CHRIST (Deemed to University), Bangalore

DEPARTMENT OF PERFORMING ARTS, THEATRE STUDIES AND MUSIC

School of Business and Management

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

 
1 Semester - 2023 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
BLS141 INTRODUCTION TO BIOLOGY Multidisciplinary Courses 3 03 100
CME101-1 INTRODUCTION TO CREATIVE MEDIA Major Core Courses-I 4 4 100
CSC991 ESSENTIALS FOR HANDLING IMAGES - 2 2 50
CSC996 VISUALIZING DATA Multidisciplinary Courses 2 2 50
ECO145 ECOLOGY AND DEVELOPMENT Multidisciplinary Courses 3 3 100
ENG183-1 PHONETICS AND COMMUNICATION SKILLS Ability Enhancement Compulsory Courses 2 2 50
EST145 POETICS , POLITICS AND PIVOTAL PEOPLE OF ROCK N ROLL Multidisciplinary Courses 3 3 50
EST148 THE OCEANS IN CINEMA: A BLUE HUMANITIES READING Multidisciplinary Courses 3 3 100
HIS141 HISTORY AND CINEMA Multidisciplinary Courses 3 3 100
POL143 SUBALTERN STUDIES: NARRATIVES OF THE COMMUNITIES Multidisciplinary Courses 3 3 100
THE101-1 INTRODUCTION TO THEATRE Major Core Courses-I 4 4 100
THE161-1 VOICE AND MOVEMENT Skill Enhancement Courses 3 3 100
2 Semester - 2023 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
CME102-2 WRITING FOR MEDIA Major Core Courses-II 4 4 100
ENG183-2 WRITING SKILLS Ability Enhancement Compulsory Courses 2 2 50
EST151 COMPARATIVE PHILOSOPHY: DARSANA AND PHILOSOPHY Multidisciplinary Courses 3 2 50
EST153 PARTITION NARRATIVES Multidisciplinary Courses 3 3 50
EST156 RETELLING OF EPICS IN INDIAN LITERATURE Multidisciplinary Courses 3 3 50
SOC142 CONTEMPORARY SOCIAL PROBLEMS AND CHALLENGES Multidisciplinary Courses 3 3 50
SW142 INTRODUCTION TO ORGANISATIONAL BEHAVIOUR Multidisciplinary Courses 3 3 50
THE101-2 THEATRE HISTORY Major Core Courses-I 3 3 100
THE102-2 ART OF ACTING LEVEL I Major Core Courses-I 4 2 100
    

    

Introduction to Program:

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:

PO1: Academic expertise: Explore, create and experience Western theatre through academic and praxis to develop a holistic theatre professional.

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:

PSO1: Develop holistic theatre skills through workshops and tutorials with relevant guest speakers.

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:

PEO1: Professional Skills: Demonstrate personal integrity with domain expertise and practical skills.

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.

PEO8: Autonomy: Demonstrate adaptability through self-awareness and continuous learning.

Assesment Pattern

Theory Written exams: 

CIA I & III Assessments - 20 Marks each  

CIA II - Written midsemester examination -  50 Marks  

ESE Centralised End-of-semester Examination  50 Marks

 

Practical and submission-based exams are evaluated at the end of the semester out of 100 marks.

Examination And Assesments

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.

BLS141 - INTRODUCTION TO BIOLOGY (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:03

Course Objectives/Course Description

 

 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.

Course Outcome

CO1: Students will be able to describe the fundamental principles and concepts of biology, including the organization of life and the chemistry of living systems.

CO2: Students will be able to explain the role of genetics in inheritance, diversity, and evolution.

CO3: Students will be able to analyze the impact of human activities on the environment and the measures that can be taken to promote sustainability.

CO4: Students will be able to evaluate the ethical implications of advances in biotechnology and their impact on society.

Unit-1
Teaching Hours:15
Introduction to Biology
 

 

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

Unit-2
Teaching Hours:10
Genetics and Evolution
 

 

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

Unit-3
Teaching Hours:10
Ecology and Environmental Biology
 

 

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

Unit-4
Teaching Hours:10
Biotechnology and Ethics
 

 

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

Text Books And Reference Books:
  1. Campbell, N. A., & Reece, J. B. (2018). Biology (11th ed.). Pearson.
  2. Freeman, S., Quillin, K., Allison, L., Black, M., Taylor, E., & Podgorski, G. (2017). Biological Science (6th ed.). Pearson.
Essential Reading / Recommended Reading
  1.  Begon, M., Townsend, C. R., & Harper, J. L. (2006). Ecology: From Individuals to Ecosystems (4th ed.). Blackwell Publishing.
  2. Ricklefs, R. E., & Relyea, R. A. (2019). The Economy of Nature (8th ed.). W.H. Freeman.

  3. Kuby, J., Owen, J., & Kindt, T. J. (2019). Kuby Immunology (8th ed.). W.H. Freeman.

  4. Thompson, P. B., & Kaplan, D. M. (2019). Encyclopedia of Food and Agricultural Ethics (2nd ed.). Springer.

Evaluation Pattern

Attendance and Class Participation- 10%

Midterm Examination- 30%

Review paper/Research Paper- 20%

Seminar presentation – 10%

Final Examination - 30%

 

CME101-1 - INTRODUCTION TO CREATIVE MEDIA (2023 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

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.

Course Outcome

CO1: Identify and analyse the significant milestones and key figures in the history of creative media.

CO2: Acquire a foundational knowledge of the historical evolution of media forms and their relevance in today's digital age.

CO3: Understand the fundamental principles of photography, including exposure, aperture, and composition.

CO4: Demonstrate the ability to effectively use lighting techniques to enhance photographic compositions.

CO5: Develop skills in creating storyboards and scripts for effective video production.

CO6: Apply lighting techniques to create visually appealing and well-lit video footage.

Unit-1
Teaching Hours:20
History of Creative Media
 

- Historical overview of creative media

- Evolution of media forms and technology

Unit-2
Teaching Hours:20
Photography
 

- Introduction to photography principles

- Composition and lighting

- Exposure and aperture

- Introduction to software

Unit-3
Teaching Hours:20
Video Production
 

- Introduction to video production principles

- Storyboarding and scripting

- Cinematography and lighting

Text Books And Reference Books:

Library resources

Essential Reading / Recommended Reading

Library resources

Evaluation Pattern

No CIA

 

 

Attendance

 

5 Marks

End Semester Exam: Project and viva

100 Marks

Reduced: 95 Marks

Total Mark

 

100 Marks

 

CSC991 - ESSENTIALS FOR HANDLING IMAGES (2023 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:2
Max Marks:50
Credits:2

Course Objectives/Course Description

 

 

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.

Course Outcome

CO1: Understand the applications of photoshop.

CO2: Analyze various graphical tools used for digital marketing.

CO3: Create various creative models using graphical elements.

Unit-1
Teaching Hours:4
Photoshop
 

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

Unit-2
Teaching Hours:6
Designs
 

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.

Unit-3
Teaching Hours:5
Graphics
 

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

Text Books And Reference Books:

Adobe Photoshop CC – Classroom in a Book, Adobe system incorporation, Adobe Press, 2017

Essential Reading / Recommended Reading

ptgmedia.pearsoncmg.com/images/9780134665351/.../9780134665351.pdf

Evaluation Pattern

MCQ: 25

Assignment: 15

Attendance: 10

CSC996 - VISUALIZING DATA (2023 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:2
Max Marks:50
Credits:2

Course Objectives/Course Description

 

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

Course Outcome

CO1: Understand the applications of tableau

CO2: Apply fundamental concepts in tableau basic reports

CO3: Analyze the applications of tableau calculations and filters.

Unit-1
Teaching Hours:5
Introducing Tableau
 

 

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.

Unit-2
Teaching Hours:5
Tableau Basic Reports
 

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.

Unit-3
Teaching Hours:5
Tableau Calculations & Filters
 

 

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 

Text Books And Reference Books:

Milligan, Joshua N., and Guillevin, Tristan. Tableau 10 Complete Reference: Transform Your Business with Rich Data Visualizations and Interactive Dashboards with Tableau 10. United Kingdom, Packt Publishing, 2018.

Essential Reading / Recommended Reading

Milligan, Joshua N., and Guillevin, Tristan. Tableau 10 Complete Reference: Transform Your Business with Rich Data Visualizations and Interactive Dashboards with Tableau 10. United Kingdom, Packt Publishing, 2018.

Evaluation Pattern

MCQ: 25

Assignment: 15

Attendance: 10

ECO145 - ECOLOGY AND DEVELOPMENT (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

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. 

Course Outcome

CO1: To evoke a sense of deep ecology and social justice.

CO2: To familiarize the students with the development paradigms and how it affects the ecology.

CO3: To examine the problems behind value designations

Unit-1
Teaching Hours:12
Ecology and Value
 

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.

Unit-2
Teaching Hours:12
Ecology and Development
 

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.

Unit-3
Teaching Hours:10
Ecofeminism and Ecocriticism
 

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. 

Unit-4
Teaching Hours:11
Action Plans
 

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

Text Books And Reference Books:

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

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.

Essential Reading / Recommended Reading

1.    1. Plumwood, V. (1993).  Feminism and the Mastery of Nature. London: Routledge

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.

 

Evaluation Pattern

CIA 1 - 25 Marks

CIA 2- 25 Marks

CIA 3- 50 Marks 

ENG183-1 - PHONETICS AND COMMUNICATION SKILLS (2023 Batch)

Total Teaching Hours for Semester:30
No of Lecture Hours/Week:2
Max Marks:50
Credits:2

Course Objectives/Course Description

 

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. 

Course Outcome

CO1: Students will be able to understand the nature of British Standard English Pronunciation concerning sounds, stress, and intonation and use the understanding in everyday and formal spoken communication in English

CO2: Students will be able to transcribe words from RP to IPA

CO3: The curiosity and appreciation for languages will elevate in general

CO4: Ability to communicate effectively in speech.

Unit-1
Teaching Hours:12
Phonemes and words
 

Mother Tongue influence in India

British and American Language and Power

 English and Social Mobility in India

Unit-2
Teaching Hours:6
Public Speaking-Platform Roles
 

Public Speeches

Type of Speeches

Talks and Presentations

Seminar/Conference Presentation

Group Discussion

Unit-3
Teaching Hours:6
Stress and Rhythm
 

Syllable

 Morphemes

 Assimilation and Elision

 Word Accent

 Intonation

 Tag

Unit-4
Teaching Hours:6
Language and Society
 

Mother Tongue influence in India

British and American Language and Power

English and Social Mobility in India

Text Books And Reference Books:

sociolinguistics (I.V. Arnold, V.D. Bondaletov, I.R. Galperin, N.K. Garbovskiy, V.I. Karasik, M.M. Makovsky, V.A. Khomyakov, A.D. Schweitzer, and others)

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

Essential Reading / Recommended Reading

LADEFOGED, P. (1999). A Course in Phonetics. New York: Harcourt Brace Jovanovich.

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

Evaluation Pattern

written exam

EST145 - POETICS , POLITICS AND PIVOTAL PEOPLE OF ROCK N ROLL (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:3

Course Objectives/Course Description

 

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

Course Outcome

CO1: ? To critically appreciate characteristics and concerns of popular music

CO2: To read popular music as cultural artefact and socio-political entities

CO3: ? To regard popular music as the voice and identity of a generation and locate its historical trajectory

CO4: ? To engage with artists and performances as cultural texts

Unit-1
Teaching Hours:10
A brief history of Popular Music before the Beatles
 

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

 

Unit-2
Teaching Hours:15
Birth of a Genre (From Gospel to Rock)
 

 Bill Haley 

Chuck Berry

  Buddy Holly   

Unit-3
Teaching Hours:15
Classic Rock and the British Invasion
 

The Beatles and Beatlemania

Establishing an aesthetic of Mod

  TV and bands 

The Rolling Stones  

Unit-4
Teaching Hours:15
Art Rock and the Album Era: Concept Albums and Album Art
 

 

Bands as Artists                                                                                                                 

Beatles / Sgt Pepper’s  

Pink Floyd /The Wall

The Who / Tommy

 

Unit-5
Teaching Hours:15
The Politics of Rock n Roll Folk rock: People power; Guerrilla Minstrels Folksong as Protest
 

 

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

Text Books And Reference Books:

Whats that sound? An introduction to Rock and its history .

 

Jon CovachUniversity of Rochester

and the Eastman School of Music

Andrew Flory

Carleton College

 

W. W. NORTON AND COMPANY

NEW YORK • LONDON

fifth Edition

Essential Reading / Recommended Reading

Baugh, Bruce. “Prolegomena to Any Aesthetics of Rock Music”. The Journal of Aesthetics and Art Criticism, Vol. 51, No. 1 (Winter, 1993): 23-29. JSTOR. The American Society for Aesthetics. Web. 26Jul, 2016. < http://www.jstor.org/stable/431967>

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.

 

Evaluation Pattern

Assessment: (20 marks).

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  

 

EST148 - THE OCEANS IN CINEMA: A BLUE HUMANITIES READING (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

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. 

Course Outcome

CO1: ? Appreciate and interpret the ocean in the light of Blue Humanities

CO2: ? Analyze and understand the changing relationships between societies and the ocean through the cinematic representations

CO3: ? Rethink and initiate action towards oceanic thinking and sustainability

Unit-1
Teaching Hours:12
Knowing the Ocean: Re-visiting History and Origins
 

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”

 

 

 

Unit-2
Teaching Hours:13
Mapping the Ocean: Reading through Blue Humanities
 

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

Unit-3
Teaching Hours:20
Seeing the Ocean: Re-viewing the ocean through cinema
 

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)

 

 

Text Books And Reference Books:

Carson, Rachel. The Sea Around Us. Canongate, 2021

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

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

Essential Reading / Recommended Reading

·       Blum, Hester. “Introduction: Oceanic Studies.” Atlantic Studies, vol. 10, no. 2, June 2013, pp. 151–55. 

·       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, PoliticsDuke Univ. Press, 2020. 

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

 

 

 

Evaluation Pattern

As the course is multidisciplinary, the assessments will be done periodically to gauge the student’s level of understanding and learning. Review writing, weaving together a scrapbook, review tests and photo essays will form part of the assessment.

 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.  

HIS141 - HISTORY AND CINEMA (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

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. 

Course Outcome

CO1: To enhance and deepen the understanding of history through cinema.

CO2: To enable the students to develop their understanding and awareness of the rich possibilities of cinema and its connection with history.

CO3: To enhance the analytical skills of students and develop an understanding of how cinema engages with socio-cultural and political concerns, by placing the cinema in their historical context and engage with the current debates and future challenges with cinema as a medium.

Unit-1
Teaching Hours:10
Unit 1
 

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.

Unit-2
Teaching Hours:10
Unit 2
 

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

b)    Language of Cinema- Color – Angles – Movement

Unit-2
Teaching Hours:10
UNIT 2
 

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

b)    Language of Cinema- Color – Angles – Movement

Unit-3
Teaching Hours:10
Unit 3
 

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.

Text Books And Reference Books:

Chapman, J. (2003). Cinemas of the World: Film and Society from 1895 to the Present. Reaktion Books.

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.

Essential Reading / Recommended Reading

Chapman, J. (2013). Cinema, propaganda and national identity: British film and the Second World War. In British Cinema, Past and Present (pp. 213-226). Routledge.

Miskell, P. (2005). Seduced by the silver screen: Film addicts, critics and cinema regulation in Britain in the 1930s and 1940s. Business History47(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 & Society20(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).

 

Evaluation Pattern

CIA 1:  10 Marks            

CIA 2:  Mid Semester Examinations 25 Marks

CIA 3:  10 Marks

End semester examination: 50 Marks

Attendance: 5 Marks

POL143 - SUBALTERN STUDIES: NARRATIVES OF THE COMMUNITIES (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

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.

Course Outcome

CO 1: Demonstrate knowledge about subaltern studies, its foundations, relevance methodology, and critique

CO 2: Analyse various narratives of communities, avenues of their struggles against the dominance

CO 3: Develop a sensibility to view the world from a subaltern perspective

Unit-1
Teaching Hours:6
Introduction to Subaltern Studies
 

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

Unit-2
Teaching Hours:6
Communities Countering the Dominance
 

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

Unit-3
Teaching Hours:6
Contemporary Avenues of subaltern struggles
 

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

Unit-4
Teaching Hours:6
Subaltern Narratives in Film, Fiction and Folklore
 

-       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

Unit-5
Teaching Hours:6
Critiquing the subaltern studies
 

- Exploring the Relevance and Irrelevance of subaltern studies

- Adding new locations? Or After subaltern studies?

Text Books And Reference Books:

 Guha, R. (1982). Preface. In R. Guha (Ed.), Subaltern Studies I (pp. vii–viii). Oxford University Press

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.

 

Essential Reading / Recommended Reading

Bhadra, G. (1983). Two Frontier Uprisings in Mughal India. In R. Guha (Ed.), SS II (pp. 43–59). Oxford University Press.

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.

Evaluation Pattern

CIA I-25 Marks

CIA II-25 Marks

CIA III-50 Marks

THE101-1 - INTRODUCTION TO THEATRE (2023 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

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

·      Orientation to the Theatre Ensemble.

Course Outcome

CO1: Demonstrate a comprehensive understanding of the basic elements of theatre

CO2: Demonstrate a comprehensive understanding of the nature of Theatre as different from other forms of arts

Unit-1
Teaching Hours:45
Introduction to Aspects of Theatre
 

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

Unit-2
Teaching Hours:15
Introduction to Theatre Space and Technology
 

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

·      Poster, Leaflet/Brochure development

Text Books And Reference Books:
  1. The Art of Theatre by Downs, William Missouri, Lou Anne Wright, and Erik Ramsey  Edition: Fourth Edition Publisher: Boston: Cengage Learning, 2018
  2. Backwards and Forwards: A Technical Manual for Reading Plays by David Ball Publisher: Carbondale: Southern Illinois University Press, 1983.
Essential Reading / Recommended Reading
  1. Acting: Onstage and Off by Barton, Robert Edition: Seventh Edition Publisher: Boston: Cengage Learning, 2016
  2. The Creative Habit by Tharp, Twyla Publisher: New York: Simon & Schuster, 2006
  3. Outstanding Short Plays by Pospisil, Craig Publisher: New York, Dramatists Play Service, 2012
  4. Rhinoceros and Other Plays by Ionesco, Eugene translated by Derek Prouse Publisher: New York: Grove Press, 1960 
Evaluation Pattern

Practical designs work with models, and the Poster/Brochure exhibition will be the End Semester Examination.

THE161-1 - VOICE AND MOVEMENT (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

This course introduces students to the fundamentals of movement and voice training for theatre. Students gain skills to improve their physical awareness, body alignment, and movement. The voice training part of the course is based on the phonopedic method of voice development. The students will learn to safely perform fight choreography.

Course Outcome

CO1: Confidently perform a choreographed fight, using unarmed combat techniques, within the context of a dramatic scene.

CO2: The ability to describe, notate, and perform basic movement and voice qualities.

CO3: Increased physical concentration in performance

CO4: An understanding of how movement and vocal qualities are utilized to develop character.

CO5 : An understanding of how movement and vocal qualities are utilized to develop character.

CO6 : The ability to intertwine movement and voice with text.

CO7: Ensemble awareness.

CO8: Be able to pronounce texts by effectively using natural human resonators.

CO9: To determine the appropriate practical voice techniques for solving dramaturgical tasks within the framework of the performance in the play.

Unit-1
Teaching Hours:10
Stage combat
 

·        Safety in choreography and performing the stage fight sequence.

·        Receiving the kicks and punches with a ‘knap’.

·        Performing slaps, punches, kicks, and wrestling on a stage.

Unit-2
Teaching Hours:20
Voice
 

·        Developing clarity, articulation, and voice modulation.

·        Voice projection

·        Creating voice for building a character

·        Resonances in singing

Unit-3
Teaching Hours:15
Stage Movement
 

• 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

Text Books And Reference Books:

Murray, Simon David, Jacques Lecoq.

Essential Reading / Recommended Reading

Ken Rea,  The outstanding actor: seven keys to success.

Evaluation Pattern

The students will be tested on the learnt skills of movements, voice and stage combat through demonstration.

CME102-2 - WRITING FOR MEDIA (2023 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:4

Course Objectives/Course Description

 

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.

Course Outcome

CO1: Follow the rules of good grammar

CO2: Incorporate in their writing, Associated Press style

CO3: Distinguish between news and public relations style of writing

CO4: Evaluate news events

CO5: Use effective interviewing techniques

CO6: Include quotes, attribution and transitions

CO7: Consider the audience while writing a news story

CO8: Cover an actual news event

CO9: Illustrate professional uses of social media in the field of mass communication

Unit-1
Teaching Hours:20
Writing for Print
 
  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 
Unit-2
Teaching Hours:20
Writing for Broadcast Media
 
  1. Writing to Be Heard -Techniques and Conventions
  2. Radio Scripting - News Piece, Commercials
  3. Writing to Visuals
Unit-3
Teaching Hours:20
Writing for the Web
 
  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
Text Books And Reference Books:
  • Langan, J. (1979). Sentence skills: a workbook for writers.   
  •  Pickering, I. (2018). Writing for news media: The storyteller's craft. Routledge.
  • Ramage, J. D., Bean, J. C., & Johnson, J. (1999). Writing arguments. Allyn and Bacon.
  • 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.

 

Essential Reading / Recommended Reading
  • Baehr, C. M., & Schaller, B. (2010). Writing for the Internet: A guide to real communication in virtual space. Santa Barbara, Calif.: Greenwood Press.
  • Brooks, B. S., & Pinson, J. L. (2015). The art of editing in the age of convergence. CRC Press.
  • Kipphan, H. (Ed.). (2001). Handbook of print media: technologies and production methods. Springer Science & Business Media.
  • Lucas, F. L. (2012). Style: The art of writing well. Harriman House Limited

 

Evaluation Pattern

The course shall not have a regular CIA- MSE -ESE model. Instead, the student will be given a series of assignments spread across the semester, leading to a final portfolio/article/content collective on submission model. The teaching facilitator will consider the level of intelligibility in the class and the learning needs of the students and decide what assignment to be given on a regular basis.

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.

ENG183-2 - WRITING SKILLS (2023 Batch)

Total Teaching Hours for Semester:30
No of Lecture Hours/Week:2
Max Marks:50
Credits:2

Course Objectives/Course Description

 

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. 

Course Outcome

CO1: Awareness of how to read, think and write

CO2: Ability to explore and idea, concept

CO3: Ability to think and write clearly, critically, persuasively and ethically to a deadline

Unit-1
Teaching Hours:7
Rhetoric of Writing
 

a.   Writer

b.   Purpose

c.   Audience

d.   Tone

e.   Context 

Unit-2
Teaching Hours:5
The Writing Process
 

1.  The different kinds of Essays

a. Planning

b. Drafting

c. Revising

Unit-3
Teaching Hours:5
Research
 
  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

Unit-4
Teaching Hours:3
Documentation
 
  1. MLA style, APA style, Chicago Manual Style
Unit-5
Teaching Hours:5
Using Visual Aid
 
  1. Creating and Discussing Visual Aids
  2. Using: Tables; Line graphs; Bar graphs; Pie charts; Flow charts
  3. Using illustrations: Photographs; Drawings; Guidelines
Unit-6
Teaching Hours:5
Reports and Proposals
 
  1. Memorandums
  2.  Informal Reports -

a.     IMRD Reports

b.      Progress Reports

c.     Formal Reports

d.     Recommendation Reports

e.     Feasibility Reports

f.       Oral Reports

  1.  Proposals
Text Books And Reference Books:

Will be provided by the course instructor

Essential Reading / Recommended Reading

Will be provided by the course instructor

Evaluation Pattern

CIA 1: 20

CIA 2: 50

CIA 3: 20

ESE: 50

Assessment pattern:

 

Attendance

 

CIA (Weight)

ESE (Weight)

10%

40%

50 %

EST151 - COMPARATIVE PHILOSOPHY: DARSANA AND PHILOSOPHY (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:2

Course Objectives/Course Description

 

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.

 

Course Outcome

1: Students will be able to develop a better understanding of the Self and the world through an empathetic reading of philosophers, philosophies and contexts.

2: Students will be able to understand Philosophy as a discipline better through an acute awareness of the various disciplinary currents and crosscurrents.

3: Students will be able to think originally with an acute awareness of various schools of thought

4: Students will be able to demonstrate mature abilities of interpretation, discrimination and synthesis through the course of this course.

Unit-1
Teaching Hours:5
Unit 2 - 20 Hours
 

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-1
Teaching Hours:5
Unit 3 - 20 Hours
 

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 
Text Books And Reference Books:

Unit I                                                                                                                                  05 Hours

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
Essential Reading / Recommended Reading
  • 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
Evaluation Pattern

Evaluation Pattern:

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.

EST153 - PARTITION NARRATIVES (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:3

Course Objectives/Course Description

 

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.

Course Outcome

CO1: Students will demonstrate an in-depth understanding of the complex historical, social, and cultural contexts of partition in various countries.

CO2: Students will be able to critically analyze and interpret literary works that explore the emotional, psychological, and societal ramifications of partition.

Unit-1
Teaching Hours:3
Unit 1 - Introduction
 

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

Unit-2
Teaching Hours:12
Unit 2 - Short Stories
 

“Toba Tek Singh” – Saadat Hasan Manto

“Cranes” – Hwang Sun-Won

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

Unit-3
Teaching Hours:6
Unit 3 - Visual/Audio Text
 

Earth – Deepa Mehta (movie)

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

The Migration Series – Jacob Lawrence (select paintings)

Unit-4
Teaching Hours:15
Unit 4 - Poetry
 

“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

Unit-5
Teaching Hours:9
Unit 5 - Critical Works
 

"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)

Text Books And Reference Books:

Lynch, Robert. The Partition of Ireland 1918-1925. Cambridge, United Kingdom, Cambridge University Press, 2019.

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.

Essential Reading / Recommended Reading

Bhalla, Alok. “Memory, History and Fictional Representations of the Partition.” Economic and Political Weekly, vol. 34, no. 44, 1999, pp. 3119–28. JSTORhttp://www.jstor.org/stable/4408572. Accessed 29 Oct. 2023.

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 StoriesBloomsbury 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

 

Evaluation Pattern

Continuous Internal Assessment (CIA)

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.

 

EST156 - RETELLING OF EPICS IN INDIAN LITERATURE (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:3

Course Objectives/Course Description

 

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.

Course Outcome

CO1: Students will gain a deeper understanding of Indian culture, traditions, and values as they explore the retelling of epics. They will recognise the importance of these narratives in shaping Indian identity and societal norms.

CO2: By critically examining various retellings of Indian epics, students will develop advanced literary analysis skills, enabling them to dissect complex narratives, themes, and stylistic elements in both classical and contemporary literature.

CO3: Students will acquire an interdisciplinary perspective by connecting the retellings of Indian epics to fields such as history, philosophy, religion, and sociology. They will appreciate how these narratives have influenced and been influenced by multiple aspects of Indian society.

CO4: Through creating their retellings of Indian epics, students will demonstrate proficiency in adapting and reimagining classical narratives in a culturally sensitive and creative manner.

CO5: Students will develop critical thinking skills as they engage in discussions and produce written assignments that require them to reflect on the diverse interpretations and adaptations of Indian epics. They will learn to express their ideas and arguments coherently and persuasively.

Unit-1
Teaching Hours:15
Essays
 

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)

Unit-2
Teaching Hours:15
Literary Texts
 

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

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

 

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

Unit-3
Teaching Hours:15
Visual Media
 

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)

Text Books And Reference Books:

·       Sharma, Rohit. “The Art of Rewriting Indian Epics.” Indian Literature, vol. 60, no. 2 (292), 2016, pp. 147–58. JSTOR, http://www.jstor.org/stable/44478971. Accessed 29 Oct. 2023.

·       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.

 

 

 

Essential Reading / Recommended Reading

·       Sharma, Rohit. “The Art of Rewriting Indian Epics.” Indian Literature, vol. 60, no. 2 (292), 2016, pp. 147–58. JSTOR, http://www.jstor.org/stable/44478971. Accessed 29 Oct. 2023.

·       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.

 

 

 

Evaluation Pattern

CIA I: The student will be asked to submit a proposal for a descriptive essay on any local art form, which is a retelling of an epic. The student should have completed a pilot study of the chosen field. It will be evaluated on the selection of the art form and the rationale of the study (20 marks).

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)

SOC142 - CONTEMPORARY SOCIAL PROBLEMS AND CHALLENGES (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:3

Course Objectives/Course Description

 

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.

 

Course Outcome

Unit-1
Teaching Hours:5
Sociological Analysis of Social Problems
 
  1. Study of ‘Social Problems’
  2. Characteristics, Stages and Reactions 
Unit-1
Teaching Hours:5
Sociological Analysis of Social Problems
 
  1. Study of ‘Social Problems’
  2. Characteristics, Stages and Reactions 
Unit-2
Teaching Hours:15
Population and Health and Social Problems
 
  1. Demographic Transition
  2. HIV AIDS and societal alienation
  3. Drug Abuse

 

Unit-2
Teaching Hours:15
Population and Health and Social Problems
 
  1. Demographic Transition
  2. HIV AIDS and societal alienation
  3. Drug Abuse

 

Unit-3
Teaching Hours:10
Development and social problems
 
  1. Poverty
  2. Corruption
  3. Development induced displacement

 

Unit-3
Teaching Hours:10
Development and social problems
 
  1. Poverty
  2. Corruption
  3. Development induced displacement

 

Unit-4
Teaching Hours:15
Human Rights Issues
 
  1. Covenants
  2. Human Rights Organizations
  3. Domestic Violence and child abuse

 

Unit-4
Teaching Hours:15
Human Rights Issues
 
  1. Covenants
  2. Human Rights Organizations
  3. Domestic Violence and child abuse

 

Text Books And Reference Books:

Alavi, H.D and Shanin, T. (Ed.) (1982). Introduction to the Sociology of Developing Societies, London: MacMillan.

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.

Essential Reading / Recommended Reading

Alavi, H.D and Shanin, T. (Ed.) (1982). Introduction to the Sociology of Developing Societies, London: MacMillan.

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.

Evaluation Pattern
CIA 1  10 marks (conducted out of 20 )
 
CIA 2 10 marks (conducted out of 20 )
 
CIA 3 25 marks (conducted out of 50 ) 
 
Attendance 5 marks 

SW142 - INTRODUCTION TO ORGANISATIONAL BEHAVIOUR (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:50
Credits:3

Course Objectives/Course Description

 

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.

Course Outcome

CO1: Exhibit proficiency in comprehending human behaviour within the workplace.

CO2: Apply interpretive and practical skills in utilizing various theories of Individual and group behaviour.

CO3: Demonstrate a solid understanding of the principles and theories of organizational development and change.

Unit-1
Teaching Hours:15
Organisation Behaviour
 

 

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

Unit-2
Teaching Hours:15
Individual and Group Behaviour
 

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

 

Unit-3
Teaching Hours:15
Organizational Development and Change
 

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

 

Text Books And Reference Books:

Bhattacharyya Dipik Kumar. (2014).Organizational behaviour. New Delhi; Oxford University Press.

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.

Essential Reading / Recommended Reading

Luthans (2011). Organizational behaviour. 12/e, McGraw Hill International

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.

Evaluation Pattern
CIA 1 10 marks (conducted out of 20 )
 
CIA 2 10 marks (conducted out of 20 )
 
CIA 3 25 marks (conducted out of 50 ) 
 
Attendance 5 marks 

THE101-2 - THEATRE HISTORY (2023 Batch)

Total Teaching Hours for Semester:45
No of Lecture Hours/Week:3
Max Marks:100
Credits:3

Course Objectives/Course Description

 

This course surveys the history of Western theatre and playwriting from Ancient Greek Theatre to the XXI century. Tracing historical developments in acting style, playwriting, and theatrical technology.

Course Outcome

CO1: Students will be able to guide their own understandings and interpretations of theatre history through active class discussions.

CO2: Students will be able to identify and link the world's socio-political situation with Western theatre's development.

CO3: Students will be able to apply their knowledge and understanding of theatre history in practice.

CO4: Students will be able to plan, research, and present individual and group projects.

Unit-1
Teaching Hours:15
Ancient Theatre
 

Ancient Greek Theatre and Ancient Roman Theatre, Greek and Roman festivals, Greek tragedy and Aristotle’s Poetics, Hamartia, Catharsis, Eight elements of a play, Fabula Atellana, New Comedy, Theatre Spaces, Satyr Play.

Unit-2
Teaching Hours:10
Medieval Theatre and Renaissance
 

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

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

Text Books And Reference Books:

1.Oedipus Rex

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

 

Essential Reading / Recommended Reading

1.Brockett, G, Oscar.History of Theatre

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.

 

Evaluation Pattern

CIA 1:  A group presentation.

Mid-Semester Examination: Written centralized exam.

CIA 3: A group presentation.

End Semester Examination: Written centralized exam.

 

THE102-2 - ART OF ACTING LEVEL I (2023 Batch)

Total Teaching Hours for Semester:60
No of Lecture Hours/Week:4
Max Marks:100
Credits:2

Course Objectives/Course Description

 

l  To gain an understanding of acting principles and techniques.

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

Course Outcome

CO1: An understanding of practical proficiency in executing the fundamental principles of all schools and styles of acting techniques to perform diverse characters on stage

CO2: The ability and willingness to engage in a structured play in an ensemble as an actor

CO3: Performing an audition

Unit-1
Teaching Hours:20
Creating a body language of a character
 

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. 

Unit-2
Teaching Hours:20
Working with co-actors
 

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.

Unit-3
Teaching Hours:20
Practical Orientation ? Auditioning
 

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

 

Text Books And Reference Books:

Hodge, Alison, 1959-Actor training. London; New York, NY: Routledge, 2010.

Essential Reading / Recommended Reading

Hagen, Uta. Respect for acting, Hoboken, N.J.: John Wiley & Sons, c2008.

Evaluation Pattern

The students will be tested on the learned skills of movements, voice, and stage combat through performance demonstration.