- G.S.S

8.Adugemane Hudugi-Vaidehi

9. Nehru Nivruttaraguvudilla- Adgaru

10. Nanna Janagalu.-Siddalingaiah

Text: Uchalya

Author:Lakshman Gayekwad

Translation: Chandrakantha Pokle

1 Dialogue Writing

2 Essay writing

3 short story building

2. Kannada Sahitya Charithre- Volumes 1-4, Editor: G. S. Shivarudrappa, Prasaranga, Bangalore Univeristy.

3. Hosagannada Kavitheya Mele English Kavyada Prabhava- S. Ananthanarayana

4. Hosagannadada Arunodaya- Srinivasa  Havanuru

2. Kannada Sahitya Sameekshe- G. S. Shivarudrappa

3. Bhavageethe- Dr. S. Prabhushankara

4. My Experiments with Truth- M.K. Gandhi

5. Ouru Keri- Siddalingaiah

This is a skill enhancement course. This course has been conceptualized in order to Understand and explore basic aspects of Playback Theatre. 

- An improvisational theatre form of enacting real life stories on the spot without preparation

·         The sense of story

·         Scene and other forms

·         Being a Playback Actor

Conducting

 Growing in the world

Breathing and voice exercises, knowing fellow actors, team work and cooperation, exaggerating and limiting body expressions, developing alertness and awareness of floor space

Rituals of Playback Theatre, acting in different stages of life, real life stories, creative visualizations

Scene settings, music in stories, activity for the soul, exploring movement with fellow actors

Performance for institutional assessment

Performance for family and friends

Performance for general public

Schlaich, J., DuPont, B., & Sande, R. (1998). Dance: the art of production. Hightstown, NJ: Princeton Book Co.

Baisya, R. K., & Das, G. G. (2008).Aesthetics in marketing. Los Angeles, CA: Response.

Lal, A. (2009). Theatres of India a concise companion. New Delhi: Oxford University Press.

A collection of plays. (2003). Place of publication not identified: Ginn.

Schlaich, J., DuPont, B., & Sande, R. (1998). Dance: the art of production. Hightstown, NJ: Princeton Book Co.

Baisya, R. K., & Das, G. G. (2008).Aesthetics in marketing. Los Angeles, CA: Response.

Lal, A. (2009). Theatres of India a concise companion. New Delhi: Oxford University Press.

A collection of plays. (2003). Place of publication not identified: Ginn.

Performance for family and friends

Performance for general public

Course Description: The students who choose to specialize in dance, in this course, will gain an understanding of the various representations of Bharatanatyam across diverse aspects of gestures, iconography and notations. The theory will also be well balanced with practical lessons that will include the preliminary items of the repertoire.

Objectives:

·         To advance the knowledge and skill level of the chosen subject.

·         To provide a platform to practically experiment and exhibit the learning of the subject.

§ 

Unit 1: Dance and iconography – 6 hrs

·         Discovering the relationship between dance and iconography. (Tamil Nadu, Karnataka, Andhra and Orissa)

·         Tracing the royal patronage of dance through ages and expressions of dance through sculptures and paintings in the temples of India.

·         The concept of Lord Shiva (Nataraja) with reference to Indian Dance.

Unit 2: Styles of Bharatanatyam – 6 hrs

·         Pandanallur

·         Vazhavoor

·         Tanjore

·         Mysore

·         Nanjacod

·         Mugur

Origin and characteristics of the different styles.

Unit 3: Introduction to Treatises written on Indian Dance. – 6hrs

·         Natyashastra

·         Abhinaya Darpan

·         Dasharupaka

·         Sangeetaratnakara

·         Lasyaranjana

·         Asamyutha Hastas (From Pataka to Trishula)

Exploring the various usages of the hastas.

Definition and concept of notations, importance of notation, notating the items learnt in syllabus.

Invocatory items from the Bharathanatyam recital

Invocatory items from the bharathanatyam recital

Pure Nritta item of Bharathanatyam

It is a temple based repertoire which has combination of rhythmic and few poetical verses for abhinaya. It acts as a precursor for elaborate abhinaya numbers which would unfold in the training later.

1.      

Recommended Reading:

1.      Nandagopal, C. (1990). Dance and music in the temple architecture. Delhi: Agam Kala Prakashan.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Laghu Bharatam. (1999). Madras: Shree Bharatalaya.

5.      Vaidyanathan, S., & Akela, R. S. (2015). The science of Bharata natyam. New Delhi: Kanishka , Distributors.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag .

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

Recommended Reading:

1.      Nandagopal, C. (1990). Dance and music in the temple architecture. Delhi: Agam Kala Prakashan.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Laghu Bharatam. (1999). Madras: Shree Bharatalaya.

5.      Vaidyanathan, S., & Akela, R. S. (2015). The science of Bharata natyam. New Delhi: Kanishka , Distributors.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag .

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

Examination and Assessment:

1. CIA I – Written assignment

Written assignment from the portions covered in class.

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.

Practical: Practical exam from the portions covered in class.

3. CIA III – Practical assignment

Practical assignment from the portions covered in class.

4. End Semester Examinations

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

Theory: 5 questions to be answered out of 6.

Practical: Practical exam from the portions covered in class.

The students who choose to specialize in music, in this course, will be exposedto theory of technical terms and concepts at the intermediate level of music knowledge, aaAlong side, their practical will introduce them to the preliminary forms under music.