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1 Semester - 2021 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
AEN121 | ADDITIONAL ENGLISH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
ENG123 | PHONETICS AND COMMUNICATION | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
EST131 | BRITISH LITERATURE: ANGLO SAXON TO EARLY VICTORIAN | Core Courses | 5 | 4 | 100 |
FRN121 | FRENCH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
HIN121 | HINDI | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
KAN121 | KANNADA | Ability Enhancement Compulsory Courses | 3 | 03 | 100 |
PSY131 | BASIC PSYCHOLOGICAL PROCESSES - I | Core Courses | 5 | 5 | 100 |
SAN121 | SANSKRIT | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TAM121 | TAMIL | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TES131 | INTRODUCTION TO THEATRE | Core Courses | 3 | 3 | 100 |
TES151 | INTRODUCTION TO THEATRE | Core Courses | 5 | 2 | 100 |
2 Semester - 2021 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
AEN221 | ADDITIONAL ENGLISH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
ENG223 | WRITING SKILLS | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
EST231 | BRITISH LITERATURE: LATE VICTORIAN TO THE PRESENT | Core Courses | 5 | 4 | 100 |
FRN221 | FRENCH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
HIN221 | HINDI | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
KAN221 | KANNADA | Ability Enhancement Compulsory Courses | 3 | 03 | 100 |
PSY231 | BASIC PSYCHOLOGICAL PROCESSES - II | Core Courses | 5 | 5 | 100 |
SAN221 | SANSKRIT | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TAM221 | TAMIL | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TES231 | SCHOOLS AND STYLES OF ACTING | Core Courses | 3 | 3 | 100 |
TES251 | SCHOOLS AND STYLES OF ACTING | Core Courses | 5 | 2 | 100 |
3 Semester - 2020 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
AEN321 | ADDITIONAL ENGLISH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
ENG323 | CREATIVE WRITING | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
EST331 | AMERICAN LITERATURES | Core Courses | 5 | 4 | 100 |
FRN321 | FRENCH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
HIN321 | HINDI | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
KAN321 | KANNADA | Ability Enhancement Compulsory Courses | 3 | 03 | 100 |
PSY332 | SOCIO CULTURAL FOUNDATIONS OF BEHAVIOUR | Core Courses | 5 | 5 | 100 |
PSY352 | PERSONAL GROWTH | Ability Enhancement Compulsory Courses | 2 | 2 | 50 |
SAN321 | SANSKRIT | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TAM321 | TAMIL | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TES331 | DIRECTION | Core Courses | 3 | 3 | 100 |
TES351 | DIRECTION | Core Courses | 5 | 2 | 100 |
TES352 | PRACTICUM-I: ANNUAL PRODUCTION | Core Courses | 5 | 2 | 100 |
TES381 | INTERNSHIP | Core Courses | 6 | 2 | 100 |
4 Semester - 2020 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
AEN421 | ADDITIONAL ENGLISH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
ENG423 | WRITING FOR MEDIA | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
EST431 | INTRODUCTION TO LITERARY THEORY | Core Courses | 5 | 4 | 100 |
FRN421 | FRENCH | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
HIN421 | HINDI | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
KAN421 | KANNADA | Ability Enhancement Compulsory Courses | 3 | 03 | 100 |
PSY432 | LIFE SPAN DEVELOPMENT | Core Courses | 5 | 5 | 100 |
PSY452 | PSYCHOLOGICAL STATISTICS AND EXPERIMENTS | Ability Enhancement Compulsory Courses | 2 | 2 | 50 |
SAN421 | SANSKRIT | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TAM421 | TAMIL | Ability Enhancement Compulsory Courses | 3 | 3 | 100 |
TES431 | SCRIPT WRITING | Core Courses | 3 | 3 | 100 |
TES451 | CLASS PRODUCTION | Core Courses | 3 | 2 | 100 |
TES471 | MUSIC AND DANCE | Core Courses | 4 | 4 | 100 |
5 Semester - 2019 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
EST531 | POSTCOLONIAL LITERATURES | Core Courses | 4 | 04 | 100 |
EST532 | INDIAN LITERATURES: THEMES AND CONCERNS | Core Courses | 5 | 4 | 100 |
PSY531 | ABNORMAL PSYCHOLOGY | Core Courses | 4 | 4 | 100 |
PSY532 | THERAPEUTIC INTERVENTIONS-I | Core Courses | 4 | 4 | 100 |
PSY551 | PSYCHOLOGICAL RESEARCH METHODS AND ASSESSMENT-I | Ability Enhancement Compulsory Courses | 2 | 2 | 50 |
TES531 | STAGE / PRODUCTION PROCESS | Core Courses | 2 | 2 | 100 |
TES532 | INTRODUCTION TO PERFORMANCE STUDIES | Core Courses | 4 | 4 | 100 |
TES551 | STAGE / PRODUCTION PROCESS | Core Courses | 5 | 2 | 100 |
TES552 | PRACTICUM-II - ANNUAL PRODUCTION | Core Courses | 5 | 2 | 100 |
TES581 | INTERNSHIP | Core Courses | 6 | 2 | 100 |
6 Semester - 2019 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
EST631 | INTRODUCTION TO WORLD LITERATURES | Core Courses | 5 | 4 | 100 |
EST641A | CULTURAL STUDIES | Discipline Specific Elective Courses | 4 | 04 | 100 |
EST641B | INTRODUCTION TO ENGLISH LANGUAGE TEACHING | Discipline Specific Elective Courses | 4 | 04 | 100 |
EST641C | INTRODUCTION TO SHORT STORY | Discipline Specific Elective Courses | 4 | 04 | 100 |
EST641D | INTRODUCTION TO FILM STUDIES | Discipline Specific Elective Courses | 4 | 04 | 100 |
EST641E | ECOLOGICAL DISCOURSES AND PRACTICES | Discipline Specific Elective Courses | 4 | 4 | 100 |
EST641F | REVISITING INDIAN EPICS | Discipline Specific Elective Courses | 4 | 4 | 100 |
PSY631 | POSITIVE PSYCHOLOGY | Core Courses | 4 | 4 | 100 |
PSY633 | THERAPEUTIC INTERVENTIONS - II | Core Courses | 4 | 4 | 100 |
PSY651 | PSYCHOLOGICAL RESEARCH METHODS AND ASSESSMENT-II | Ability Enhancement Compulsory Courses | 2 | 2 | 50 |
TES631 | APPLIED THEATRE | Core Courses | 3 | 3 | 100 |
TES632 | SPECIALISATION IN ACTING | Core Courses | 3 | 3 | 100 |
TES633 | SPECIALISATION IN DIRECTING | Core Courses | 3 | 3 | 100 |
TES651 | SPECIALISATION IN ACTING | Core Courses | 5 | 2 | 2 |
TES652 | SPECIALISATION IN DIRECTING | Core Courses | 5 | 2 | 100 |
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Introduction to Program: | ||||||||||||||||||||||||||||||||||||||||
This exceptional combination of Theatre, English and Psychology was carefully developed for the benefit of students foremost in mind. All the three disciplines complement each other and give unique possibilities for career paths. No matter which of these disciplines is your main interest, the other two intertwine to greatly help the major one. If it's psychology, art is one of the most powerful cures that could be implemented for drama therapy. Focusing on English, the ability is not to simply read a piece of literature but to understand the psychology of characters and feel their emotions. This is a great and rare skill that can be obtained throughout this course. To have theatre as your priority and to work on roles as an actor; psychology is the key to understand the character's way of thinking, along with English for better play analysis. | ||||||||||||||||||||||||||||||||||||||||
Programme Outcome/Programme Learning Goals/Programme Learning Outcome: PO1: Explore, create and experience western theatre through academic and praxis to develop a holistic theatre professional. To give an overview of literature from aesthetic, linguistic, socio-political and cultural contexts. Familiarize students with the discipline of psychology, give them the necessary exposure to develop interest in these disciplines.PO2: 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 theatre. PO3: Increase kinaesthetic discipline using accurate posture, delivery and stage presence. Use psychology to formulate thoughts in a meaningful yet attention-drawing fashion. Making oneself truly humble, knowledgeable and easy to approach by prompting and accepting feedback from the audience. PO4: Create effective group leaders through a conservatoire method with an ensemble focus. Equip students with the skills and competence to apply psychological principles in a range of environments to increase individual and collective wellbeing. PO5: Demonstrate understanding of the fundamental processes underlying human behaviour, development and change from biological and psychosocial perspectives. Exposing students to the histories of different civilisations through plays, enabling them to learn from the mistakes of others in an immersive manner. PO6: Create productions on their own making them understand the importance of accountability and responsibility. Respecting the academic integrity of the institution and course. PO7 : 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. | ||||||||||||||||||||||||||||||||||||||||
Assesment Pattern | ||||||||||||||||||||||||||||||||||||||||
Practical
Theory
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Examination And Assesments | ||||||||||||||||||||||||||||||||||||||||
CIA ESE |
AEN121 - ADDITIONAL ENGLISH (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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The Additional English course is offered as a second language course and seeks to introduce the students to the nuances of English literature in its varied forms and genres. The students who choose Additional English are generally proficient in the English language. Hence, instead of focusing on introducing them to language, challenging texts in terms of ideas, form, and technique are chosen. Additional English as a course is designed for students in place of a regional language. Non-Resident Indians (NRIs), foreign nationals and students who have not taken Hindi, Kannada, Tamil or French at the Plus 2 or Class XII levels are eligible to choose Additional English. The course is taught for students from different streams, namely, BA, BSc, BCom, and BBA in the first year and for BA, BSc and BCom (Regular) in the second year. The first year syllabus is an attempt by the Department of English, Christ University to recognize and bring together the polyphonic Indian and Indian sub-continental voices in English in English translation for the Additional English students of the first year. This effort aims to familiarize the students with regional literatures in translation, Indian Writing in English (IWE) and literatures from Pakistan, Nepal and Srilanka, thereby, enabling the students to learn more about Indian culture and ethos through writings from different regions of the country. We have tried to represent in some way or the other the corners of India and the Indian sub-continent in this microcosmic world of short stories, poems and essays
There is a prescribed text bookfor the first year students, compiled by the Department of English, Christ University and intended for private circulation. The first semester has a variety of writing from India, Pakistan and Nepal. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. An important addition to this syllabus is the preponderance of North-Eastern writing which was hitherto not well represented. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature. The objectives of this course are to expose students to the rich literary and cultural diversity of Indian literatures to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)
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Course Outcome |
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CO1 CO 2: Understand the cultural, social, religious and ethnic diversities of India they will be able to be analytical and critical of the pluralistic society they live in through the activities and assignments conducted be aware of the dynamics of gender, identity, communalism and politics of this vast nation through its literature. |
Unit-1 |
Teaching Hours:10 |
Poetry
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1. Keki N Daruwala “Migrations”
2. Kamala Das “Forest Fire”
3. Agha Shahid Ali “Snow on the Desert”
4. Eunice D Souza “Marriages are Made” | |
Unit-2 |
Teaching Hours:15 |
Short Stories
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1. Rabindranath Tagore “Babus of Nayanjore”
2. Ruskin Bond “He said it with Arsenic”
3. Bhisham Sahni “The Boss Came to Dinner”
4. N. Kunjamohan Singh “The Taste of Hilsa”
5. Mohan Thakuri “Post Script” | |
Unit-3 |
Teaching Hours:20 |
Essays
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1. Mahatma Gandhi “What is True Civilization?” (Excerpts from Hind Swaraj)
2. Ela Bhatt “Organising for Change”
3. Sitakant Mahapatra “Beyond the Ego: New Values for a Global Neighborhood
4. B R Ambedkar “Waiting for A Visa”
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Text Books And Reference Books: Contemporary knowledge of the soci-political situation in the sub-continent The text book copy "Reading Diversity" | |
Essential Reading / Recommended Reading On-line resources to appreciate the text through the Comprehension Questions | |
Evaluation Pattern CIA 1: Classroom assignment for 20 marks keeping in mind the objectives and learning outcomes of the course. CIA 2: Mid-semester written exam for 50 marks CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive creative assignments that might help students engage with India as a cultural space. This is to be done keeping in mind the objectives and learning outcomes of the course. Question Paper Pattern Mid Semester Exam: 2 hrs Section A: 4x5= 20 Section B: 2x15=30 Total 50
End Semester Exam: 2 hrs Section A: 4 x 5 = 20 Section B: 2 x 15= 30 Total 50 | |
ENG123 - PHONETICS AND COMMUNICATION (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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The ‘English Phonetics and Communication’ course focuses on the important 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 enable to support the platform roles which are integral to the programme involving theatre |
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Course Outcome |
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CO1: Ability to understand the nature of British Standard English Pronunciation with regard to sounds, stress and intonation and use the understanding in everyday and formal spoken communication in English CO2: Ability to use the understanding of pronunciation in theatre speeches and singing
CO3: Ability to transcribe words from RP to IPA CO4: Ability to learn the pronunciation of English words using Daniel Jones English Pronouncing Dictionary CO5: Inquisitiveness appreciation for towards languages in general CO6: Understanding of the requirements for various intellectual assemblies and platform speeches and ability to write platform speeches.
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Unit-1 |
Teaching Hours:20 |
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Phonemes and words
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Hours: 20 1. Transcription and Pronunciation a. Spelling and Pronunciation b. Transcription c. English Consonants and Vowels d. The Place and Manner Articulation 2. How to use the Daniel Jones | |||||||
Unit-2 |
Teaching Hours:15 |
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Stress and Rhythm
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1. The Syllable a. Morphemes b. Assimilation and Elision 2. Word Accent 3. Intonation 4. Tag | |||||||
Unit-3 |
Teaching Hours:5 |
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Language and Society
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Unit-4 |
Teaching Hours:5 |
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Public Speaking-Platform Roles
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a. Inaugural, Valedictory, Welcome, Vote of Thanks, Chief Guest’s Speech, Presidential Remarks, Felicitation Speech, Keynote Address, Convocation Address, Panel Discussion.; Platform Speeches: President, Master of Ceremony, Moderator, Compere, Commentator, Announcer, Anchor Person, Panel Interview. Platform Roles: Protocols and conventions of stage programmes. b. Intellectual Assemblies: Intellectual assemblies and artists’ assemblies. c. Conference, Seminar; Symposia, Panel Discussion, Workshop, Training, Convention, Rally | |||||||
Text Books And Reference Books: Material would be provided by the course instructor | |||||||
Essential Reading / Recommended Reading Will be provided by course instructor | |||||||
Evaluation Pattern CIA 1: Transcription-20 Marks CIA 2: Pronunciation of words: 50 Marks CIA 3: Stress Marking: 20 Marks ESE: exam
Assessment pattern:
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EST131 - BRITISH LITERATURE: ANGLO SAXON TO EARLY VICTORIAN (2021 Batch) | |||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:4 |
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Course Objectives/Course Description |
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Course Description: This course will serve as an introductory course for British Literature. The course will locate the texts in their respective socio-political and historical contexts. The selection aims to introduce different genres of British literature.
Course Objectives
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Course Outcome |
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CO1: Awareness of the production, dissemination and reception of literary material in England across different eras and the contemporary debates and trends they stimulate and cognizance of classical forms, genres and styles of literature |
Unit-1 |
Teaching Hours:5 |
The Anglo-Saxon Period and The Medieval Period
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Emergence of English language, History of England from 42 BC to Norman Conquest- salient features Impact of Norman rule on English social structure, English language in the medieval period,mystery, morality plays and miracle plays, feudalism | |
Unit-2 |
Teaching Hours:20 |
The Renaissance Period and after
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Protestantism, Bible translation, religious literature, humanism, English Renaissance, Baroque and Rococo Styles | |
Unit-3 |
Teaching Hours:25 |
Reformation, Restoration and after
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Metaphysical Poetry, Epic conventions, Mock epic, Puritanism, Restoration, Rise of the novel, the English novel in the eighteenth century, Gunpowder plot, Oliver Cromwell,
Dissolving the parliament, Periodical essays, empiricism, Influence of French culture through restoration, the enlightenment | |
Unit-4 |
Teaching Hours:25 |
Romantic and early Victorian Age
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Romanticism, notion of literary creation and poets, closet drama, the French Revolution, Victorian morality, industrial revolution, utilitarianism, rise of nation-states, impact of colonialism on England, emergence of universal education in England | |
Text Books And Reference Books: Chaucer: The Prioress from Prologue to The Canterbury Tales William Shakespeare: Sonnet 116 ‘O that this too solid flesh would melt” Soliloquy by Hamlet in Hamlet Act 1 Scene 2 ‘To Be or Not To Be’ Soliloquy by Hamlet in Hamlet Act 3 Scene 1
Francis Bacon: “Of Truth” John Donne: “Canonization”
John Milton: Excerpt from Satan’s speech in Book 1, Paradise Lost John Dryden: First three stanzas of “Mac Flecknoe” Alexander Pope: Belinda’s Boudoir from The Rape of the Lock Addison and Steele: “Character of Will Wimble” Oliver Goldsmith: “Beau Tibbs”
Oliver Goldsmith: She Stoops to Conquer / Christopher Marlowe: Dr. Faustus William Wordsworth: “Lines Written in Early Spring” S.T. Coleridge: “Christabel” Shelley: “Ode to the Westwind” Keats: “La Belle Dame Sans Merci” Charles Lamb: “Dream Children” Mary Shelley: Frankenstein | |
Essential Reading / Recommended Reading Abrams, M.H. A Glossary of Literary Terms. 8th Ed. New York: Wardworth, 2005. Print. Ferguson, Margaret, Mary Jo Salter and Jon Stallworthy. Eds. The Norton Anthology of Poetry. 4th Ed. New York: WW Norton, 1996. Print Gordden, Malcom, and Michael Lapidge. The Cambridge Companion to Old English Literature. Rpt Cambridge: CUP, 2006. Print. Gupta, Ambika Sen. Selected College Poems. Rpt. Hyderabad: Orient Longman, 1999. Herman, Daniel. The Cambridge Companion to Narrative. Cambridge: CUP, 2007. Print. John, Eileen, and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print Maxwell, Richard, and Katie Trumpener. The Cambridge Companion to Fiction in the Romantic Period. Cambridge: CUP, 2008. Print Sampson, George.The Concise Cambridge History of English Literature, 3rd Ed. Cambridge: CUP, 2005. Print Ramarao, Vimala. Ed.Explorations. Vol I. Bangalore: Prasaranga, Bangalore University, 2004. Print
Shingle, Michael. Daniel Defoe Robinson Crusoe. New York: WW Norton, 1994. Print | |
Evaluation Pattern CIA I
CIA III will be a moddle test on the Novel
These are suggested examples of CIAs. However, during the course of teaching, there could be other suggestions, and CIAs could be slightly modified based on class dynamics and calibre of students.
Selected Texts chosen to be taught may be revised / used as extended reading which may be tested in CIA 1, 2 or 3. Example : only 1 soliloquy may be taught.
Mid Semester Examination CIA II: 2 Hours
Section A: Short Notes – 5x3 marks= 15 (5 questions out of 7) Section B: Essay Questions – 2x10 marks = 20 (2 questions out of 3) Section C: Long Essay Questions – 1x15 marks = 15 (1 question out of 2)
Total: 50 Marks
End Semester Examination: 3 Hours
Section A: Short Notes – 10x3 marks = 30 (10 questions out of 12) Section B: Essay Questions – 4x10 marks = 40 (4 questions out of 6) Section C: Long Essay Questions – 2x15 marks = 30 (2 questions out of 4)
Total: 100 Marks | |
FRN121 - FRENCH (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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French as a second language in the UG program. The method Génération A1 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. The structure of each unit marks a real learning journey.
Course Objectives · To develop linguistic competencies and sharpen oral and written communicative skills · To familiarize learners to certain aspects of francophone civilization. · To enable learners to engage in simple everyday situations |
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Course Outcome |
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CO 1: To familiarize students with communicative French CO 2: To equip students with proper comprehensive skill of listening and writing CO 3: To make students read, write, speak and listen to French lessons CO 4: To make students speak and read French texts CO 5: To enable students to learn French words. |
Unit-1 |
Teaching Hours:10 |
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I discover
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Lexicon – Countries and nationalities, domestic animals, days of the week Grammar -Subject pronouns, verbs ‘to be’ and ‘to have’, definite and indefinite articles Speech acts – Greeting, asking how one is
Lesson 2: Hello, my name is Agnes. Lexicon – Months of the year, numbers 0-69, the family Grammar – Formation of the feminine / plural, possessive adjectives Speech acts -Introducing oneself and others, asking and saying dates
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Unit-2 |
Teaching Hours:5 |
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Les fables de la Fontaine
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La cigale et la fourmis (The grasshopper and the ant) | ||||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Culture: Physical and Political France
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Unit-4 |
Teaching Hours:5 |
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Les fables de la Fontaine
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Le renard et le corbeau (The fox and the crow) | ||||||||||||||||||||||
Unit-5 |
Teaching Hours:10 |
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Video Workshop: How cute he is!
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Unit-6 |
Teaching Hours:5 |
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Visual text
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A French movie | ||||||||||||||||||||||
Text Books And Reference Books: 1. Cocton, Marie-Noelle. Génération A1. Paris : Didier, 2016 2. De Lafontaine, Jean. Les Fables de la Fontaine. Paris, 1668 | ||||||||||||||||||||||
Essential Reading / Recommended Reading French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc | ||||||||||||||||||||||
Evaluation Pattern
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HIN121 - HINDI (2021 Batch) | ||||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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Course Description The detailed text book “Samakaleen Hindi Kavitha” edited by Dr.N Mohanan is an anthology of contemporary Hindi Poems written by representative poets of Hindi Literature. From the medieval poetry ' Kabir Ke Dohe and Sur ke pad 'is also included. The poets reflect on the social, cultural and political issues which are prevalent in our society since the medieval period. Hindusthani sangeeth-parampara eva kalakar is one of the module. Since translation is a significant area in language and literature, emphasis is being given on it in the syllabus.Bharath ki pramukh sanskruthik kalayein Yakshagana,Kathakali,Ram Leela,Krishna Leela etc. included in the syllabus to enrich cultural values among students. Course Objectves: Students will be exposed to read, analyse and appreciate poems by learning poetry. Through translation, students will be able to develop translation skills while translating from other language articles. Students will be able to analyses critically the different cultural art forms by learning about the Famous cultural art forms of India. |
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Course Outcome |
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CO1 : Improve the analytical skills through critical analysis of the poems. CO2: Analyze the different aspects of Hindustani musical traditions and musicians. CO3: Improve the basic research skills while doing the research based CIAs. CO4: Enhance the bilingual translation skills. |
Unit-1 |
Teaching Hours:15 |
Samakaleen Hindi Kavitha (Collection of contemporary Hindi Poems),Kabir Ke Dohe and Sur Ke Pad.
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’ Samakaleen Hindi Kavitha (Collection ofcontemporary Poems) Edited By: Mahendra Kulashreshta Rajpal and Son’s, New Delhi
Level of knowledge: Analytical
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Unit-2 |
Teaching Hours:10 |
Translation-Theory and Practice
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Translation-Practice English to Hindi and vice- versa. | |
Unit-3 |
Teaching Hours:10 |
Bharath ki pramukh sanskruthic kalayen-
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Ramleela,Krishnaleela,Yakshagaana,kathakali. | |
Unit-4 |
Teaching Hours:10 |
Hindusthani Sangeeth-parampara evam pramukh kalakar
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Utbhav,Vikas aur paramparaein Pramukh Sangeethkar-1.Bhimsen Joshi 2.Gulam Ali 3.Pandit Ravishankar 4. Bismillah Khan. | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading
1. A Hand Book of Translation Studies By: Das Bijay Kumar. 2. Saral Subodh Hindi Vyakaran, By: Motilal Chaturvedi. Vinod pustak mandir, Agra-2 3. Anuvad Evam Sanchar – Dr Pooranchand Tantan, Rajpal and Son’s, Kashmiri 4. Anuvad Vignan By: Bholanath Tiwar 5. Anuvad Kala By: N.E Vishwanath Iyer.
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Evaluation Pattern CIA-1(Digital learning-Editing of Hindi article in Hindi Wikipedia )-20 marks CIA-2(Mid semester examination)-50 marks CIA-3(Digital learning-article creation in Hindi Wikipedia)-20 marks End sem examination-50 marks | |
KAN121 - KANNADA (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:03 |
Course Objectives/Course Description |
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Selections from Old Kannada, Medieval Kannada and Modern Kannada Literature are introduced for I Semester BA/ BSc. courses in the syllabus. This will enrich the students' Language and Communication skills, and also their critical and analytical skills. This will help them to enhance their social sensitivity. The rhythm of poetry helps the students to acquire natural speech rhythm. |
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Course Outcome |
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CO 1: understand different genres of Kannada Literature CO2: expose students to significant developments in poetry CO3: develop the art of constructing stories CO4 : communicate in Kannada orally & in writing CO5 : summarize the events of a story in a concise manner |
Unit-1 |
Teaching Hours:15 |
Old , Medieval and Modern Kannada Literature
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1. Raghavanka- Harishchandra Kavya. Selected chapter( Purada Punyam Purusha Roopinde Pooguthide) 2. Vachanas- Devara Dasimayya, Basavanna, Akkamahadevi, Aydakki Lakkamma, Gajesha Masanaiah. Keerthanegalu: Purandaradasa, Kanakadasa 3. Modern Kannada poetry: Mumbai Jataka- Dr. G.S. Shivarudrappa, Kari Heggadeya Magalu- B.M.Sri | |
Unit-2 |
Teaching Hours:10 |
Prose- Selected Short Stories
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1. Dheera Kumara- A Folk tale 2. Mandannana Marriage- (An episode in Novel Karvalo) K. P. Poornachandra Tejaswi 3. Gili Kathe-(Translation) - Ravindranath Tagore | |
Unit-3 |
Teaching Hours:10 |
Kannada Grammar
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1. Differences in Prounounciation ( L-l) (A-H) 2. Change of meanings 3. Translation: English to Kannada
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Unit-4 |
Teaching Hours:10 |
Folk Art forms of Karnataka
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1.Folk Art forms of Karnataka 1. Dollu Kunitha 2.Pooja Kunitha 3.Goravara Kunita 4. Patada Kunitha | |
Text Books And Reference Books: 1. Adipurana- Pampa (Selected Episode) 2. Yashodhara Charite- Janna (Selected Episode) 3. Harishchandra Kavya- Raghavanka (Selected Episode) 4. Shree Sahitya- B M Shreekantaiah 5. Janapada Kathegalu- Jee sham paramashivaiah | |
Essential Reading / Recommended Reading 1. Pampa Ondu Adhyayana- G S Shivarudrappa 2. Vachana Chandrike- L Basavaraju 3. Purandara Sahitya Darshana- S K Ramachandra Rao 4. Kanakadasa- Basrur Subba Rao 5. Samagra Kannada Sahitya Charithre- Ed. G.S Shivarudrappa
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Evaluation Pattern CIA-1 Written Assignments- 20 Marks CIA-2 Mid Semsester Examination- 50 Marks CIA-3 Translation Assignment- English to Kannada -20 Marks Attendance -05 Marks End Semester Examination- 50 Marks | |
PSY131 - BASIC PSYCHOLOGICAL PROCESSES - I (2021 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:5 |
Course Objectives/Course Description |
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This course is an introduction to the study of basic psychological processes offered to the first-semester undergraduate students of psychology. It is an introductory paper that gives an understanding of the field of psychology, scope, and multiple perspectives and disciplines that provide a holistic picture of human behaviour. Students will learn the key concepts, classic examples, and modern and practical applications of fundamental psychological theories, methods, and tools. Emphasis is on the basic psychological processes of personality, learning, consciousness, motivation and emotion. This course allows them to learn the basics and demonstrate the skills that a student needs to move on to the more specific and in-depth psychology courses that follow. This course will help the learner to learn about
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Course Outcome |
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CO1: Explain psychological concepts, including fundamental concepts, principles, theoretical perspectives, overarching themes, and arguments from across a range of psychology content domains like learning, personality, motivation, emotion, and consciousness to various situations and contexts. CO2: Critically evaluate the different schools of thought in psychology. CO3: Define the basic biological process that influence behavior. CO4: Analyze methods of scientific inquiry, evidence-based thinking, and critical thinking skills to psychological phenomena and examples of psychological science. CO5: Write assignments and make presentations demonstrating basic knowledge of APA (American Psychological Association) style. |
Unit-1 |
Teaching Hours:15 |
History and Schools of Thought
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In this unit, we will examine the history of Western psychological theorizing from its beginnings in ancient Greece, through to the schools and perspectives of psychology including Structuralism, Functionalism, Psychodynamic, Biological, Behavioristic, Gestalt, Cognitive, Cross-cultural, Humanistic and Evolutionary. The aim is both to build a familiarity with psychology’s intellectual origins and to foster an awareness of its many false steps, dead-ends, and alternative pathways to gain a better appreciation of the social, cultural, and, above all, psychological influences on the theorizing of psychologists. Students will be able to define psychology and understand what psychologists do and identify the major fields of study and theoretical perspectives within psychology and know their similarities and differences. In the end, students will be ale to gain a better appreciation of why contemporary psychology takes the shape it does, describe the evolution of psychology and the major pioneers in the field, identify the various approaches, fields, and subfields of psychology along with their major concepts and important figures and describe the value of psychology and possible careers paths for those who study psychology | |
Unit-2 |
Teaching Hours:15 |
Biological basis of behaviour
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Explain the biological perspective of psychology as it applies to the role of the nervous system and endocrine system in regard to behaviour and mental processes. Identify and describe the important structures of these systems. It is an introductory survey of the relationship between human behaviour and brain function. Discuss the interaction between biological factors and experience, methods and issues related to biological advances, develop an understanding of the influence of behaviour, cognition, and the environment on the bodily systems, and develop an appreciation of the neurobiological basis of psychological function and dysfunction. Laboratory Demonstration: Biofeedback/ EEG/ Eye-tracking | |
Unit-3 |
Teaching Hours:15 |
Learning
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This unit introduces students to the principles of learning and how those principles can be used to modify human behaviour. Explain the behavioural perspective of psychology and relate classical and operant conditioning concepts to student-generated scenarios. The course emphasizes the application of learning theories and principles. Topics include reinforcement, extinction, punishment, schedules of reinforcement, stimulus discrimination, prompting and fading, stimulus-response chaining, generalization, modelling, rule-governed behaviour, problem-solving, latent learning, observational learning, insight learning, concept learning, general case instruction, and stimulus equivalence.
Laboratory Demonstration: Trial and Error learning, Habit Interference, Maze Learning | |
Unit-4 |
Teaching Hours:15 |
Personality
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This unit is an introduction to the psychological study of human personality, broadly speaking and more specifically in terms of how we may understand individual differences in personality and the personalities of individual persons. Personality psychologists use empirical methods of behavioural and clinical science to understand people in biological, social, and cultural contexts. Students will learn the strengths and weaknesses of the major personality theories, as well as how to assess, research and apply these theories. As much as possible, application to real-life situations will be discussed. Students would be able to identify the various perspectives that are common in the area of personality psychology and critically evaluate each in terms of its explanatory and predictive power, discuss theories and perspectives of personality development: psychoanalytic, humanistic, trait, and social-cognitive, understand classic and current empirical measurement tools and approaches to investigation for personality assessment in psychological and clinical science and develop an understanding of the concept of individual differences with the goal to promote self-reflection and understanding of self and others. Laboratory Demonstration: Sentence completion test, NEO-PI, Type A/B | |
Unit-5 |
Teaching Hours:15 |
Motivation and Emotion
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The unit will explain how behaviour is energized and directed by the complex mixture of motives and emotions and describe the various theories that have been developed to explain motivation and emotion. Unit aims to explain motivation, how it is influenced, and major theories about motivation. We will describe hunger and eating in relation to motivation, obesity, anorexia, and bulimia; sexual behaviour and research about sexuality; and explain theories of emotion and how we express and recognise emotion Laboratory Demonstration: Level of motivation, Achievement motivation, | |
Text Books And Reference Books: Weiten, W. (2014). Psychology: Themes and Variations (Briefer Version, 9th edition). Belmont, CA: Wadsworth/Cengage Learning. | |
Essential Reading / Recommended Reading King, L. A. (2010). Experience Psychology. McGraw-Hill. Gazzaniga, Heatherton, Halpern (2015). Psychological Science, 5th Edition, Norton. Feldman.S.R.(2009).Essentials of understanding psychology ( 7th Ed.) Tata Mc Graw Hill. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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SAN121 - SANSKRIT (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Janakiharana of Kumaradasa is the first Sanskrit mahakavya, so far as the extant literature goes, to deal solely with the whole of the Ramayana story. Its further interest is that it was produced in Ceylon, showing thereby the wider world over which Sanskrit had its sway. After manuscripts of the full text of the poem in twenty cantos had to come to light in South India, what is now presented was the first systematc and critical study to be undertaken to the author and the text and its position vis-a-vis other Mahakavyas. In addition to the above study and the critical edition of the cantos which were at that time unpublished the examination of the large number of extra-verses found in some MSS of the text and showing them as interpolations. |
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Course Outcome |
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CO1: To appreciate the styles and thoughts of individual poets CO2: To focus on the poetical, artistic, cultural and historical aspects of the poetic works CO3: To understand the theme of epics CO4: To analyze and appreciate poetic language. CO5: To understand the grammar of the language. |
Unit-1 |
Teaching Hours:42 |
Janaki Haranam
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Selected shlokas 1-60 shlokas Kumāradāsa is the author of a Sanskrit Mahākāvya called the Jānakī-haraṇa or Jānakī’s abduction. Jānakī is another name of Sita, wife of Rama. Sita was abducted by Ravana when she along with Rama, exiled from his kingdom, and Lakshmana was living in a forest which incident is taken from Ramayana ('Rama’s Journey'), the great Hindu epic written by Valmiki. The Sinhalese translation of his work, Jānakī-haraṇa, gave credence to the belief that Kumāradāsa was King Kumāradhātusena (513-522 A.D.) of Sri Lanka but scholars do not make any such identification even though the poet at the end of his poem says that his father, Mānita, a commander of the rearguard of the Sinhalese King Kumāramaṇi, died in battle on the day he was born and that his maternal uncles, Megha and Agrabodhi, brought him up. Rajasekhara, who lived around 900 A.D., in his Kāvyamīmāmsā refers to the poet as born blind - मेधाविरुद्रकुमारदासादयः जात्यन्धाः. There is also a tradition that this poem was written by Kalidasa. Kumāradāsa came after Kalidasa and lived around 500 A.D., later than Bhāravi but before Māgha. While writing Jānakī-haraṇa, he certainly had before him Raghuvaṃśa of Kalidasa.[1] | |
Unit-1 |
Teaching Hours:42 |
Grammar
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Sandhis and lakaras | |
Unit-2 |
Teaching Hours:3 |
grammar
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Samasa prakaranam | |
Text Books And Reference Books: Books for References: - 1) Janakiharanam of Kumaradasa edited by C K Swaminathan 2) Janakiharanam edited by G.R. Nandargikar 3) Sanskrit Grammar Translation from English to Sanskrit by M.R. Kale Sanskrit Grammar Kannada version by Satish Hegde. | |
Essential Reading / Recommended Reading Ramayana of Valmiki Champu Ramayana of Bhoja | |
Evaluation Pattern
CIA 1 Wikipedia assignments CIA 2 Mid semester examinations CIA 3 Wikipedia assignments | |
TAM121 - TAMIL (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Poems of Bharatiyar and Bharatidasan and poems by women poets with feminine sensibilities will initiate the students into the modern period with all its complexities. The short stories by Ambai offers a matured vision of life through a varied characters and situatins. A new concept, Cultural Studies, will take the students beyond prescribed syllabus to include music, theatre, painting and films out of whcih the art form of music is taken up for the first semester. |
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Course Outcome |
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CO1: Recall and categorize the concepts of literature. CO2: Understand the true essence of the texts, and inculcate them in their daily lives. CO3: Recognize and apply the moral values and ethics in their learning. CO4: Comprehend the concepts in literature and appreciate the literary text. |
Unit-1 |
Teaching Hours:10 |
Modern Poetry- Bharathiyar
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1. Kannan yen sevagan 2. Kannan yen kozhandhai 3. Kannan yen vilayatu pillai 4. Kannan yen kadhalan 5. Kannan yen kadhali
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Unit-2 |
Teaching Hours:10 |
Bharathi dasan
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1. Kadal 2. Kundram 3. Nyaairu 4. Aal 5. Chittrur | |
Unit-3 |
Teaching Hours:10 |
Contemporary Cultural Issues
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Prose including reference to contemporary literary issues 1. Oru karupu silanthi udan oru iravu- Ambai Cultural studies, Indian festivals | |
Unit-4 |
Teaching Hours:10 |
Penniya kavithaigal
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1.Ottadai -Thamarai 2. Kapinaani thozhudhal- Ponmani vairamutu 3. Yendhan tozha- Subhathra 4. Kadal konda pen puram- Andal priya dharshini 5. Pen- P. Kalpana '
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Unit-5 |
Teaching Hours:2 |
Grammer- Language skills
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Pira mozhi chorkal | |
Unit-6 |
Teaching Hours:3 |
Common topic
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Isai | |
Text Books And Reference Books:
Malliga, R et al (ed).Thamilppathirattu I.Bangalore: Prasaranga,2011 ‘Oru Karuppuchilanthiyudan Or Iravu’ by Ambai,
published by Kalachuvadu Publications, Nagercoil, 2014
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Essential Reading / Recommended Reading
Varadarajan, Mu. Thamil Ilakkia Varalaru . New Delhi:Sahitya Akademi, 2008 Sivathambi, Ka.Thamil Sirukathaiyin Thorramum Valarchiyum.Coimbatore: NCBH, 2009 Ragunathan,C.Bharathi: Kalamum Karuthum, Chennai:NCBH, 1971
Ramakrishnan S 100 Sirantha Sirukathaigal, Chennai: Discovery Books, 2013
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Evaluation Pattern With a total of 100 marks, 50 marks will come from Continuous Internal Assessment (CIA) and the remaining 50 marks will come from end semester exanination. While the end semester examination will be fully theory based the CIA will consist of Wikipedia entries, assignments, theatre production, book review and other activities | |
TES131 - INTRODUCTION TO THEATRE (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Course Outcome |
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Unit-1 |
Teaching Hours:20 |
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History of Theatre: From the Greeks to 1875
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Origins of drama, from Storytelling to Rituals, Greek and Roman festivals, Greek tragedy and Aristotle’s Poetics, Hubris, Nemesis, Hamartia, Catharsis, Eight elements of a play, Fabula Palliata, Old, Middle, New Comedy, Farce, Pantomime, Spectacle and Spectator sports, Circuses, Amphitheatres, Horace- Ars Poetica, Unities of Time, Place and Action, Christianity and Theatre, Mumming, Carnival, Tournaments, Christian Religious Dramas, Guilds and secular entertainers, Dancing and disguise, Minstrels and Interludes, Pageants, Commedia Erudita,
Satyr Play, Machinery and stage lighting, Court festivals and Opera Seria, Commedia Dell’Arte, Caroline Court Dramas, Sentiment Vs Satire dramas, The licensing Act of 1737 and its consequences, Theatre in the North American Colonies, David Garrick and his contributions, Opera and Ballet, Schiller and Goethe and their contributions | |||||||||||||||||||||
Unit-2 |
Teaching Hours:10 |
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Theatre of the Nineteenth Century
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Industrial revolution and its impact on theatre, Spectacle and Melodrama, American contribution to melodrama, Gold rush and melodramatic ‘Western’ theatre, Grand and Comic Opera, Romantic Ballet, Serious Drama, Ibsen, GB Shaw, Chekov, Theatre and Early Cinema, Managerial Syndicates- Show Business, Variety and Vaudeville, Avant- garde players- Antoine, Brahm, JT Grein, Stanislavsky, Abbey Theatre in Dublin | |||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Theatre of the Twentieth Century
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Two World Wars and its aftermath, Expressionist drama and theatre, Brecht, Surrealism, Pirandello, Eugene O’ Neil, Symbolism and Poetic Drama, The Explosive Sixties, The Calmer Seventies, Jean Genet, Arthur Miller, Marat/ Sade, Antonin Artaud, Theatre of Cruelty, Theatre of the Absurd, Alternative Theatre, Feminist Theatre | |||||||||||||||||||||
Unit-4 |
Teaching Hours:5 |
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Introduction to Shakespearean Theatre
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Innovations in Plot, Character, Scenes, Time, Tragicomedy, Historical, Romances, Costumes, Themes, Theatrical spaces and the use of Zeitgeist | |||||||||||||||||||||
Text Books And Reference Books: 1. Balme, Christopher B. Cambridge Introduction to Theatre Studies. New York: Cambridge University Press, 2010. Print. 2. Brandt, George W. Modern Theories of Drama: A Selection of Writings on Drama and Theatre 1850-1990. New York: Oxford University Press, 1998. Print. 3. Chambers, Colin. The Continuum Companion to Twentieth Century Theatre. London: Continuum, 2002. Print. 4. Dillon, Janette. Cambridge Introduction to Early English Theatre. New York: Cambridge University Press, 2006. Print. 5. Dillon, Janette. The Cambridge Introduction to Early English Theatre. New York: Cambridge University Press, 2006. Print. 6. Elam, Keir. Semiotics of Theatre and Drama. 2007. Print. 7. Meyer-Dinkgrafe, Daniel. Who`s Who in Contemporary World Theatre. 2002. Print. 8. Postlewait, Thomas. Cambridge Introduction to Theatre Historiography. New York: Cambridge University Press, 2008. Print. 9. Powell, Kerry. Cambridge Companion to Victorian and Edwardian Theatre. New York: Cambridge University Press, 2004. Print.
10. Shepherd, Simon. The Cambridge Introduction to Modern British Theatre. New York: Cambridge University Press, 2009. Print. | |||||||||||||||||||||
Essential Reading / Recommended Reading
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Evaluation Pattern
End Semester Exam: 5x10= 50. 10 Questions are to be given | |||||||||||||||||||||
TES151 - INTRODUCTION TO THEATRE (2021 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:2 |
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Course Objectives/Course Description |
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This course aims at giving insights into the structure of plays. Orientation on Theatre Elements and Digital tools.
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Course Outcome |
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Unit-1 |
Teaching Hours:45 |
Introduction to Aspects of Theatre
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Acting, Directing, lighting, Costume, Setting, Makeup, sound playwriting and Prompting, Theatre spaces- amphitheatre, proscenium, Theatre in the round | |
Unit-2 |
Teaching Hours:30 |
Design Technology for Theatre
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Photography, Photoshop, Coral Draw, Canva, PPT, Word for poster making, Newsletter and Tile printing | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading
Technical Theatre: A Practical Introduction 1st Edition by Christine A. White Hodder Education Publishers; 1edition, 2001 | |
Evaluation Pattern Practical performance and Poster/Brochure exhibition will be the End Semester Examination | |
AEN221 - ADDITIONAL ENGLISH (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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The second semester has a variety of writing from India, Pakistan and Srilanka. The various essays, short stories and poems deal with various socio-economic, cultural and political issues that are relevant to modern day India and the Indian sub-continent and will enable students to comprehend issues of identity-politics, caste, religion, class, and gender. All of the selections either in the manner of their writing, the themes they deal with or the ideologies that govern them are contemporary in relevance and sensibility, whether written by contemporary writers or earlier writers. Excerpts from interviews, autobiographical writings, sports and city narratives are added to this section to introduce students to the varied genres of literature. The objectives of this course are to expose students to the rich literary and cultural diversity of Indian literatures to sensitise students on the social, political, historical and cultural ethos that has shaped the nation- INDIA to enable to grasp and appreciate the variety and abundance of Indian writing, of which this compilation is just a passing glance
to learn and appreciate India through association of ideas in the texts and the external contexts (BhashaUtsav will be an intrinsic help in this endeavour)
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Course Outcome |
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CO1 CO 2: Understand the cultural, social, religious and ethnic diversities of India they will be able to be analytical and critical of the pluralistic society they live in through the activities and assignments conducted be aware of the dynamics of gender, identity, communalism and politics of this vast nation through its literature. |
Unit-1 |
Teaching Hours:10 |
Poetry
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1. Jayanta Mahapatra “Grandfather”
2. Meena Alexander “Rites of Sense”
3. K.Satchidanandan “Cactus”
4. Jean Arasanayagam “Nallur” | |
Unit-2 |
Teaching Hours:15 |
Short Stories
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1. Temsula Ao “The Journey”
2. A. K Ramanujan “Annaya’s Anthropology”
3. Sundara Ramswamy “Waves”
4. Ashfaq Ahmed “Mohsin Mohalla”
5. T.S Pillai “In the Floods” | |
Unit-3 |
Teaching Hours:20 |
Essays
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1. Salman Rushdie “Gandhi Now”
2. Amartya Sen “Sharing the World”
3. Suketu Mehta “Country of the No”
4. Rahul Bhattacharya “Pundits From Pakistan” (An Excerpt) | |
Text Books And Reference Books: The textbook "Reading Diversity" | |
Essential Reading / Recommended Reading Online references for Comprehension Questions in the textbook | |
Evaluation Pattern Evaluation Pattern CIA 1: Classroom assignment/test for 20 marks keeping in tune with the course objectives and learning outcomes. CIA 2: Mid-semester written exam for 50 marks CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any proactive creative assignments that might help students engage with India as a cultural space. This is to be done keeping in tune with the course objectives and learning outcomes.
Mid Semester Exam: 2 Hrs Section A: 4x5= 20 Section B: 2x15=30 Total 50 End Semester Exam: 2 hrs Section A: 5 x 5 = 25 Section B: 5 x 15= 75 Total 100
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ENG223 - WRITING SKILLS (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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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. |
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Course Outcome |
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CO1: To develop connection between reading, thinking and writing. To use writing as a way to explore an idea, concept
CO2: To develop the ability to read their own writing criticTo make the students conversant with conventions of writing that clarify and
enhance meaning CO3: To compose variety of correspondence for specific purposes. To write clearly, persuasively, ethically and to a deadline CO4: To use current available technology to streamline and maximize the effectiveness
of written and verbal reports and to facilitate research CO5: To find and organize material appropriate to audience, purpose, and situation. To develop clear, complete, and accurate written and spoken messages CO6: To recognize communication barriers and how to remove them |
Unit-1 |
Teaching Hours:7 |
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Rhetoric of Writing
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a. Writer b. Purpose c. Audience d. Tone e. Context | |||||||
Unit-2 |
Teaching Hours:10 |
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The Writing Process
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1. The different kinds of Essays a. Planning b. Drafting c. Revising | |||||||
Unit-3 |
Teaching Hours:10 |
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Research
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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 |
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Documentation
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Unit-5 |
Teaching Hours:5 |
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Using Visual Aid
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Unit-6 |
Teaching Hours:5 |
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Reports and Proposals
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a. IMRD Reports b. Progress Reports c. Formal Reports d. Recommendation Reports e. Feasibility Reports f. Oral Reports
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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:
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EST231 - BRITISH LITERATURE: LATE VICTORIAN TO THE PRESENT (2021 Batch) | |||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:4 |
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Course Objectives/Course Description |
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Course Description: This course will build on the previous course and continue the objectives of the previous course. The completion of this course should provide sufficientground to introduce literary theory in their fourth semester and postcolonial studies in the later semesters.
Course Objectives
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Course Outcome |
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CO1: Awareness of the production, dissemination and reception of literary material in England across different eras and the contemporary debates and trends they stimulate and cognizance of classical forms, genres and styles of literature |
Unit-1 |
Teaching Hours:30 |
Middle, Late Victorian Age and After
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Darwin and the publication of Origin of Species, Victorian morality, utilitarianism, working class struggles, realism, naturalism, neorealism, Marxism | |
Unit-2 |
Teaching Hours:25 |
Early Twentieth Century
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Modernism, The World Wars, The Boer war, Russian revolution, Surrealism, Cubism, Expressionism | |
Unit-3 |
Teaching Hours:20 |
Late Twentieth Century to the Present Day
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British Beat Generation, Performance Poetry, Postmodernism, Diaspora, Multiculturalism, Hybridity
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Text Books And Reference Books: Alfred Lord Tennyson: “Ulysses” Robert Browning: “Porphyria’s Lover” Gerald Manley Hopkins: “TheWindhover” Charles Dickens: Great Expectations/David Copperfield/Tale of Two Cities Bernard Shaw: Pygmalion W B Yeats: “Easter 1916” T.S. Eliot: “The Love Song of J. Alfred Prufrock” James Joyce: “The Dead” Katherine Mansfield: “A Cup of Tea” Harold Pinter: The Birthday Party Adrien Mitchell: “The Question” Ted Hughes: “Hawk Roosting” Benjamin Zephaniah: “Dis Poetry” Neil Gaiman: Coraline | |
Essential Reading / Recommended Reading Abrams, M.H. A Glossary of Literary Terms. 8th Ed. New York: Wardworth, 2005. Print. Corcoran, Neil. The Cambridge Companion to Twentieth-CenturyEnglish Poetry. Cambridge: CUP, 2007. Print Davis, Alex, and Lee M Jenkins. The Cambridge Companion to Modernist Poetry. Cambridge: CUP, 2007. Print Ferguson, Margaret, Mary Jo Salter and Jon Stallworthy. Eds. The Norton Anthology of Poetry. 4th Ed. New York: WW Norton, 1996. Print Gupta, Ambika Sen. Selected College Poems. Rpt. Hyderabad: Orient Longman,1999. Print The Cambridge Companion to Narrative. Cambridge: CUP, 2007.Print. John, Eileen, and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print Kaplan, Fred, and Monod, Sylvere. Hard Times. New York: WW Norton, 2002. Print Sampson, George. The Concise Cambridge History of English Literature, 3rd Ed. Cambridge: CUP, 2005. Print
Ramarao, Vimala,. Ed. Explorations. Vol II. Bangalore: Prasaranga, Bangalore. Print | |
Evaluation Pattern CIA I
1. A class test / presentation / exhibition/ performance based on the texts prescribed
CIA III
1. A moodle test on the play / short stories/ age
These are a few suggested CIAs. However, during the course of teaching, there could be other suggestions, and CIAs could be slightly modified based on class dynamics and calibre of students.
Selected Texts chosen to be taught may be revised / used as extended reading which may be tested in CIA 1, 2 or 3.
Mid Semester Examination CIA II: 2 hrs
Section A: Short Notes – 5x3 marks= 15 (5 questions out of 7) Section B: Essay Questions – 2x10 marks = 20 (2 questions out of 3) Section C: Long Essay Questions – 1x15 marks = 15 (1 question out of 2)
Total: 50 Marks
End Semester Examination Pattern
Section A: Short Notes – 10x3 marks = 30 (10 questions out of12) Section B: Essay Questions – 4x10 marks = 40 (4 questions out of 6) Section C: Long Essay Questions – 2x15 marks = 30 (2 questions out of 4)
Total: 100 Marks
Notes:
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FRN221 - FRENCH (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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French as a second language in the UG program. The method Génération A1 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. The structure of each unit marks a real learning journey.
Course Objectives · To develop linguistic competencies and sharpen oral and written communicative skills · To familiarize learners to certain aspects of francophone civilization. · To enable learners to engage in simple everyday situations |
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Course Outcome |
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CO1: To familiarize pronunciation, vocabulary and grammar of the French language. CO2: To develop communication skills in the French language CO3: To enable students to read and write correctly in the French language. CO4: To equip students with reading and writing comprehension skills. CO5: To make the students read ,write and converse in the French language. |
Unit-1 |
Teaching Hours:10 |
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Culture: A country of vacation
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Unit-2 |
Teaching Hours:5 |
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Poem
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1. Demain dès l'aube (Tomorrow from dawn)- Victor Hugo | ||||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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I discover
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Unit-4 |
Teaching Hours:5 |
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Poem
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Unit-5 |
Teaching Hours:10 |
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Culture: Gourmet Countries
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Unit-6 |
Teaching Hours:5 |
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Revision
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Revision of grammar and skills | ||||||||||||||||||||||
Text Books And Reference Books: 1. Cocton, Marie-Noelle. Génération A1. Paris : Didier, 2016 2. De Lafontaine, Jean. Les Fables de la Fontaine. Paris, 1668 | ||||||||||||||||||||||
Essential Reading / Recommended Reading 1. French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc. | ||||||||||||||||||||||
Evaluation Pattern
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HIN221 - HINDI (2021 Batch) | ||||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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Course Description:
The text book ”Samakaleen Kahaniyam is a contemporary socio-political issues based story collection edited by Dr.Vanaja Published by Rajpal and sons, New Delhi. In this semester four visual texts/film appreciation and famous four film directors of India from different languages have been incorporated along with conversation writing and practices to improve the spoken skills of the students.
Course Objectives:
Students are exposed to the world of Hindi fiction particularly short stories. Film appreciation helps them to improve their writing and analytical skills and know more about the thematic and technical aspects of Cinema. The module ‘Film Directors’ will inspire students to achieve professionally and personally. Conversation practice enable them to use the correct form of language by which spoken communication skill will be enhanced.
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Course Outcome |
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CO1 : Improve the analytical skills through critical analysis of the short stories. CO2: Understand the thematic and technical aspects of Hindi movies through the visual text.. CO3: Improve the basic research skills while doing the research article creation for CIAs. CO4: Improve the spoken skills by conversation practices. |
Unit-1 |
Teaching Hours:15 |
Samakaleen Kahaniyam
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The text book “ Samakaleen Kahaniyam ” is a story collection edited by Dr. Vanaja from contemporary writers of Hindi Literature. | |
Unit-2 |
Teaching Hours:15 |
Film Studies
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Level of knowledge: Conceptual | |
Unit-3 |
Teaching Hours:15 |
Conversation Writing
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At least 10 exchanges each on the given context. Level of knowledge: Basic | |
Text Books And Reference Books:
1. Story Collection‘Samakaleen kahaniyam’ (Full Text) Edited By: Dr. Vanaja Published By: Rajpal and Sons Kashmiri Gate, New Delhi-6.
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Essential Reading / Recommended Reading 1. Sugam Hindi Vyakaran By: VamshidharDharmpalShastriShiksha Bharathi, New Delhi. 2. SaralSubodh Hindi Vyakaran, By:MotilalChaturvedi. Vinod pustak mandir , Agra-23. Cinema AurSamskritiMazoomRizaRahi 3.Bolchalki Hindi aursancharBy:Dr.MadhuDhavan.Vaniprakasan,New Delhi. | |
Evaluation Pattern CIA-1(Digital learning-Wikipedia) CIA-2(Midsemester examination) CIA-3(Digital learning-Wikipedia) End semester examination | |
KAN221 - KANNADA (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:03 |
Course Objectives/Course Description |
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Course Description: The prescribed play AMRAPALI by Dr. Prabhushankar, and the selection of short stories, Essays and Academic science writings are the texts for Second semester Kannada The Legend of Amrapali originated in the Buddhist Jataka Tales some 1500 years ago. Amrapali is a great character in the Indian history. She was known as a dancer and also a philosophical thoughts oriented woman. A key goal of this course will be to familiarize students with the basic techniques of analysing written drama and its stages performances. The selected prose will extend the concerns of Environment, Current Marketing trend, Folk beliefs and social justice. Course Objectives: Students will be able to read drama scripts in Kannada and understand main ideas and details in different kinds of dramatic scripts. The Play improves listening comprehension of different types of spoken texts-for main ideas, details and speakers’ attitude and emotions. It helps in develop and use language learning strategies for all language skills. |
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Course Outcome |
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CO 1: to demonstrate knowledge of theatre CO2: to analyze and interpret tests and performances both in writing and orally CO3 : to improve reading, writing & speaking skills CO4: to practice collaborative skills in various theatrical contexts CO5 : ignites to read & understand Buddhist Philosophy |
Unit-1 |
Teaching Hours:15 |
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Text-1 AMRAPALI- DR. S. PRABHUSHANKARA
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Act-1 ( Scene-1 ) Pages 07-13 Act-1 ( Scene-2 ) Pages 13-19 Act-1 ( Scene-3 ) Pages 19-28 Act-1 ( Scene-4 ) Pages 20-42 Act-2 ( Scene-1 ) Pages 42-50 Act-2 ( Scene-2 ) Pages 50-58 Act-2 ( Scene-2 ) Pages 59-65 Act-2 ( Scene-2 ) Pages 66-70
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Unit-2 |
Teaching Hours:10 |
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Text-2 Selected short stories, essays and academic science writings.
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Unit-3 |
Teaching Hours:10 |
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Creative Writings
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Unit-4 |
Teaching Hours:10 |
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Kannada Grammar/ Language skills
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1. Syntax formation 2. Difference between L & l , H & A, Gha & Ga 3. Synonyms , Idioms, Phrases & Opposites | |||
Text Books And Reference Books: 1. Adhunika Kannada Nataka- K. Marulasiddappa 2. Kannada Sahitya Charithre- Rum Shri Mugali 3. Ranga prapancha- K.V. Akshara 4. Kannadada Hadu Padu: K.C. Shivareddy | |||
Essential Reading / Recommended Reading 1. Yajamanya Sankathana- T. Venkateshmuthy 2. Desheeya Chinthana- Chandrashekara Kambara 3. Yugadharma hagu Sahitya Darshana- Keerthinatha Kurthukoti | |||
Evaluation Pattern
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PSY231 - BASIC PSYCHOLOGICAL PROCESSES - II (2021 Batch) | |||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:5 |
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Course Objectives/Course Description |
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This course is conceptualised to help students understand basic cognitive processes as they affect the individual. The course introduces students about different cognitive concepts such as perception, memory, attention, intelligence, language and thought in the various manifestations of the study of mind and behaviour. It introduces the basic framework on how psychologists scientifically study and understand the cognitive processes through various quantitative and qualitative methods of inquiry. The course also takes through the various applications on how the human mind works in different situations and in our everyday life such as the applications of human memory in the use of Artificial Intelligence (AI) and modern machines. Students will have the opportunity to examine these concepts from multiple psychological perspectives and to reflect upon the applicability of these concepts. This course will help the learner learn about
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Course Outcome |
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CO1: Define the basic cognitive process that influence behavior. CO2: Explain how the influence of behavior, cognition, and the environment affects behavior. CO3: Compare and contrast various models, theories, and methods in understanding cognitive processes. CO4: Apply these concepts to explain everyday life events and situations. |
Unit-1 |
Teaching Hours:15 |
Sensation and Perception
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An introduction to the study of the human senses and perceptual processes. We will trace what happens to the physical stimulus as our sensory systems analyze it to produce complicated perceptions of the world around us. We will explore the fact that many complex perceptual phenomena draw upon explanations at the physiological, psychological, and cognitive levels. Topics on sensory perception in non-human animals may also be covered. Data gathered from psychophysical research and studies of both humans, and other animals will be discussed. The unit will review the mechanisms and principles of operation of vision, hearing, touch, taste and smell; Differentiate between sensation and perception; Explain the process of vision and how people see colour and depth; Explain the basics of hearing, taste, smell, touch, pain, and the vestibular sense; Define perception and give examples of gestalt principles and multimodal perception Laboratory Demonstration: Illusion experiment, Depth Perception, Colour Blindness test, Dexterity test | |
Unit-2 |
Teaching Hours:15 |
Memory and Forgetting
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The unit is designed to provide a comprehensive account of modern experimental and theoretical approaches to the study of human memory. The course integrates experimental findings with neuropsychological and neurophysiological data and illustrates how basic concepts can illuminate phenomena such as organic and functional amnesia, childhood memory, and everyday forgetting. We will describe and differentiate the various types of learning and memory and the brain regions that underlie these different processes; Evaluate their understanding of course materials through tests and assignments; Discuss empirical research in the field of memory; Evaluate their own learning and understand how to improve their learning and memory in different settings. Laboratory Demonstration: Digit Span, Memory Drum | |
Unit-3 |
Teaching Hours:15 |
Intelligence
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The unit will help the student explain how psychologists approach the study of intelligence, how intelligence is defined and measured, the problems associated with measurement and how heredity and environment affect intelligence. The unit convers the measurement and assessment of intelligence; Biological and environmental influences on intelligence; Concepts and nature of Individual differences; Describe intelligence theories and intelligence testing Laboratory Demonstration: Ravens Test for Intelligence, Creativity | |
Unit-4 |
Teaching Hours:15 |
Cognitive Processes
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The unit introduces the basic cognitive perspective of psychology and describes key aspects that represent cognition. Contemporary theory and research are surveyed in such areas as attention, pattern and object recognition, knowledge representation, language acquisition and use, reasoning, decision making, problem-solving, and creativity. Applications in artificial intelligence and human/technology interaction are also considered. Students will learn to apply and evaluate the different problem-solving strategies, and different types of psychological assessments study cognitive process. They will be able to outline the strengths and limitations of each concept; Define cognition and explain the role of concept formation, problem-solving, reasoning; Describe the role language plays in communication and thought; Human Information Processing and Artifical Intelligence Laboratory Demonstration: Concept formation, Creativity | |
Unit-5 |
Teaching Hours:15 |
States of Consciousness
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Describe different states of consciousness and how these can vary across different situations (i.e., higher-level consciousness, lower-level consciousness, altered state of consciousness, and no consciousness). Topics including sleep, meditation, dreams, jet-lang and drug abuse will be discussed to illustrate the states of consciousness. Outline the different parts of sleep. Apply and evaluate strategies for getting a better night’s sleep; Describe consciousness and biological rhythms; Describe what happens to the brain and body during sleep; Explain how drugs affect consciousness | |
Text Books And Reference Books: Weiten, W. (2014). Psychology: Themes and Variations (Briefer Version, 9th edition). Belmont, CA: Wadsworth/Cengage Learning. | |
Essential Reading / Recommended Reading King, L. A. (2010). Experience Psychology. McGraw-Hill. Gazzaniga, Heatherton, Halpern (2015). Psychological Science, 5th Edition, Norton. Feldman.S.R.(2009).Essentials of understanding psychology ( 7th Ed.) Tata Mc Graw Hill. Baron, R.A and Misra, G. (2014). Psychology (Indian Subcontinent Edition).Pearson Education Ltd. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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SAN221 - SANSKRIT (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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1. Jatakamala of Aryashura is the text prescribed and approved in the B.O.S. The selected chapters will be taught in the classroom. And also the selected portion from the Grammar. This book not only teaches the morals to the students but also to learn Sanskrit easily Students can make the sentences with simple words. It also makes the student to think how the same topic is thought by different students in different situations their understanding is really intelligent. The students can learn different qualities by studying this course. |
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Course Outcome |
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CO1: To Specify the classification and characteristics of fables CO2: To learn in depth the morals of the fables CO3: To learn human behaviour. CO4: To understand the text in detail with application. CO5: To inculcate morals and ethics in life |
Unit-1 |
Teaching Hours:10 |
Jatakamala 1 vyaagree jaathakam and shibi jaathakam
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1. Jatakamala of Aryashura is the text prescribed and approved in the B.O.S. The selected chapters will be taught in the classroom. And also the selected portion from the Grammar. This book not only teaches the morals to the students but also to learn Sanskrit easily Students can make the sentences with simple words. It also makes the student to think how the same topic is thought by different students in different situations their understanding is really intelligent. The students can learn different qualities by studying this course. | |
Unit-2 |
Teaching Hours:10 |
Kulmasha pindi jathakam andshreshi jathakam
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Introduction and explanation of a beggar story
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Unit-3 |
Teaching Hours:10 |
avishahya shreti jatakam and brahmana jatakam
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Explanation of birth of buddha as a brahmana | |
Unit-4 |
Teaching Hours:10 |
unmadayathi jatakamand Suparaga jathakam
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explanation of Buddha birth as suparaga | |
Unit-5 |
Teaching Hours:5 |
Grammar
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Samasa prakaranam | |
Text Books And Reference Books: 1. Jatakamala of Aryashura 2. 3. Sanskrit Grammar by M.R. Kale. | |
Essential Reading / Recommended Reading Samskruta sahithya parampare by Acharya Baladeva Upadyaya translated by Ramachandra shastri. | |
Evaluation Pattern CIA 1 Wikipedia assignments CIA 2 Mid semester examinations CIA 3 Wikipedia assignments | |
TAM221 - TAMIL (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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This paper has a few collections from the ‘Individual Poems’ of Avvaiyar and Kalamegam to show the students the ingenuity with the poets of the period mixing intelligence with creativity. The unconventional and unorthodox views of life seen through theological eyes of Siddhas are included. It also introduces the power of oral tradition through a collection of interviews recorded and transcribed. These voices are from the marginalized communities which had no opportunity to voice out their pains and sorrows.. Students will be exposed to the art form of theatre through self experiece using internet resources like You Tube |
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Course Outcome |
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CO1: Recall and categorize the concepts of literature.
CO2: Understand the true essence of the texts, and inculcate them in their daily lives. CO3: Recognize and apply the moral values and ethics in their learning. CO4: Comprehend the concepts in literature and appreciate the literary text. |
Unit-1 |
Teaching Hours:10 |
Thanni padalgal
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1.Avvaiyar amudha muzhigal 2. Kaala mega pulavar 3. Siladai | |
Unit-2 |
Teaching Hours:10 |
Mei nyana padalgal- (Part 1)
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Siva vakkiyar- Arivu nilai
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Unit-3 |
Teaching Hours:10 |
Mei nyana padalgal - Part 2
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Pattinathar- Tiruveghamba malai | |
Unit-4 |
Teaching Hours:10 |
Prose
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Vaai mozhi varalaru 1. Chakliyar- K Venkateshar 2. Paraiyar- M. Vaiya Puri 3. Vannar- K Parthiba Raja 4. Kuyavar- S Selva kumar 5. Pandaram- A Santhi 6. Meenavar- K Gajendrar
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Unit-5 |
Teaching Hours:2 |
Grammer- Language skills
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Thodar pizhai nikkam | |
Unit-6 |
Teaching Hours:3 |
Common topic and visual text
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Short stories and Nadagam | |
Text Books And Reference Books:
Malliga, R et al (ed).Thamilppathirattu.Vol.I Bangalore: Prasaranga,2011 'Vai mozhi varalaru’ Ed: Vi.Arasu and Ki. ParthibhaRaja,Thannanaane Publications, Chennai, 2001 | |
Essential Reading / Recommended Reading
Meenakshisundaram T P, A History of Tamil Literature, Annamalainagar, Annamalai University, 1965Varadarajan, Mu. Thamil Illakkia Varalaru . New Delhi:Sahitya Akademi, 2008Gopalakrishnan.S., Pathinen Siddhar Varalaru, Chennai: Mullai Pathippagam, 2012 Stephen,G (ed). Ayothidasar Sindhanaigal, Thirunelveli: St.Xavier’s College, 1999Theodore, Baskaran, Thamil Cinema Or Arimugam. Chennai: Kilakku Pathippagam, 2012 Pavendan, Dhiravida Cinema, Chennai: Kayal Kavin Books, 2013
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Evaluation Pattern EXAMINATION AND ASSIGNMENTS: There is a continuous evaluation both at the formal and informal levels. The language skills and the ability to evaluate a text will be assessed This paper will have a total of 50 marks shared equally by End Semester Exam (ESE) and Continuous Internal Assessment (CIA) While the ESE is based on theory the CIA will assess the students' critical thinking, leadership qualities, language skills and creativity
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TES231 - SCHOOLS AND STYLES OF ACTING (2021 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Course Outcome |
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Unit-1 |
Teaching Hours:5 |
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Acting through the ages
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Ancient – Greek and Roman, Medieval European, Elizabethan- Victorian, Modern period, Avant-garde and the contemporary | ||||||||||||||||
Unit-2 |
Teaching Hours:15 |
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Styles of Acting
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Representational Styles: Traditional – Classical – Realistic- Dramatic and Post Dramatic movements
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Unit-3 |
Teaching Hours:20 |
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Schools of Acting-Theories, Practice; Training
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The Stanislavsky System and Techniques: Lee Strasberg, Stella Adler, Sanford Meisner. Practice and training techniques; Grotowski, Artaud, Brecht
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Unit-4 |
Teaching Hours:5 |
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Practical Orientation - Acting difference between Stage and Screen
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Case studies of Select number of Performers like: Laurence Oliver, Charlie Chaplin
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Text Books And Reference Books:
Stanislavsky, Constantine. An Actor prepares. NewDelhi: Research Press, 2006.Print
Chekhov, Michael. On the Technique of Acting. New York: Harper Perennial, 1991.Print
Moore, Sonia. The Stanislavsky system, the professional training of an Actor. Online
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Essential Reading / Recommended Reading
Adler, Stella. The Art of Acting , Meisner, Sanford. Sanford Meisner on acting. New York: Vintage Book, 1987.Print
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Evaluation Pattern
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TES251 - SCHOOLS AND STYLES OF ACTING (2021 Batch) | ||||||||||||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:2 |
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Course Objectives/Course Description |
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Course Outcome |
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Unit-1 |
Teaching Hours:10 |
Warming up exercises-Physical
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Neck rotation, trunk exercises, jumping exercise, turning and bending, and movement based on walking, sensing exercises, Meditation. | |
Unit-2 |
Teaching Hours:10 |
Warming up-exercises-Vocal
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Breathing, voice culture, voice modulation, intonation, tempo volume, pitch, pause, clarity, giving expression to select words | |
Unit-3 |
Teaching Hours:30 |
Improvisation
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Creating an Improvised text, Coordinating the Mise-en-scene, creating the plot, acting styles and physicalization, time and space, and characterisation(Monologue) | |
Unit-4 |
Teaching Hours:25 |
Movements and Postures
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Expressive movement of body in relation to rhythm and music, Basics of Stage combat, Play readings and play enactment with script and without costumes | |
Text Books And Reference Books:
Stanislavsky, Constantine. An Actor prepares. NewDelhi: Research Press, 2006.Print
Chekhov, Michael. On the Technique of Acting. New York: Harper Perennial, 1991.Print
Moore, Sonia. The Stanislavsky system, the professional training of an Actor. Online
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Essential Reading / Recommended Reading
Adler, Stella. The Art of Acting , Meisner, Sanford. Sanford Meisner on acting. New York: Vintage Book, 1987.Print
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Evaluation Pattern
Practical performance with the submission of Actor’s notebook will be the End Semester Examination=100 marks | |
AEN321 - ADDITIONAL ENGLISH (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Course Description
This course is taught in the second year for students from different streams, namely BA, BSc
and BCom. If the first year syllabus is an attempt by the Department of English, Christ
University to recognize and bring together the polyphonic Indian voices in English and Indian
regional literatures in translation for the Additional English students of the first year, the
second year syllabus intends to take that project a little further and open up the engagement
of the students to texts from across the world. The syllabus - selection of texts will
concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-
American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of
belongingness experienced by humanity all over the globe.
The syllabus will extend the concerns of nation and nationality and marginalization,
discussed within the Indian context to a more inclusive and wider global platform. We have
consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns
from across the world. There is an implicit recognition in this project that though the aspects
of marginalization and the problems facing subalterns are present across cultures and
nations, the experiences, expressions and reflections are specific to each race and culture.
The course will address these nuances and specificities and enable our students to become
more aware and sensitive to life and reality around them. This will equip the students, who
are global citizens, to understand not just the Indian scenario, but also situate themselves
within the wider global contexts and understand the spaces they will move into and negotiate
in their future.
There is a prescribed text book Blends: Voices from Margins for the second year students,
compiled by the Department of English, Christ University and intended for private circulation. Course Objectives
The course objectives are
to enable students to look at different cultures through Literature
to help students develop an understanding of subaltern realities and identity politics
to inculcate literary sensibility/taste among students across disciplines
to improve language skills –speaking, reading, writing and listening
to equip the students with tools for developing lateral thinking
to equip students with critical reading and thinking habits
to reiterate the study skills and communication skills they developed in the previous
year and extend it. |
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Course Outcome |
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CO1 : to help students develop an understanding of subaltern realities and identity politics · to inculcate literary sensibility/taste among students across disciplines |
Unit-1 |
Teaching Hours:12 |
Children?s Novel
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TetsukoKuroyanagi: Tottochan: The Little Girl at the Window12 | |
Unit-2 |
Teaching Hours:12 |
Short Story
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Liliana Heker : “The Stolen Party
Higuchi Ichiyo: “Separate Ways”
Harukki Murakami "Birthday Girl"
Luisa Valenzuela: “I’m your Horse in the Night”
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Unit-3 |
Teaching Hours:12 |
Poetry
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Poetry 12 Hrs
Silvio Curbelo: “Summer Storm”
Nancy Morejon: “Black Woman”
Ruben Dario: “To Roosevelt”
Mina Asadi: “A Ring to me is a Bondage” | |
Unit-4 |
Teaching Hours:9 |
Essay
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Essay 9Hrs
Amy Tan: “Mother Tongue
Linda Hogan: “Waking Up the Rake”
Isabelle Allande: “Open Veins of Latin America” | |
Text Books And Reference Books: Blends Book II | |
Essential Reading / Recommended Reading Oxford Encyclopeadia on Latin American History Diary of Anne Frank Elie Wiesel "Night" | |
Evaluation Pattern Evaluation Pattern
CIA 1: A written test for 20 marks. It can be an Open Book test, a classroom assignment, an
objective or descriptive test pertaining to the texts and ideas discussed in class.
CIA2: Mid-semester written exam for 50 works
CIA 3: This is to be a creative test/ project in small groups by students. They may do
Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates,
charts or any other creative test for 20 marks. This test should allow the students to explore
their creativity and engage with the real world around them and marks can be allotted to
students depending on how much they are able to link the ideas and discussions in the texts
to the world around them.
Question Paper Pattern
Mid Semester Exam: 2 hrs
Section A: 4x5= 20
Section B: 2x15=30
Total 50
End Semester Exam: 3 hrs
Section A: 4 x 5 = 20
Section B: 2 x 15= 30
Total 50 | |
ENG323 - CREATIVE WRITING (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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An introduction to the craft of creative writing, this paper offers an engagement with literary conventions as well as the writing techniques and tools essential to effective composition and editing. |
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Course Outcome |
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CO1 : Human values and Skill based |
Unit-1 |
Teaching Hours:45 |
Topics
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1)Narrativising Time: calibrating time through alternate modes of expression. Instructions: Write a paragraph that captures the passage of time. Do not use conventional markers and instruments that mark the passage of time like calendars, watches, clocks. Tip: Observe objects and their relation with time. Describe the changes you notice. 2) Writing about Space: Instructions: Using your bodily experience, in a few lines describe being caged, then describe being alone in a vast open desert like space. Avoid conventional words that describe space like measurements or volumes. Tip: Observe and describe the effect spatiality has on you in terms of feelings and perceptions. 3) Ekphrasis: Describing a work of visual art: Choose a famous work of art and narrativise it. Tip: avoid historical, biographical or compositional facts. Study the work and imagine the moments or situations that preceded what is depicted. 4)Pecha Kucha (Sequencing): Instructions: using 20 slides with a six second transition per slide, narrativise the story that will lead to the LAST slide being the painting chosen by you for the previous exercise. Tip: keep slides minimal. Avoid heavy text or images. Use a visual colour palette and design mode that aligns, complements or contrasts with your last slide (the painting). Choose a font, background colour and images to suit your narrative tone. Be sensitive to cultural moorings and milieu. 5) Perspectives/ Point of View Instructions: Choose a popular legend or fairy tale or nursery rhyme. Retell it from the point of view of a minor character or object. Example: retell Cinderella from the point of view of the slipper or the coach man. Tip: the plot must remain the same but the perspective will define the tone and telling thereof.
6) Analogy Instructions: Write a brief analogy: 2-5 lines only. You may use a metaphor, simile, conceit, anecdote etc. Tip: Try to find culture specific and contextual examples. feel free to draw from your own cultural and linguistic experiences. Provide adequate translation and context. Write in English only.
7)Artistic Manifesto Instructions: write a page describing your emerging idea of artistic writing from your experiences with the writing exercises you have hitherto done. Tip: You may feel the need to align your style and voice within a tradition. Describe and appraise that tradition and locate yourself within it.
8 a) Material Memory: Instructions: Find any household artefact or family heirloom of emotional value and trace its significance within your family. Tip: trace its ownership, try to find to the source, have a conversation with someone who has a story about it, happy or otherwise. Observe the artefact and the response it evokes in the narrator. Try to supplement your writing with a photo or illustration. 8 b) Cultural expression: Instructions: In conversation with your family, identify a favourite proverb, insult, threat, joke that has been repeated over the years. What does it mean? What is its intention? How do some of its elements capture the sense of region and community. For example, the donkey is often vilified as a beast of stubbornness and stupidity in Tamil folklore. It is also an affectionate term of rebuke by elders and is inoffensive yet stinging. It is a character often central to proverb and folktale alike as well as good natured insults. 9) Ballad: Story poems with clear conventions Instructions: write a ballad using the conventions discussed in class. 10) Haiku: Instructions: Write a sequence of haiku reflecting a season. Tip: The haiku must have a seasonal marker (kigo), cutting word (kiregi) and adhere to the conventions of Imagism, avoiding primary speech cohesion.
11) Proposal for ESE Portfolio: Instruction: Defend your choice of form. Mention why you are choosing it and what literary significance it enjoys. 12) Review of Literature: Instructions: Select upto 5 pieces of writing by well known authors who are renowned for their contribution to that form. Write a brief review of their work, its impact on your imagination and how you intend to align yourself in their tradition. 13) Final Submission Instructions: Draft your Final Submission. Have a friend review it. Edit and experiment with presentation. 14) Conceptualise the design and layout of your final submission. Write a paragraph on your design concept. Even if you choose to submit an unadorned manuscript, validate this decision. | |
Text Books And Reference Books: Amis, Kingsley, ed, The New Oxford Book of Light Verse , Oxford University Press,, London, 1978. Bradley, Margaret. Ed, More Poetry Please! JM Dent & Sons,Great Britain,1988.
Fry, Stephen , The Ode less Travelled , Random House , UK Lowenstein Tom, ed Classic Haiku: The Great Japanese Poetry from Basho, Buson, Issa, Shiki and their followers, Duncan Baird Publishers, London
Palgrave, Francis Turner Palgrave's Golden Treasury with Additional Poems, Oxford University Press, London, 1908 Reid, Ian, The Critical Idiom: The Short Story, Methuen& Co. London
Stepp, Carl Sessions. Writing as Craft and Magic, Oxford University Press, New York,2007 Thayil, Jeet, ed,60 Indian Poets, Penguin Random House , India ,2008 | |
Essential Reading / Recommended Reading Will be provided by the instructor | |
Evaluation Pattern This course has 10 internal assignments which are graded continuously for 50 marks. Students will be graded for compliance with assignment instructions. The End Semester Assessment will be a portfolio submission (50 marks). There is no CIA or Mid Semester examination. | |
EST331 - AMERICAN LITERATURES (2020 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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Course Outcome |
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CO1: Identify different influences on American literature & Provide an account of European colonization of American
CO2: Demonstrate a familiarity with native America literature CO3: Use American history to analyze different pieces of American literature CO4: Trace the development of American literature through different eras |
Unit-1 |
Teaching Hours:10 |
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Beginnings to 1700
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Description: This unit will introduce American History and literature. An outline of important events would be briefed.
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Unit-2 |
Teaching Hours:10 |
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1700-1820
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Description: This unit will move further into specific texts relevant to the century and sensitize learners in that direction.
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Unit-3 |
Teaching Hours:25 |
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1820- 1900
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Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required
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Unit-4 |
Teaching Hours:15 |
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1900-1945
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Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required.
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Unit-5 |
Teaching Hours:15 |
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1945- Contemporary
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Description: This unit will introduce war and the effect of it on the minds of American writers and the society. It will also take the learners through different styles of writing.
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Text Books And Reference Books:
Text compiled for internal circulation Essential Reading
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Essential Reading / Recommended Reading
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Evaluation Pattern Assessment Pattern
Question Paper Pattern Mid Semester Exam
End Semester Exam
Section A – 15x4 = 60 Section B – 20x2 = 40 The prescribed texts could form the subject matter of CIA 1 as well as CIA 3.
In particular, the texts could be extended to meet CIA 3 requirements. | ||||||||||||||||||||||||||||||||||||||||||
FRN321 - FRENCH (2020 Batch) | ||||||||||||||||||||||||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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Course Description -French as a second language in the UG program. The method Génération A2 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. Continuing from where A1 left, it aims to enhance learning skills further. The structure of each unit marks a real learning journey into different aspects of the French language and culture. Course Objectives · To develop linguistic competencies and sharpen oral and written communicative skills further · To enhance awareness of different aspects of francophone civilization. · To enrich the learner’s vocabulary · To enable learners to engage in and discuss simple topics with ease
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Course Outcome |
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CO1: To enable students to express words in of French CO2: To equip students with the knowledge of framing correct sentences CO3: To familiarize students to the french culture and tradition. |
Unit-1 |
Teaching Hours:10 |
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Dossier 1- I discover
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Lesson 1: Living in the city Lexicon – The city, places of the city Grammar – Comparison, prepositions with geographical names, personal pronouns, Speech acts – Giving directions Lesson 2: Visiting a city Lexicon – Transport, cardinal numbers, prepositions of place Grammar – Pronoun ‘y’, position of complement pronouns, ‘ger’ and ‘cer’ verbs, Verbs ‘to open’ and ‘to receive’ Speech act – Asking for touristic information
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Unit-2 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act 1 | ||||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Dossier 2- Culture : Paris and its symbols
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Lesson 1: Are you selling or keeping? Lexicon – Colours, forms, material Grammar – Formation of the plural, adjectives of colour, adjectives – beautiful, new, old Speech act – To permit, to prohibit Lesson 2: Sales of those days and now Lexicon – Measures, computer terms Grammar – Relative pronouns, Imperfect tense, some irregular verbs Speech act – Describing an object
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Unit-4 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act 1I | ||||||||||||||||||||||
Unit-5 |
Teaching Hours:10 |
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Dossier 3- Discovering Lyon
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Lesson 1: Congratulations Lexicon – Journeys, the airport and aeroplane, festivals Grammar – Articles, interrogative pronoun’which’, demonstrative pronouns Speech act – Presenting one’s wishes Lesson 2: The journey Lexicon – The station and the train, The hotel Grammar – Questions with inversion, adverbs of manner, verbs -to receive and to drive Speech act – Making a reservation | ||||||||||||||||||||||
Unit-6 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act III -upto Sc 7 | ||||||||||||||||||||||
Text Books And Reference Books: 1.Cocton, Marie-Noelle. Génération A2. Paris :Didier, 2016 2. Molière, L’Avare – Français facile | ||||||||||||||||||||||
Essential Reading / Recommended Reading 1. French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc. | ||||||||||||||||||||||
Evaluation Pattern
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HIN321 - HINDI (2020 Batch) | ||||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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Course Description: The detailed text book “Shambook” is a Khanda Kavya written by Jagdeesh Gupta. To improve the creative writing skills, Nibandh, Kahani and Kavitha lekhan are included.Bharathiya chitrakala is also a part of the syllabus to improve the knowledge aboutIndian paintings. Course Objectives: Students are exposed to different forms of poetry especially, Lakhukavya/KhandaKavya. It will help them to understand the contemporary socio-political issues.By learning about the tradition of Indian painting and legendary painters of India , students get to know about the richness and culture of the Indian paintings. Creative writing sharpens their thinking, analytical and writing skills |
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Course Outcome |
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CO1 : Improve the analytical skills through critical analysis of the poem. CO2: Acquire knowledge about the fine arts of India, especially Painting. CO3: Improve the basic research skills while doing the CIAs. CO4: Improve the basic research skills while doing the research articles for CIAs. |
Unit-1 |
Teaching Hours:15 |
Shambooh
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Khanda Kavya “Shambook” [Poetry] By:Jagdeesh Gupta. Pub: Raj Pal & SonsLevel of knowledge:Analitical | |
Unit-2 |
Teaching Hours:15 |
Creative writing
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Nibandh lekhan, Katha lekhan, Kavitha lekhan. Level of knowledge:Conceptual | |
Unit-3 |
Teaching Hours:15 |
Bharathiya chithrakala -parampara evam pramukh kalakar
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Utbhav, vikas aur pramukh shailiyam pramukh kalakar-1.M F Hussain 2.Ravindranath Tagore 3.Raja Ravi Varma 4.Jamini Roy. Level of knowledge: Conceptual | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading .1. Sugam Hindi Vyakaran – Prof. Vamsidhar and Dharampal Shastry, SikshaBharathi,New Delh 2. Essentials of Screen writing: The art, craft and business of film and television writing By: Walter Richard. 3. Writing and Script: A very short introduction By: Robinson, Andrew. 4 .Creative writing By John Singleton 5. Adhunik Hindi Nibandh By Bhuvaneshwarichandran Saksena. | |
Evaluation Pattern CIA-1(Digital learning-wikipedia) CIA-2(Mid sem examination) CIA-3(wikipedia article creation) End semester examination | |
KAN321 - KANNADA (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:03 |
Course Objectives/Course Description |
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Course Description: Language Kannada is offered to students of third Semester BA/B.Sc as Second language for fifty marks. Students of this semester will study an anthology of Modern Kannada Poetry and an Autobiography of Laxman Gaikwad. This course prepares the students to understand the new era. At the dawn of the twentieth century, B.M. Srikantiah, regarded as the “Father of modern Kannada Literature”, called for a new era of writing original works in modern Kannada while moving away from archaic Kannada forms. Students will study modern Kannada poetry from B.M.Sri to Dalit poet Dr. Siddalingiah. An anthology of modern poetry is selected to understand the beauty of modern Kannada poets through their writings. Uchalya is an autobiographical novel that carries the memories of Laxman Gaikwad right from his childhood till he became an adult. Laxman Gaikwad took birth in a criminal tribe of India belonging to Orissa/ Maharastra. The original text is translated to Kannada by Chandrakantha Pokale.
Course Objectives: Understand and appreciate poetry as a literary art form. Analyse the various elements of Poetry, such as diction, tone, form, genre, imagery, symbolism, theme, etc. Appreciates to learn the elements of autobiography. |
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Course Outcome |
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CO 1: strengthens the aesthetic sense in poetry CO2: ignites critical thinking CO3: connects biographical and autobiographical texts CO 4: develops reading, writing , and speaking skills CO5 : strengthens the art of narration |
Unit-1 |
Teaching Hours:15 |
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Modern Kannada Poetry
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1. Kariheggadeya Magalu- B.M.Sri 2. Hunnime Ratri- Kuvempu 3. Anna Yagna-Bendre 4.Mankuthimmana Kagga-D.V.G 5.Ikkala- K.S. Narasimha Swamy 6. Kannad padgol- G.P.Rajarathnam 7.Hanathe hachchuttene- G.S.S 8.Adugemane Hudugi-Vaidehi 9. Nehru Nivruttaraguvudilla- Adgaru 10. Nanna Janagalu.-Siddalingaiah | ||||||||||||||
Unit-2 |
Teaching Hours:10 |
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Autobiography- Uchalya- Lakshman Gayekwad (Marathi)
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Text: Uchalya Author:Lakshman Gayekwad Translation: Chandrakantha Pokle
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Unit-3 |
Teaching Hours:10 |
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Creative Writings
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1. Translation- Kannada to English 2. Dialogue Writing 3. Essay writing 4. short story building | ||||||||||||||
Unit-4 |
Teaching Hours:10 |
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Kannada Literary Organizations in Bangalore- Significance
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1. Kannada Sahitya Parishat 2. Gokhale Institute of Public affairs 3. Karnataka Sahitya Academy 4. B.M.Sri Parthistana 4. Mythic Society 5. Department of Kannada & Culture (Government of Karnataka) | ||||||||||||||
Text Books And Reference Books: 1. English Geethegalu- Sri, Publishers: B.M.Sri Smarka Prathistana, Bangalore-19 (2013) 2. Kannada Sahitya Charithre- Volumes 1-4, Editor: G. S. Shivarudrappa, Prasaranga, Bangalore Univeristy. 3. Hosagannada Kavitheya Mele English Kavyada Prabhava- S. Ananthanarayana 4. Hosagannadada Arunodaya- Srinivasa Havanuru | ||||||||||||||
Essential Reading / Recommended Reading 1. Hosagannda Sahitya- L.S. Sheshagiri Rao 2. Kannada Sahitya Sameekshe- G. S. Shivarudrappa 3. Bhavageethe- Dr. S. Prabhushankara 4. My Experiments with Truth- M.K. Gandhi 5. Ouru Keri- Siddalingaiah | ||||||||||||||
Evaluation Pattern
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PSY332 - SOCIO CULTURAL FOUNDATIONS OF BEHAVIOUR (2020 Batch) | ||||||||||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:5 |
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Course Objectives/Course Description |
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This course has been conceptualized in order to help the student understand that behaviour is dependent on social and cultural factors. The student would understand the dynamic interplay between psychology, culture and society. It would also enable the student to understand the historical and scientific origin as well as the development of the field in the western and Indian context. This course will help the learner understand
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Course Outcome |
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CO1: Chart the linear progression of the development of social psychology as a discipline. CO2: Apply the concepts to monitor their own behaviour to enhance performance. CO3: Identify the various cultural, social and personal aspects to any given event. |
Unit-1 |
Teaching Hours:15 |
Introduction to Sociocultural behaviour
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History- Origin and Development of Modern Social Psychology; Social psychology in India; Theories of social psychology - Motivational, Learning, Cognitive, Decision-making, Interdependence, Sociocultural, Evolutionary, and Mid-range theories; Approaches to Culture: Symbolic, activity and individualistic; Etic and Emic; Methods of understanding culture. The interface between psychology, culture and society; Contemporary trends in the Indian context. | |
Unit-2 |
Teaching Hours:15 |
The self in a social context
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The Self-concept – Beginnings, Formation, Self- schemas and Multicultural perspective; Self-presentation – Types of self-presentation, Self-presentation strategies, False modesty, Self-handicapping, Impression management, Self –monitoring , Goffman’s Dramaturgical model. Self-esteem - Development and Consequences; Perceiving persons- Attribution theories; Attributional errors; biases, Integration, Confirmation bias | |
Unit-3 |
Teaching Hours:15 |
Psychology of Diversity
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What is diversity, Types of diversity – Gender, race, disability, religion, social class, sexual orientation, physical appearance; Making sense of diversity; Cognitive processes in diversity | |
Unit-4 |
Teaching Hours:15 |
Aesthetics , emotions and the arts
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Sociocultural perspectives of emotions, Context dependent emotion regulation, Indian perspective on emotion (Rasa Theory ), Body language and culture, Cultural variations in expressions of emotions | |
Unit-5 |
Teaching Hours:15 |
Social Influences
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Persuasion: Paths to persuasion, Elements of persuasion – Communicator, message content, audience and channel of communication; Nature and types of groups; Group performance – Types of tasks , Brainstorming ; Group decision making – Biases in information, Group polarization , Group think ; Social facilitation; Social loafing, Group dynamics and performance | |
Text Books And Reference Books: Blaine B.E. (2007). Understanding the psychology of Diversity. Sage. Kassin, Saul M; Fein, S.; Markus, H.; Brehm, S.S. (2008). Social Psychology. Houghton Mifflin. Matsumoto, D. & Juang, L. (2004). Culture and psychology. Thomson. | |
Essential Reading / Recommended Reading Davidson. D. (1985). Adolescent in search of her identity. Journal of Analytical Psychology.30 (4), 339-346. Lynn, S.J. & Payne, D.G. (1997). Memory as the theatre of the Past: The psychology of False Memories. Current directions in psychological science.6 (3), 55-55. Pataki, S.P., & Mackenzie, S.A (2012). Modeling Social Activism and Teaching about Violence against Women Through theatre education. Psychology of women quarterly. 36(4), 500-503. Rosenberg, T. (2013). Harnessing Positive Peer Pressure to Create Altruism. Social Research: An International Quarterly 80(2), 491-510. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY352 - PERSONAL GROWTH (2020 Batch) | |
Total Teaching Hours for Semester:30 |
No of Lecture Hours/Week:2 |
Max Marks:50 |
Credits:2 |
Course Objectives/Course Description |
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The goal of personal growth classes is to educate the whole person in mind and body, thereby preparing to be professionally competent individuals who understand the need for maintaining a healthy lifestyle and are mindful about their personal and social actions. Emotional Intelligence and Personality assessments is chosen for personal growth lab because it increases students’ awareness and understanding about their own emotions. The course flows a psychoeducation model of curriculum traction using assessments and class activities. This course will help the learner to
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:15 |
Personal Growth and Development
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Pre-assessment; The self-concept and self-esteem- Facilitating self-awareness through reflective exercises, Implementation of mindfulness skills, self-awareness questionnaires/inventories; Understanding and expressing emotions; Managing difficult emotions; Applying emotional intelligence; Understanding the role of culture, values and beliefs in understanding the self through assessments and reflection; Writing self-assessment and reflection papers, Ethical issues Managing interpersonal conflicts; Self-disclosure in close relationships, values development and self-care | |
Unit-2 |
Teaching Hours:15 |
Health and Wellness
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Illness- wellness continuum; components of wellness (WHO); The Bop-psycho-social model of health to understand Stress, mechanisms to deal with stress; Lifestyles-sleep, body image-and its impact on health and wellbeing; healthy relationships; Health compromising behaviors, Recognizing and Avoiding Addiction and Drug Abuse; Assessments and Writing self-assessment and reflections | |
Text Books And Reference Books: http://www.tecweb.org/styles/gardner.html http://www.cnbc.ca/uploads/File/strengthen/personal_growth_plan.pdf | |
Essential Reading / Recommended Reading Stevic, C. R., & Ward, R. M. (2008). Initiating personal growth: The role of recognition and life satisfaction on the development of college students. Social Indicators Research, 89(3), 523. Adler, R. B., & Proctor II, R.F. (2012). Looking out/Looking in (14th ed.). Wadsworth Cengage Learning Nevid, J. S., & Rathus, S. A. (2015). Psychology and the challenges of life (13th ed.). John Wiley & Sons. Edlin, G., & Golanty, E. (2007). Health and wellness (9th ed.). Jones & Bartlett Publishers. Hoeger, W.K.& Hoeger, S.A. (2015). Lifetime Physical Fitness and Wellness. (13th Ed.) Cengage Learning. | |
Evaluation Pattern Continuous Internal Evaluations (CIAs) – 50 Marks
End Semester Department Level Examination (ESE)- 50 Marks
CIAs (50 marks) + ESE (50 Marks) = 100 Marks /2 = 50 Marks | |
SAN321 - SANSKRIT (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Sundara Kanda is the only chapter of the Ramayana in which the hero is not Rama, but rather Hanuman. The work depicts the adventures of Hanuman and his selflessness, strength, and devotion to Rama are emphasized in the text. Bhoja only wrote 5 kāṇdas (up to the Sundarakāṇda), and there is a story about this: that he was inspired to write this work the night before a battle, that as he finished the Sundarakāṇda it was time to go, and that he announced that the Yuddhakāṇda would be enacted in the battlefield against the invader, but sadly he never returned. Others have composed a Yuddhakāṇda to complete the work. The main objective of the students is to understand the champu Kavyas based on the sam. The Origin and development of the Champu. |
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Course Outcome |
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CO1: To analyse the classification and characters of the epic CO2: To demonstrate an increased ability to read and understand Sanskrit texts CO3: To Deliberate on the depth of the text. CO4: To be able to perceive and demonstrate the role of Sanskrit CO5: To learn the language skills of the text. |
Unit-1 |
Teaching Hours:35 |
champu
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Origin and developmetn of Champu kavyas Five Important Champus Level of knowledge: Basic/conceptual/ Analytical Shlokas 1 -75 Hnumantha¨s voyage to Lanka and searching for Seetha | |
Unit-2 |
Teaching Hours:5 |
Grammar
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Prayogas and Krudantha | |
Unit-3 |
Teaching Hours:5 |
Language skills
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Translation of Unseen passage from English to sanskrit writing composition on the given topics in Sanskrit. | |
Text Books And Reference Books:
Sundarakanda from Bhaja´s Champu Ramayana Chitrakalayaa: ugagamam vikaasam ca origin and development of painting through Vedas and Puranas
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Essential Reading / Recommended Reading
Reference Books:-
1) Sundarakanda from “Champuramayana of Bhoja 2) Sanskrit Grammar by M.R. Kale. 3) History of Sanskrit literature by Dr.M.S. Shivakumaraswamy. 4) History of Sanskrit literature by Krishnamachari.
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Evaluation Pattern CIA 1 Wikipedia assignment CIA 2 mid semester examination CIA 3 Wikipedia assignment | |
TAM321 - TAMIL (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Araillakiyam, bakthi illakiyam, ikala illakiyamn the major allakiyams.The influence myths and puranas are delineated through the good deeds for a better lifestyle.The Cultural Studies part will have an overview of Indian painting both traditional and modern with special reference to mythology and literature India 2020- Abdul Kalam
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Course Outcome |
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Epics contribute significantly to the understanding of the cultural heritage of any society and the puranas are the examples for the religious beliefs and customs. Performing art forms go through different stages in their growth and it is interesting to know the history from one of the protagonists. The module on Indian painting and itsthematic relationship with literature and mythology will provide an experience moving beyond the printed texts. The student should be able to recall and categorize the concepts of literature, understand the true essence of the texts, and inculcate them in their daily lives, recognize and apply the moral values and ethics in their learning and comprehend the concepts in literature and appreciate the literary text. |
Unit-1 |
Teaching Hours:10 |
Ara illakiyam
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1. Thirukural 2. Avvai kural | |
Unit-2 |
Teaching Hours:10 |
Bhakthi illakiyam
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1. Thiru vasagam 2. Kambar andhadhi
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Unit-3 |
Teaching Hours:10 |
Ik kaala illakiyam
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Naatu pura padalgal | |
Unit-4 |
Teaching Hours:10 |
Prose
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India 2020- Dr. Abdul Kalam | |
Unit-5 |
Teaching Hours:3 |
Common Topic and visual text
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1. Common topic: Oviyam 2. Visual text : nattupuviyal | |
Unit-6 |
Teaching Hours:2 |
Grammer
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Sollu illakanam | |
Text Books And Reference Books:
Thirukkural-Bhoombugar pathipagam- puliyur kesigan urai, Chennai- 08 Kammbarin Ainthu noolgal- Vanathi pathupagam- Dr. R. Rajagopalachariyar, Chennai- 18 Nathu pura illakiyam- Ki Va jaganathan- malai aruvi- Monarch achagam- chennai India 2020- APJ Abdul kalam- puthaiyuram aandugaluku aga oru thoali nooku, New century book house, chennai
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Essential Reading / Recommended Reading
Thirukkural-Bhoombugar pathipagam- puliyur kesigan urai, Chennai- 08 Kammbarin Ainthu noolgal- Vanathi pathupagam- Dr. R. Rajagopalachariyar, Chennai- 18 Nathu pura illakiyam- Ki Va jaganathan- malai aruvi- Monarch achagam- chennai India 2020- APJ Abdul kalam- puthaiyuram aandugaluku aga oru thoali nooku, New century book house, chennai Tamizhar nattup padagal - N Vanamamalai, New century book house, Chennai
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Evaluation Pattern
EXAMINATION AND ASSIGNMENTS: There is a continuous evaluation both at the formal and informal levels. The language skills and the ability to evaluate a text will be assessed This paper will have a total of 50 marks shared equally by End Semester Exam (ESE) and Continuous Internal Assessment (CIA) While the ESE is based on theory the CIA will assess the students' critical thinking, leadership qualities, language skills and creativity | |
TES331 - DIRECTION (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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· To understand the history of direction and its facets and it responsibility · To understand how to creatively and practically interpret a script · To able to articulate the vision to the actors, technical and design crews |
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Course Outcome |
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Unit-1 |
Teaching Hours:5 |
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History and growth of direction in theatre
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Emergence of the director-Duke of Saxe Meiningen-Meiningen Ensemble
Director as professional-Interpreter-Animator-Collaborator-Guide-Artist | |||||||||||||||||||||
Unit-2 |
Teaching Hours:15 |
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Director's craft
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Imagination, Composition, Picturization, Movement, Dramatization
Selection of the text; Scripting, Audition, Casting, Plotting, Blocking, Rehearsals -technical and dress rehearsals. Director's Note book/Prompt book
Various elements, which document the process of preparing, rehearsing and performing | |||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Major Directors and their works
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Moliere, Meyer Hold, Lee Strasberg, Artaud, Stanislavski, Brecht, Grotowski, Peter Brook, Elia Kazan,Sir Peter Reginald Frederick Hall, Jonathan Miller, Harold Prince, Robert Weiss. | |||||||||||||||||||||
Unit-4 |
Teaching Hours:15 |
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Technical and Design crew
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Stage manager-Designers (Set, Light, Sound, Costume and Make up) | |||||||||||||||||||||
Text Books And Reference Books:
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Essential Reading / Recommended Reading
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Evaluation Pattern
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TES351 - DIRECTION (2020 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:2 |
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Course Objectives/Course Description |
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· To understand how to creatively and practically interpret a script · To able to articulate the vision to the actors, technical and design crews |
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Course Outcome |
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Unit-1 |
Teaching Hours:5 |
Physical exercises
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Practical exercises on the relationship of body position with the space, levels, Exercises on balance, tension and relaxation.
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Unit-2 |
Teaching Hours:20 |
Creative process of direction
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Selection of the Script, Play Analysis, Play reading, plotting and blocking | |
Unit-3 |
Teaching Hours:25 |
Working on Actors
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Composition, movements in relation to rhythm and tempo, conventional stage forms, understanding the physicalization possibilities of a given play or dramatic pieces | |
Unit-4 |
Teaching Hours:25 |
Production process
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Play production practices | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading
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Evaluation Pattern Design and direct short play/ Scenes (Production) as the end semester practical exam=100 Marks | |
TES352 - PRACTICUM-I: ANNUAL PRODUCTION (2020 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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Course Outcome |
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Able to understand and apply the responsibilities of theatrical production personnel in the run of a production. Able to understand and apply stage management skills that will enhance personal organization, leadership, and responsibility in a production |
Unit-1 |
Teaching Hours:25 |
Pre-production
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Research- Script-Audition-cast | |
Unit-2 |
Teaching Hours:40 |
Production
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Play Reading-Rehearsals-Performance | |
Unit-3 |
Teaching Hours:10 |
Post production
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Discussion-presentations-Feedback | |
Text Books And Reference Books:
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Evaluation Pattern Preproduction- 35 Production -40 Post production-25 | |
TES381 - INTERNSHIP (2020 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:6 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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Introduction The Department of Theatre Studies, Christ University, insists on students doing an internship for the duration of a month (30-31 days). The objective of this compulsory curricular activity is to support students to initiate contacts with the industry, provide a professional platform to apply what they have been taught in class and bolster their confidence in practicing theatre. The students are expected to furnish details of the workplace they are interning in, send in weekly reports to the faculty mentor, get an internship completion certificate and a feedback report from the reporting head of the workplace in a sealed and stamped envelope. Both the certificate and the feedback should be printed on the institution's letterhead.
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Course Outcome |
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Unit-1 |
Teaching Hours:120 |
Internship Report
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At the end of the required period of internship the candidates will submit a report in not less than 1500 words. The report should be submitted within first 10 days of reopening of the university for the III semester.
Apart from a photocopy of the letter from the organization stating the sucessfulcompleting of internship, the report shall have the following parts.
Introduction to the place of internship Reasons for the choice of the place and kind of internship Nature of internship Objectives of the internship Tasks undertaken Learning outcome
Suggestions, if any | |
Text Books And Reference Books: Any books which is related to their intership topic and useful | |
Essential Reading / Recommended Reading Any books which is related to their intership topic and useful | |
Evaluation Pattern The report: 75 (Job done and learning outcome: 40, regularity: 15; language: 10, adherence to the format: 10)
The presentation: 25 (clarity: 10, effectiveness: 10, impression: 5) | |
AEN421 - ADDITIONAL ENGLISH (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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This course is taught in the second year for students from different streams, namely BA, BSc and B Com. If the first year syllabus is an attempt by the Department of English, Christ University to recognize and bring together the polyphonic Indian voices in English and Indian regional literatures in translation for the Additional English students of the first year, the second year syllabus intends to take that project a little further and open up the engagement of the students to texts from across the world. The syllabus - selection of texts will concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of belongingness experienced by humanity all over the globe. The syllabus will extend the concerns of nation and nationality and marginalization, discussed within the Indian context to a more inclusive and wider global platform. We have consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns from across the world. There is an implicit recognition in this project that though the aspects of marginalization and the problems facing subalterns are present across cultures and nations, the experiences, expressions and reflections are specific to each race and culture. The course will address these nuances and specificities and enable our students to become more aware and sensitive to life and reality around them. This will equip the students, who are global citizens, to understand not just the Indian scenario, but also situate themselves within the wider global contexts and understand the spaces they will move into and negotiate in their future.
There is a prescribed text book Blends: Voices from Margins for the second year students, compiled by the Department of English, Christ University and intended for private circulation. The course objectives are · to introduce the students to look at different cultures through Literature · to help students develop an understanding of subaltern realities and identity politics · to inculcate literary sensibility/taste among students across disciplines · to improve language skills –speaking, reading, writing and listening · to equip the students with tools for developing lateral thinking · to equip students with critical reading and thinking habits · to enable them to grasp and appreciate the variety and abundance of subaltern writing, of which this compilation is just a glimpse · to actively engage with the world as a cultural and social space (to be facilitated through proactive CIAs which help students to interact and engage with the realities they face everyday and have come across in these texts) · to learn and appreciate India and its place in the world through association of ideas in the texts and the external contexts
· to reiterate the study skills and communication skills they developed in the previous year and extend it. |
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Course Outcome |
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CO1 : to help students develop an understanding of subaltern realities and identity politics · to inculcate literary sensibility/taste among students across disciplines |
Unit-1 |
Teaching Hours:12 |
Novella
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Unit 1: Novella · Viktor Frankl: “Man’s Search for Meaning”(Excerpts)
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Unit-2 |
Teaching Hours:12 |
Short Stories
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Short Story · Anton Chekov: “The Avenger” · Chinua Achebe: “Marriage is a Private Affair” · Nadine Gordimer: “Train from Rhodesia”
· Wakako Yamuchai: “And the Soul Shall Dance” | |
Unit-3 |
Teaching Hours:12 |
Poetry
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Poetry 12 hrs · Octavio Paz: “As One Listens to the Rain” · Jamaica Kincaid: “Girl” · Derek Walcott: “A Far Cry from Africa”
· Joseph Brodsky: “Freedom” | |
Unit-4 |
Teaching Hours:9 |
Essays
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· Alice Walker: Excerpts from “In Search of My Mother’s Gardens” · Hannah Arendt: “Men in Dark Times” Dalai Lama Nobel Acceptance Speech
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Text Books And Reference Books: Blends Book II Viktor Frankl's "Man's Search for Meaning" | |
Essential Reading / Recommended Reading Elie Wiesel "Night" Diary of Anne Frank Famous Nobel Lectures | |
Evaluation Pattern CIA 1: A written test for 20 marks. It can be an Open Book test, a classroom assignment, an objective or descriptive test pertaining to the texts and ideas discussed in class. CIA2: Mid-semester written exam for 50 works
CIA 3: This is to be a creative test/ project in small groups by students. They may do Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates, charts or any other creative test for 20 marks. This test should allow the students to explore their creativity and engage with the real world around them and marks can be allotted to students depending on how much they are able to link the ideas and discussions in the texts to the world around them. | |
ENG423 - WRITING FOR MEDIA (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Performing artists often need fine writing to either publicise or promote or clarify diverse aspects of their work to specific publics, on a variety of platforms. From persuading an interested audience to watch a performance to furthering the standards of interpreting a performance, writing can be deftly employed to serve a variety of purposes. Good writing has the potential to promote artistic sensitivity and establish the link between art, society and culture. This course aims to lay a foundation for the students of performing arts to refine their writing skills, and aid in the process of crafting written content for different media platforms. |
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Course Outcome |
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CO1: Demonstrate knowledge of the mechanics of writing CO2: Employ writing skills for art journalism CO3: Deploy writing skills for promoting art-centric content across different media platforms |
Unit-1 |
Teaching Hours:10 |
Basics
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● Grammar: ○ Mechanics of Writing: Mastering punctuations, Choosing prepositions, Knowing when to employ intensifiers and qualifiers, Using precise adverbs and adjectives, Avoiding tautology, Using action words, Replacing repetitive words, Writing in other words, Employing present tense, Varying sentence lengths, Varying sentence structures, Using parallel constructions ● Understanding Writing: ○ Writing in contrast to other forms of human expression ■ Writing as a slow, reflective, cerebral process ○ Understanding Context: Temporal | Geographical | Socio-Political ○ Understanding audience: Tastes | Values | Levels of intelligibility and | needs ○ Understanding Purpose: Personal Objectives | Organisational Objectives | Social Objectives | Desired Impact | |
Unit-2 |
Teaching Hours:5 |
Different types of Writing:
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● Expository | Descriptive | Narrative | Argumentative | |
Unit-3 |
Teaching Hours:10 |
Journalistic Writing
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● What is NEWS? ● News worthiness: Currency | Impact | Timeliness | Prominence | Proximity | Controversy | Oddity | Consequence | Human Interest | Extremity ● News Angles : What to focus on; whom to include, narrative structure ● Writing press releases, reporting events | |
Unit-4 |
Teaching Hours:10 |
Writing about Performances
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● Situating and interpreting Cultural Context | Creator’s contribution | Oeuvre | Genre | Conflicts | Characters | Background (cast, finance, setting, sound, lighting, editing, background music [in case of a play]) | sensory impact | finer aspects of performance | |
Unit-5 |
Teaching Hours:10 |
Writing tasks
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● Writing for Flyers, Posters, Brochures, Promotional content for Campaigns : - Packing vital pieces of information, Deciding prominence and order, Strategising audience-engagement aspects ● Writing a longform piece: Gathering Information, Logical Sequencing, Narrative Ordering, Sustaining reader-interest ● 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: Banes, Sally, et al. Before, between, and beyond: Three Decades of Dance Writing. University of Wisconsin Press, 2007. Brooks, Brian S., et al. Working with Words a Handbook for Media Writers and Editors. Bedford/St. Martins, 2020. Casagrande, June. It Was the Best of Sentences, It Was the Worst of Sentences: a Writer's Guide to Crafting Killer Sentences. Langara College, 2018. Marshall, Carrie. Writing for Social Media. BCS, The Chartered Institute for IT, 2018. Stovall, James Glen. Writing for the Mass Media. Pearson/Allyn and Bacon, 2009. Tanner, Stephen J., et al. Feature Writing. Oxford University Press, 2017. Truss, L. Eats, Shoots and Leaves: the Zero Tolerance Approach to Punctuation. Profile, 2003. | |
Essential Reading / Recommended Reading Will be provided by course instructor | |
Evaluation Pattern This course will not have the regular CIA-mid sem-end sem pattern. There will be a series of assignments that need to be completed at regular intervals. Each assignment will have a specific percentage of marks.
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EST431 - INTRODUCTION TO LITERARY THEORY (2020 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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This course aims to introduce the students to concepts, concerns, critical debates in theorising literary texts and expose them to the applicability of these theoretical frameworks. It will enable students to critically perceive and engage with the production of meanings, significations and negotiations. This paper will act as a bridge to Cultural Studies; Popular Culture; Indian Literatures; Postcolonial Studies; Ecological Studies and other studies that will be introduced in the final year and English Honours. |
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Course Outcome |
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CO1: Display familiarity with basic theories in literature CO2: Apply theories as frameworks to analyze literary and other texts CO3: Debate on the feasibility of theory in application to lived reality CO4: Demonstrate an understanding of the arguments and limitations of different theoretical perspectives CO5: Argue for their takes on several theoretical positions with justification |
Unit-1 |
Teaching Hours:10 |
Introducing Theory: Literature and the Need for Criticism and Theory
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I.1 What is Literature? I.2 What is Literary Criticism; Literary/Critical Theory? 1.3 Literary Criticism/Theory: Key Ideas: Plato to Leavis (An Overview of the development of theory) | |
Unit-2 |
Teaching Hours:20 |
The Linguistic and Inter-disciplinary Turn
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II. 1. Structuralism
II. 2 Poststructuralism
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Unit-3 |
Teaching Hours:25 |
The Pattern of the Mind, Language and Literature
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III. 1 Psychoanalysis:
III. 2 Feminism:
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Unit-4 |
Teaching Hours:10 |
Ideology and the Subject: Freedom of Mind and Expression
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IV. 1 Ideology and Discourse:
IV. 2 Race and Postcolonialism: Nations, Nationalisms and Identity
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Unit-5 |
Teaching Hours:10 |
Theory and Beyond
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V. 1 Postmodernism: Knowledge and Glocalization a. What is Modernism and Postmodernism? b. Key Ideas/Theorists: Jean Baudrillard; Jean-François Lyotard; Giles Deleuze and Felix Guattari V.2 Ecocriticism: Green Studies and Sustainability a. What is Ecocriticism? b. Key Ideas/Theorists: Cheryl Glotfelty and Harold Fromm V. 3 Narratology: Telling and Retelling Stories a. What is Narratology ? b. Key Ideas/Theorists: Gerard Gennette and Vladimir Propp | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading
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Evaluation Pattern CIA II: Mid Semester Section A: Any 3 questions out of 5. (3x10=30) (Conceptual Questions) Section B: 1x 20=20. Application question. Compulsory no choice. Total = 50.
CIA I: A class test (open book or otherwise on concepts and application) for 20 marks CIA III: Any creative test that is application based for 20 marks.
End Semester Pattern Section A: 5x10 =50 (Answer any 5 out of 7) Conceptual Questions alone Section B: 2x25 = 50 (Answer any 2 out of 3) Application based
Total 100 | |
FRN421 - FRENCH (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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French as a second language in the UG program. The method Génération A2 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. Continuing from where A1 left, it aims to enhance learning skills further. The structure of each unit marks a real learning journey into different aspects of the French language and culture.
Course Objectives · To develop linguistic competencies and sharpen oral and written communicative skills further · To enhance awareness of different aspects of francophone civilization. · To enrich the learner’s vocabulary · To enable learners to engage in and discuss simple topics with ease
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Course Outcome |
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Enhancement of linguistic competencies and sharpening of written and oral communicative skills. Better awareness of francophone civilization. Enrichment of vocabulary. Enhanced ability to engage in conversations and discussions in French with ease. |
Unit-1 |
Teaching Hours:10 |
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Festivals and traditions in France
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Lesson 1: Let’s do the housework! Lexicon – Lodging, the house, rooms Grammar – The progressive present tense , possessive pronouns, negative form Speech act – Protesting and reacting Lesson 2: About lodging Lexicon – Furniture and equipment, household tasks Grammar – Some adjectives and indefinite pronouns, verbs ‘to read, to break up and to complain’ Speech act – Expressing interest and indifference | ||||||||||||||||||||||
Unit-2 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act III Sc 8 onwards | ||||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Culture and tradition
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Lesson 1: All in form! Lexicon – The human body: exterior / interior, sickness and medicines Grammar – Simple past tense and imperfect, recent past, expression of duration Speech act – Narrating in the past tense Lesson 2: Accidents and catastrophes Lexicon – Accidents, natural catastrophes Grammar – Adjectives and indefinite pronouns: nothing, no one, verbs ‘to say, to run, to die’ Speech act – Expressing fear and reassuring
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Unit-4 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act IV | ||||||||||||||||||||||
Unit-5 |
Teaching Hours:10 |
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French outside of France
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Lesson 1: Studying abroad, Happy journey Lexicon – The educational system, formalities to go abroad Grammar – Demonstrative pronouns, simple future tense, situating in time Speech act – Expressing one’s opinion, Lesson 2: The weather Lexicon – The weather Grammar –Me too, not me, impersonal verbs, verbs ‘ to believe, to follow and to rain’ Speech act – Speaking about the weather, speaking about the future | ||||||||||||||||||||||
Unit-6 |
Teaching Hours:5 |
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Drama
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Molière’ s L’Avare – Français facile -Act V
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Text Books And Reference Books: 1. Cocton, Marie-Noelle. Génération A2. Paris : Didier, 2016 2. Molière, L’Avare – Français facile
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Essential Reading / Recommended Reading 1. French websites like Bonjour de France, Fluent U French, Learn French Lab, Point du FLE etc.
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Evaluation Pattern
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HIN421 - HINDI (2020 Batch) | ||||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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Course Description: The detailed text-book "Ashad ka ek din” is a drama by Mohan Rakeshi, one of the eminent writers of modern Hindi Literature. Hindi journalismis is one of the major unit of this semester. Phrases, idioms, technical and scientific terminology are included in this semester to improve the literary skills. Course Objectives: Through the prescribed play and the theatre performance, students can go through the process of experiential learning. Study of Mass media enables them to get practical training. Phrases, idioms, technical and scientific terminology sharpen the language skills of the students.
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Course Outcome |
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CO1 : Understand the nuances of Hindi theatre. CO2: Create awareness of the social issues. CO3: Improve the skill of critical analysis. CO4: Develop the writing skills for media. |
Unit-1 |
Teaching Hours:15 |
Natak- Ashad Ka Ek Din (Play) by Mohan Rakesh
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Madhavi (Play) ByBhishma Sahni. Rajpal and Sons, New Delhi - 110006 Level of knowledge: Analitical | |
Unit-2 |
Teaching Hours:15 |
SancharMadhyam
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Level of knowledge: Conceptual | |
Unit-3 |
Teaching Hours:15 |
Phrases, Idioms. and Scientific and Technical Terminology
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1. 50 Nos. Phrases and Idioms for writing the meaning and sentence formation. 2. 100 Nos. (Hindi equivalent) Level of knowledge: Basic | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading 1. News reporting and writing: By Mencher,Melvin.. 2. Hindi PatrakaritakaIthihas:By Jagadeesh Prasad Chaturvedi 3. HindiPatrakaritaSwaroopEvamSandarbh: By Vinod Godare 4. Media Interview: By Philip Bell,Theovanleeuwen.
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Evaluation Pattern CIA-1(Digital learning) CIA-2(Mid sem exam) CIA-3((Wikipedia-Article creation) End sem exam | |
KAN421 - KANNADA (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:03 |
Course Objectives/Course Description |
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This course explores the short story and play as meaningful literary forms, with emphasis on structure and technique. The course is designed to learn more about language, literature and culture of the Medieval Kannada literary period. A Play and a few selected short stories are prescribed to understand the literary trends of the time. Text-1 Kalagnani Kanaka, a play written by well-known critic and thinker Prof. K.R. Nagaraj. Kanakadasa was a poet-saint of the Haridasa Bhakthi tradition of the mid-16th century. Though of ‘low’ birth- Kanakadasa was a chieftain of the shepherd community- he became one the most celebrated Bhakthi poets of his time, forcing recognition from the Brahmin-dominated religious establishment for the literary and philosophical merit of his writings. His poetry- written in simple and spoken Kannada – reflects his belief that devotion to Gd lies beyond the artificial hierarchies imposed by caste, and orthodoxy. “Kanaka’s writings touch on all aspects of truth and social reality”. Text-2 Kannadada Moovathu Kahegalu- (Ed). Phakeer Mohamad Katpadi & Krishnamurthy Hanur . In the above selected short stories the students will learn the essential elements of short story writing such as plot and structure, dialogue, characterisation, setting, tense, viewpoint, and much more. |
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Course Outcome |
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CO 1: expose to Dasa Sahitya movement CO2 : reflects the tradition of old and the new CO3 : helps to create dialogue writing CO4 : understand the ideologies during British rule CO5 : identify key points in stories |
Unit-1 |
Teaching Hours:15 |
Text-1 Play- Kalagnani Kanaka
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Kanakadasa was a Haridasa, a renowned composer of Carnatic music, poet, philosopher and musician. He is know for his Keerthanas and Ugabhoga, compositions in the Kannada language for Carnatic music. Like other Haridasas, he used simple Kannada language and native metrical forms for his compositions. | |
Unit-2 |
Teaching Hours:10 |
Text-2 Kannadada Moovathu Kahegalu- (Ed). Phakeer Mohamad Katpadi & Krishnamurthy Hanur
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1. Dhaniyara Sathyanarayana-Koradkal Sreenivasa Rao 2. Thabarana Kahte- K. P. Poornachandra Tejaswi 3. Gowthami Helida Kathe- Masti Venkatesha Iyengar 4. Raja mattu Hakki- G. P. Basavaraj | |
Unit-3 |
Teaching Hours:10 |
Creative Writings
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1. Essay writing 2. Dialogue Writing 3. Translation Passage ( English to Kannada) | |
Unit-4 |
Teaching Hours:10 |
Introduction to Indian Paintings- Painters
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1. Raja Ravivarma 2. M.F. Husain 3. Ravindranath Tagore 4. Jatin Das 5. Tyeb Mehta
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Text Books And Reference Books: 1. Adhunika Kannada Nataka- K. Marulasiddappa 2. Yugadharma hagu sahitya darshana- Keerthinatha kurthukoti 3. kannada sahitya charithre- R. S. Mugali 4. Kannada Rangabhoomi- K.V. Akshara | |
Essential Reading / Recommended Reading 1. Kanakadasa: Basrur Subba Rao 2. The servant of Lord Hari- Basavaraj Naikar 3. Kannada Sanna Kathegala Olavu- Giradddi Govindaraj | |
Evaluation Pattern CIA-1 Written Assignment CIA-2 Mid Semsester Examination CIA-3 Book Review End Semester Examination | |
PSY432 - LIFE SPAN DEVELOPMENT (2020 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:5 |
Course Objectives/Course Description |
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This course has been conceptualized in order to provide a general introduction to various developmental concepts across the different stages of the lifespan, with the nature versus nurture debate as a concurrent theme. The course is described through three perspectives: physical, cognitive, and psychosocial. Emphasis will be on the major transitions from fetal development through death in the physical, cognitive, social, and emotional domains. Research methods in developmental psychology are addressed explicitly and are also addressed alongside each major research study and theory discussed. This course includes discussion on the influences of cultural issues and technological advancements. This course addresses classic developmental theories and research as well as provides an overview of current developmental topics across the lifespan. This course will help the learner to gain familiarity with:
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:15 |
Introduction
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Importance of Life-span Development; Historical Perspective; Characteristics of Life-span Development; Nature of Development; Overview of Theories of Development: Freud, Erikson, Piaget, Vygotsky, Information processing, Behavioural, Socio-Cognitive, Ethological and Ecological theories; Major Issues and Debates in Developmental Psychology; Studying Development - Sequential, Cross-sectional and Longitudinal approaches. | |
Unit-2 |
Teaching Hours:15 |
Physical Development
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Stages of prenatal development; Teratogens and prenatal environment; Birth, newborn appearance, reflexes, assessment and states; Physical and motor development - in childhood: cephalocaudal and proximodistal pattern, gross and fine motor skills and handedness; Puberty and adolescent changes: Meaning of puberty, biological changes, sexual maturation, growth spurt, primary and secondary sexual characteristics; Adult development and Ageing - Biological; Assessments in studying development. | |
Unit-3 |
Teaching Hours:15 |
Cognitive Development
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Stages of Cognitive Development - Piaget's Theory: Milestones and Mechanisms; Vygotsky’s Theory; Language development; Observations & Experiment Methods in studying development. | |
Unit-4 |
Teaching Hours:15 |
Psycho-social development (Development of self)
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Emotions; Temperament; Development of self-concept; Play; Aggression and altruism; Moral Development: Kohlberg’s theory; Development of identity: Erikson and Marcia’s views; Gender differences and gender role standards; Use of field experiments to study development. | |
Unit-5 |
Teaching Hours:15 |
Psycho-social Development (Socio- cultural Influences)
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Development of Attachment: Bowlby’s theory; Adolescent relationships: Family, peers, adult society, adult life; Vocational adjustment; Foundations of intimate relationships: friendship, love, and sexuality; Marriage: Marital adjustment and conditions influencing it; Parenthood and parenting styles: adjustment to parenthood; Coping with Mid-life crisis, changes in relationship; Ageing and theories of ageing; Coping with death, stages and patterns of grieving; Cultural differences: Indian philosophy- four stages of a life and expectations; Use of questionnaires and interviews to study development; Ethical considerations in developmental research. | |
Text Books And Reference Books: Santrock, J. W. (2018). A Topical Approach to Life-span Development (9th Ed.). McGraw-Hill Education. | |
Essential Reading / Recommended Reading Papalia, D. E. (2004). Human Development (9th Ed.). Tata McGraw Hill. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY452 - PSYCHOLOGICAL STATISTICS AND EXPERIMENTS (2020 Batch) | |
Total Teaching Hours for Semester:30 |
No of Lecture Hours/Week:2 |
Max Marks:50 |
Credits:2 |
Course Objectives/Course Description |
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The coursework aims to provide undergraduate psychology students with the knowledge and hands-on practice of experimental psychology and statistics. The course imparts training in classic as well as contemporary experiments in the field of Psychology. Students will conduct experiments in the field of Psychology from the domains of learning and cognition. In the process, they will be provided with an understanding of central concepts in the field such as designing an experiment, variables, hypothesis etc. This course is planned to provide a framework for the development of assessment practices. Attention will be given to issues of identifying and selecting test instruments, conducting the assessment process in an ethical and considerate manner, interpreting norm-referenced and criterion-referenced test scores and writing APA style reports. The course introduces students to computer-assisted experiments. The course would help students to evaluate, modify and develop psychological experiments. Statistical techniques covered will include descriptive statistics including the concept of normality, measures of central tendency and dispersion, and pie charts and graphs, as well as the use of a common statistical program (SPSS) to analyze data. Laboratory periods stress the techniques of data analysis using computers. Course objectives: This course will help the learner to learn about
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:4 |
Ethical Standards in Psychological Testing
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Ethical issues in research (APA)- consent, confidentiality, Standards of reporting, Plagiarism, Ethical issues in report writing for tests and experiments, style of writing (scientific, unbiased, objective) | |
Unit-2 |
Teaching Hours:12 |
Psychological Experiments
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This module will draw a sketch of the movement of Experimental Psychology in the disciplinary history, highlight and discuss some distinctive features of conducting experiments in human subjects including use of theories, establishing a hypothesis and designing experiments. The module also critically looks at the ethicality and contemporary understanding of this method. The student would conduct a minimum of four experiments including at least two computer-assisted experiments. Computer-assisted include but not limited to PEBL, E-Prime, Z-tree. Topics: Perception, Illusion, Dexterity, Attention, Reaction time Suggested Experiments and tools for Demonstration/ to conduct: Size weight Illusion, Finger and tweezer Dexterity, Depth Perception, tachistoscope, Reaction time apparatus, colour blindness, Muller-lyer, Minnesota Rate of Manipulation Test (MRMT), Stroop test, division of attention, | |
Unit-3 |
Teaching Hours:14 |
Introduction to Statistics
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The relevance of Statistics in Psychological Research; Descriptive Statistics; Variables and Constants; Scales of Measurement, Normality, Presentation of data: Graphs (Bar diagram, Pie chart) Group and Ungrouped data: Mean, Median, Mode. Introduction to Statistical packages; Data analysis (SPSS/ Word); Parametric and non-parametric tests- correlation and t-test | |
Text Books And Reference Books: American Psychological Association. (2020). Publication manual of the American Psychological Association (7th Ed.).https://doi.org/10.1037/0000165-000 Cohen, R. J. & Swerdlik, M. E. (2013). Psychological Testing and Assessment: An Introduction to Tests and Measurement (Eighth Edition). McGraw-Hill. | |
Essential Reading / Recommended Reading Coolican, H. (2006). Introduction to Research Methodology in Psychology. Hodder Arnold. Gravetter, F.J. &Wallnau, L.B. (2009).Statistics for the Behavioral Sciences (9th Ed.). Cengage Learning. Martin, D. W. (2008). Doing psychology experiments. Thomson-Wadsworth. | |
Evaluation Pattern Continuous Internal Evaluations (CIAs) – 50 Marks
Department Level End Semester Examination (ESE)- 50 Marks
CIAs (50 marks) + ESE (50 Marks) = 100 Marks /2 = 50 Marks
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SAN421 - SANSKRIT (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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Avimarakam by Bhasa is the drama prescribed as a text and approved in the B.O.S. It is sociological drama which explains about the society. . This drama is an imaginary composition of Bhasa . The concept and drama skills expresses the beauty of the style of the author Bhasa. He creates the characters and the incidents are naturally created. Grammar will also be studied. |
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Course Outcome |
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CO1: To Understand the style and development of the play CO2: To learn the linguistic skills of the drama. CO3: To specify the classification and characteristics of the play CO4: To specifying the depth of the play CO5: To understand the basic structural nuances of Panini?s grammar |
Unit-1 |
Teaching Hours:10 |
Canto 1
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Avimarakam of Balagovindaha Jha Origin and development of Nataka to understand the different theories and original nature of Sanskrit dramas. Avimarakam by Balagovind jha provides an insight to sociological life .Basic grammer only rules are given for usage in composition. Language component will help for proper usage of Sanskrit language. Level of knowledge: Basic/conceptual/ Analytical Avimaraka meeting kurangi and Avimaraka engtering into the mansion of Kurangi | |
Unit-2 |
Teaching Hours:10 |
Canto 2
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Conversation between Kurangi and her friends Nalinika and Damanika meeting Avimarakam | |
Unit-3 |
Teaching Hours:10 |
Canto 3 and 4
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Aviramaka meeting vidhushaka and Vidhya dhara | |
Unit-4 |
Teaching Hours:10 |
Canto 5and 6
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Avimaraka marrying Kurangi | |
Unit-5 |
Teaching Hours:5 |
Grammar
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Karaka prakaranam Vykarana vishesha | |
Text Books And Reference Books:
Avimarakam by Bhasa edited by Balagovind jha | |
Essential Reading / Recommended Reading
Books for Reference: - 1. “Avimarakam” by Balagovinda Jha 2. Basanatakachakram of choukamba edition. 3. Sanskrit dramas by a.B.Keith 4. Sanskrit grammar by M.R.Kale. | |
Evaluation Pattern CIA 1 Wikipedia assignments CIA 2 Mid semester examinations CIA 3 Wikipedia assignments | |
TAM421 - TAMIL (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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A new concept, cultural studies, will take the students beyond prescribed syllabus to include music, theatre, painting, and films out of which the art form of music is taken up for the first semester. Aram poetry- Ara nericharam specifies life discipline and standards, which would pave a successful life for the students. Bhakthi ilakiya- them bhavani, cheerapuranam, thirumandiram is inclined towards ritual practices. Kaapiyam with its historical values provides an understanding about life in a mature way. |
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Course Outcome |
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The aim of this paper is to show that human concerns and predicaments are the same irrespective of the age and location. The literary documentation of those who contested the established norms of society will give a better understanding of society and culture. Cinema having occupied a larger mental space of Indians, its study will help an understanding of culture and society.the student should be able to recall and categorize the concepts of literature, understand the true essence of the texts, and inculcate them in their daily lives, recognize and apply the moral values and ethics in their learning and comprehend the concepts in literature and appreciate the literary text. |
Unit-1 |
Teaching Hours:10 |
Kappiyam
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seevaga sindhamani. Thirumular Thirumandhiram These topics coherently plays a significant role in inclination towards spiritual aspects of life. It puts for the religious beliefs and entitles each one to understand the rituals and practices. | |
Unit-2 |
Teaching Hours:10 |
Ara illakiyam
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Aranericharam- Munai padaiyaar The text acustoms the core values and ethics with the ideological guidelines and ways of living. | |
Unit-3 |
Teaching Hours:10 |
Bakthi illakiyam
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Thembavani Seera puranam Thiru mular, thiru mandhiram The text elicits the importance of rituals and beliefs.
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Unit-4 |
Teaching Hours:10 |
Prose
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Nadagam 1. Irakam yenge- C N Anna Dhorai 2. Theervu - Indhra partha sarathi 3. Soothradharam- Puvi Arasu 4. Karumbum Kalliyum- Komal saminadhan 5. Palaavku thookigal - Dr. A. Ramasamy 6. Pei ottam- Dr. K A Guna Sekaran
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Unit-5 |
Teaching Hours:1 |
Grammer
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Vetrumai orupugal | |
Unit-6 |
Teaching Hours:4 |
Common topic
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Tamizhil pudhirgalum, pazhamozhigalum | |
Text Books And Reference Books:
1. Neethi book, Manikkavasakar pathippakam, paarimunai, Chennai -08 2. Tamil paa thirattu - prasaranga pub. Bangalore university, Bangalore 3. Kappiya noolkal-manikkavasakar pathippakam, Chennai -08 4. Madagascar kalanchiyam - van a thing pathippakam
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Essential Reading / Recommended Reading 1. Thamil paa thirattu - prasaranga pub. Bangalore university, Bangalore 2. Mozhi varalaru - Dr. My. Varatharajan - kazhaka pub. Chennai- 01 3. Aranerichaaram-Munaipatiyaar 4. Kazhaka pub. Thirunelveli, thenninthiya saivachiththantha noorpathippu kazhaka, Ltd., Chennai 01 5. Thirumoor thirumandiram-Thiruvaavatuthurai aathinam, Thiruvaavatuthurai Nadagam, Education in karnataka Bangalore 01. 6. Madras university , etaikkala illakkiyam, Chennai -01 7. Thamizh pazhamozhikal, janaral pub. Mylappur, Chennai -04 8. Thamizhil puthirkal our aayivu-Aaru. Ramanadan, Manikkavasakar niilakam, Chennai -01
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Evaluation Pattern
EXAMINATION AND ASSIGNMENTS: There is a continuous evaluation both at the formal and informal levels. The language skills and the ability to evaluate a text will be assessed This paper will have a total of 50 marks shared equally by End Semester Exam (ESE) and Continuous Internal Assessment (CIA) While the ESE is based on theory the CIA will assess the students' critical thinking, leadership qualities, language skills and creativity
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TES431 - SCRIPT WRITING (2020 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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· Develop Scripting skills · An understanding of International scripting formats
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Course Outcome |
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Ability to write scripts for production Ability to develop a Script book following international formats |
Unit-1 |
Teaching Hours:10 |
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Type of Plays and Types of Theatre Space
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Ten Minute Plays, One Act Plays, Full Length Plays, Musicals, Thrust, In the Round, Black box, Touring | |||||||||||||||||||||
Unit-2 |
Teaching Hours:20 |
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Story Structure and Development
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Act, Scene, Protasis- Exposition, Epistasis- Complication, Catastrophe- Resolution, Three Act Structure, Writing- worlds, characters, conflicts, consequence, ‘ticking clock’, events, dialogue, voice, telling Vs showing, character moment | |||||||||||||||||||||
Unit-3 |
Teaching Hours:20 |
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Manuscript Format
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Elements- Title Page, Cast Page, Musical Numbers Page (musicals only), Act/Scene Heading, At Rise Description, Character Name, Dialogue, Stage Directions, Transition, Play Page layout rules, Page break rules, submission rules, International submission formats, Stage and Screen play-The Differences and its techniques. | |||||||||||||||||||||
Unit-4 |
Teaching Hours:10 |
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Writing a Script
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Practicum: Developing concept/idea into a 10 minute play script | |||||||||||||||||||||
Text Books And Reference Books: | |||||||||||||||||||||
Essential Reading / Recommended Reading The Art and Craft of Playwriting- Jeffery Hatcher The Elements of Playwriting- Louis Catron | |||||||||||||||||||||
Evaluation Pattern
End Semester Exam: 100 Marks= Scripting a play production | |||||||||||||||||||||
TES451 - CLASS PRODUCTION (2020 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:2 |
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Course Objectives/Course Description |
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Course Outcome |
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Unit-1 |
Teaching Hours:15 |
Pre-Production
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Research/Selection of script/Audition/Cast | |
Unit-2 |
Teaching Hours:25 |
Production
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Paly reading/rehearsal/performance | |
Unit-3 |
Teaching Hours:5 |
Post-Production
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Presentation/Discussion/Feedback | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading
Play Production for Young People
by Nuttall, Kenneth.
by Wells, Stanley. | |
Evaluation Pattern 100 Marks
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TES471 - MUSIC AND DANCE (2020 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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This course introduces the Music and Dance as an element of theatre and able to make Students understand the facets of this genre and its development through history. Practically distinguish genres of music and dance in a production appropriately.
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Course Outcome |
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· Ability to compose simple compositions for plays with choreography interspersed between the cadences of the play. |
Unit-1 |
Teaching Hours:10 |
Unit 1-Introduction to Maestros of Genres of Dance and Music
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Orchestral, Chamber Music, Concerto, Symphony, Sonata, Opera, Trios, Quartet, Quintet, Rhapsody, Traditional dance, Dance hall, Experimental/ freestyle dance, Street dance, Disco dance, Pogo. | |
Unit-2 |
Teaching Hours:10 |
Unit II - Music
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Music – the types of cultural progress, five categories - Classical, Opera, Semi-Classical, Jazz, Rock n Roll, Latin-American, Folk, history, key people. Gaelic chants of Chaucer to Scatting in Jazz – Duke Ellington and Ella Fitzgerald – Soft and Hard rock, the Beatles and Elvis, Rock. | |
Unit-3 |
Teaching Hours:10 |
Unit III- Dance
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The history of folk dancing and the older styles of dance such as the Viennese Waltz, the Russian Waltz, the Foxtrot, Quickstep, Rumba, Ballet and Freestyle modern dance. | |
Unit-4 |
Teaching Hours:10 |
Unit IV - Dance and Music in Theatre
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Greek- Aeschylus, Roman- Plautus and ‘Sabilla’, Medieval plays- The Play of Herod, court masques, William Davenant- The Siege of Rhodes, John Gay- Beggar’s Opera, Operette, Libretto, Opera, Book Musicals, Jacques Offenbach, Johann Strauss, Works of Gilbert and Sullivan in England- Musical Theatre, Harrigan and Hart in US, Show Boat, Leonard Bernstein, Rodgers and Hammerstein’s The Sound of Music, Andrew Lloyd Weber- Evita | |
Unit-5 |
Teaching Hours:20 |
Practical Modules
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Module I -Dance Viennese Waltz, Russian Waltz, Fox trot, Quick step, Rumba, Ballet and Free style modern dance.
Module II- Music Classical, Opera, Semi-Classical, jazz, Rock n Roll, Latin-American and Folk | |
Text Books And Reference Books:
1. West Side Story 2. My Fair Lady 3. King and I 4. Gypsy 5. The Sound of Music 6. Evita 7. The Fiddler on the Roof 8. Bangbroek Mountain | |
Essential Reading / Recommended Reading Any book refer by the Guest faculty | |
Evaluation Pattern CIA I: Music piece CIA 2: Mid-Semester Written Examination CIA3: A dance piece Practical: Choreographic performance clubbing Music and Dance. End Semester Exam: Theory 5x10= 50. 10 Questions are to be given. | |
EST531 - POSTCOLONIAL LITERATURES (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:04 |
Course Objectives/Course Description |
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Objectives: · To introduce students to few key terms of colonialism and postcolonialism · To enable close reading of texts in their socio/political/cultural contexts, specifically colonisation · To make students use critical vocabulary of the critical framework while discussing and writing |
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Course Outcome |
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CO1: To make learners sensitive to the historical factors of colonization CO2: Basic knowledge and application of key terms in Postcolonial Literature and Theory CO3: To enhance student ability to engage with social/cultural, political debates with historical consciousness CO4: Interdisciplinary scope for application of postcolonial frameworks to contemporary local and global concerns such as cultural hybridity, ecological consciousness and trans-national concerns of identity |
Unit-1 |
Teaching Hours:20 |
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Terms of Postcolonialism
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Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions. · Centre/margin · Colonialism/imperialism · Decolonisation · Mimicry/hybridity · Post-colonialism/postcolonialism Savage/civilised | |||||||||||||||||||||||||||||||||
Unit-2 |
Teaching Hours:15 |
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Poetry
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The poems chosen are response to colonisation from America, Srilanka, England, Canada and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves. · A Lament for Confederation - Chief Dan George · I Lost My Talk - Rita Joe · The Dodo – Hilaire Belloc · Buffalo Dusk – Carl Sandburg · Zong - Nourbese Philip
· The Sea is History – Derek Walcott
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Unit-3 |
Teaching Hours:15 |
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Novel
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Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context. The team will discuss and select from the following texts.
· The Coming be the Christ Child - Bessie Head · Is There Nowhere Else Where We Can Meet? – Nadine Gordimer · My Son, the Fanatic – Hanif Kureishi · Doris Lessing - Grass is Singing · Michael Oondatje - Running in the family · Naipaul - House for Mr Biswas or Miguel Street · Jamaica Kincaid - Lucy or A Small Place | |||||||||||||||||||||||||||||||||
Unit-4 |
Teaching Hours:10 |
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Short Story
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Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students. · The Coming be the Christ Child - Bessie Head · Is There Nowhere Else Where We Can Meet? – Nadine Gordimer · My Son, the Fanatic – Hanif Kureishi | |||||||||||||||||||||||||||||||||
Text Books And Reference Books: Course pack compiled by the Dept of English, Christ University, for private circulation | |||||||||||||||||||||||||||||||||
Essential Reading / Recommended Reading
Adam, Ian. "Oracy and Literacy: A Postcolonial Dilemma?" The Journal of Commonwealth Literature 31.1 (1996): 97-109. Ashcroft, William D., Gareth Griffith, and Helen Tiffin, eds. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. London: Routledge, 1989. _____. Key Concepts in Post-Colonial Studies. London: Routledge, 1998. _____. The Post-Colonial Studies Reader. London: Routledge, 1995. Brydon, Diana. "The Myths That Write Us: Decolonising the Mind." Commonwealth 10.1 (1987): 1-14. _____. "Re-writing The Tempest." World Literature Written in English. 23.1 (1984): 75-88. Brydon, Diana, and Helen Tiffin, eds. Decolonising Fictions. Sydney, Austral.: Dangaroo P, 1993. Chambers, Lain, and Lidia Curti, eds. The Post-Colonial Question: Common Skies, Divided Horizons. London: Routledge, 1996. Said, Edward. Beginnings: Intention and Method. New York: Basic Books, 1975 _____. Culture and Imperialism. New York: Vintage Books, 1994. _____. Nationalism, Colonialism and Literature. Derry, Ireland: Field Day, 1988. _____. Orientalism. New York: Pantheon Books, 1978. _____. "Representing the Colonized: Anthropology's Interlocutors." Critical Inquiry 15.2 (1989): 205-25 _____. Representations of the Intellectual. New York: Vintage Books, 1996. _____. The World, the Text, and the Critic. London: Faber and Faber, 1984. Viswanathan, Gauri. Masks of Conquest: Literary Study and British Rule in India. New York: Columbia UP, 1989
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Evaluation Pattern Since CIA I insists on individual testing, there could be three ways of testing the students
For CIA III, the students can be asked
These are a few ideas, however, during the course of teaching, there could be other suggestions, and CIA’s could be slightly modified. Mid Semester Exam Question Paper Pattern (50 Marks)
End Semester Exam Question Paper Pattern (100 Marks)
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EST532 - INDIAN LITERATURES: THEMES AND CONCERNS (2019 Batch) | |||||||||||||||||||||||||||||||||
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
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Max Marks:100 |
Credits:4 |
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Course Objectives/Course Description |
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This paper introduces students to key themes and concerns in Indian Literatures. This is a survey course that serves as an introduction to main issues and concepts in Indian Literatures. The paper is a mix of traditional as well as contemporary literatures written both in English as well as other regional languages translated into English.
Objectives
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Course Outcome |
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CO1: Students will be able to understand the religious, caste, gender, colonial, national constructs in India CO2: Students will be comprehend the complexities of cultural, economic, political and social forces and their impact on the production of literatures in India of different classes and backgrounds |
Unit-1 |
Teaching Hours:20 |
Essays
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This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India.
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Unit-2 |
Teaching Hours:15 |
Poetry
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This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. | |
Unit-3 |
Teaching Hours:13 |
Play
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This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures. | |
Unit-4 |
Teaching Hours:12 |
Short stories
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This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions. | |
Unit-5 |
Teaching Hours:15 |
Novel and Graphic Novel
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This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered). | |
Text Books And Reference Books: Unit I: Essays 20 Hrs This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India.
Unit II: Poetry 15 Hrs This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context.
· Rukmini Bhaiyya Nayar "Gender Role" · Jayanta Mahapatra"Hunger"
Unit III: Play 13 Hrs This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures. Daaham (Thirst) – Vinodini
Unit IV: Short stories 12 Hrs This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.
Pudumaipitthan “Deliverance from Curse’’ Ambai: “A Kitchen in the Corner of a House” Saadat Hasan Manto: “Dog of Tithwal” A K Ramanujan's Annayya's Anthropology
Urvashi Butalia: “Blood”
Unit V: Novel and Graphic Novel 15 Hrs This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).
or
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Essential Reading / Recommended Reading Chakrovorty - Spivak, Gayatri. The politics of Translation Tutun Mukherjee, Lawrence Venuti. (ed). Translation Studies Reader. London/New York; Routeldge, 2003. Studies in Culture and Translation. Vol. 2 ‘Translating Caste’Basu, Tapan. Katha, 2002. New Delhi. Das, Kamala. The Sandal Trees and Other Stories. Disha Books. 1995, New Delhi. Fresh Fictions, Folk Tales, Plays and Novellas from the North East. Katha. New Delhi, 2005 Indian Short Stories. 1900-2000. Ramakrishnan, E.V. (ed). Sahithya Academy New Delhi, 2003. Indian Literature, Sahithya Academy, bi-monthly journal. Vol.167, New Delhi, 1995. Indian Literature, Sahithya Academy, bi-monthly journal. Vol .168, New Delhi, 1995. Indian Literature, Sahithya Academy, bi-monthly journal. Vol.169, New Delhi, 1995. Journal of Literature and Aesthetics. Vol.7, Numbers1 & 2 Jan- Dec.2007.Kollam, 2008. Nandy, Ashis. The Intimate Enemy, New Delhi: O.U.P. 1989. Short Fiction from South India, Krishna Swami, Subasree. Sreelatha.K (ed), New Delhi: Oxford University Press, 2008. Stuart Blackburn and Vasudha Dalmia (ed). India’s Literary History. Essays on the Nineteenth Century. New Delhi: Permanent Black, 2008. Tendulkar, Vijay. Five Plays. Bombay: 1992.OUP. 2007, New Delhi.
Tamil Poetry Today, K.S. Subramanian (ed). International Institute for Tamil Studies, Chennai 2007. | |
Evaluation Pattern CIA II
CIA III
(Poems or Short Stories).
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PSY531 - ABNORMAL PSYCHOLOGY (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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The abnormal psychology course aims to sensitize the students about the existence of abnormal behaviour in order to develop greater social responsibility. The course coupled with the social psychology course of the previous semester and other courses from sociology, specifically with regard to social problems, would create a holistic understanding of the individual and their society. Further, the course would enable the student to develop a cultural understanding of abnormal behaviour within the Indian context and specifically to Bangalore. In Bangalore, there is a noticeable increase in the mental health issues faced by the population and the need for mental health practitioners who understand the difference between abnormal behaviour and distressing behaviour is a major requirement and the course would be the first step towards that direction. This course has been conceptualized in order to help the students develop an understanding of the historical development of the study of abnormal behaviour. The specific course aim is to create an understanding of the criteria and perspectives in abnormal behaviour, common classification systems, and range of disorders including anxiety disorders, mood disorders, schizophrenia, somatic symptom disorders generally observed at childhood and adolescence, and personality disorders. This course will help the learner understand
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Introduction and Theoretical Perspective
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Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes. Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours | |
Unit-2 |
Teaching Hours:12 |
Neurodevelopmental disorders
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Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors; Autism spectrum disorders - Clinical Picture and Causal Factors; Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours) | |
Unit-3 |
Teaching Hours:12 |
Anxiety and Somatic symptom Disorders
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Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors. Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors. Illness anxiety disorder (Student Effort Hours) | |
Unit-4 |
Teaching Hours:12 |
Bipolar disorders, depressive disorders and Schizophrenia
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Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder. Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors. Schizophrenia: Meaning, Clinical Picture. Psychosocial Causal Factors (Student Effort Hours) | |
Unit-5 |
Teaching Hours:12 |
Personality Disorders and Gender Dysphoria
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Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors. Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours) | |
Text Books And Reference Books: Barlow, D.H. & Durand, M.V. (2015). Abnormal Psychology. 7th Edition. Thomson Publication. Butcher, J.N, Mineka, S. & Hooley, J.M (2016). Abnormal Psychology. 16th Edition. Pearson Education Kring, A. M., Davison, G. C., Neale, J. M., & Johnson, S. L. (2012). Abnormal psychology (12th ed.). John Wiley & Sons Inc. | |
Essential Reading / Recommended Reading American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders (5h edition). World Health Organization (2004). ICD-10: International statistical classification of diseases and related health problems (10th Rev. ed.). Nevid, J. S., Rathus, S. A., & Greene, B. (2018). Abnormal psychology in a changing world. 10th ed. Prentice-Hall.World Health Organization. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY532 - THERAPEUTIC INTERVENTIONS-I (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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This course will give students an insight into topics that provide a foundation for therapeutic interventions. Topics covered include, understanding the concept of psychotherapy and its scope in India, ethical issues, the varied schools of thought and approaches, and an insight into psychodrama and its components. This course provides students with an understanding of:
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Introduction
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Define Psychotherapy, Therapeutic Commonalities, Ethical Concerns in Psychotherapy, Scope of Counseling and Psychotherapy in India | |
Unit-2 |
Teaching Hours:12 |
Psychoanalytical and Humanistic Interventions
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Psychoanalytical Theory and Interventions: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application Person-centred Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application. | |
Unit-3 |
Teaching Hours:12 |
Cognitive and Behavioural Interventions
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Behavioural Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application Cognitive Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application. | |
Unit-4 |
Teaching Hours:12 |
REBT and Gestalt Interventions
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REBT Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application. Gestalt theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application. | |
Unit-5 |
Teaching Hours:12 |
Psychodrama
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Brief Historical background, Stages of Psychodrama, Principles of Psychodrama and Techniques. | |
Text Books And Reference Books: Capuzzi, D., & Gross, D.G (2007) Counseling and Psychotherapy: Theories and Techniques (4th ed.). Pearson Education, Inc. | |
Essential Reading / Recommended Reading Prochaska, J.O & Norcross, J.C. (2010). Systems of Psychotherapy – A transtheoretical Analysis. Brooks/Cole. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY551 - PSYCHOLOGICAL RESEARCH METHODS AND ASSESSMENT-I (2019 Batch) | |
Total Teaching Hours for Semester:30 |
No of Lecture Hours/Week:2 |
Max Marks:50 |
Credits:2 |
Course Objectives/Course Description |
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Course description: This course has been conceptualized to capstone experience for psychology undergraduates, in which students identify a research topic, conduct comprehensive literature reviews, and then develop a substantial written small empirical research project. The paper aims to help students collaborate and complete psychological research projects with their peers. This course is planned to also provide a framework for the development of assessment practices. Attention will be given to issues of identifying and selecting test instruments, conducting the assessment process in an ethical and considerate manner, interpreting norm references and criterion-referenced test scores and writing APA formatted reports. The program is designed to enable students to complete a group research project under the supervision of a faculty. The students would develop and defend the research proposal in the semester. Course objectives: This course will help the learner to gain knowledge with the process and the methods of quantitative and qualitative psychological research traditions. |
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Introduction to research in Psychology
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Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research. Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article. | |
Unit-2 |
Teaching Hours:12 |
Proposal Writing
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Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives. Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection. | |
Unit-3 |
Teaching Hours:6 |
Psychological testing
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Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report | |
Text Books And Reference Books: Cohen, R. J., & Swerdlik, M. E. (2013). Psychological testing and assessment: an introduction to tests and measurement. Eighth edition. McGraw-Hill Education. Coolican, H. (2014). Research Methods and Statistics in Psychology, Sixth Edition. Taylor and Francis. | |
Essential Reading / Recommended Reading American Psychological Association. (2020). Publication manual of the American Psychological Association (7th Ed.).https://doi.org/10.1037/0000165-000 https://christuniversity.in/uploads/userfiles/CRCE.pdf. CHRIST (Deemed to be University) Institutional Ethics Documentation | |
Evaluation Pattern Continuous Internal Evaluations (CIAs) – 50 Marks
Department Level End Semester Examination (ESE)- 50 MarksExamination pattern: Duration of the exam – 2 hours individual written exam/viva on research methods and testing. CIAs (50 marks) + ESE (50 Marks) = 100 Marks /2 = 50 Marks | |
TES531 - STAGE / PRODUCTION PROCESS (2019 Batch) | |
Total Teaching Hours for Semester:30 |
No of Lecture Hours/Week:2 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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This course aims at teaching the details of a production process (Producer and the director point of view) in a professional quality including the importance of all theatre elements like Set, costume-make up, light-sound and publicity. |
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Course Outcome |
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Unit-1 |
Teaching Hours:5 |
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Stage management
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Roles and functions of stage manager- Time management- Prompting is an art | |||||||||||||||||||||
Unit-2 |
Teaching Hours:5 |
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Scenic design
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Scenic Designer’s objectives-Elements of Scenic design-Process of Scenic design | |||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Costume and make up
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Costume Designer’s objectives-Elements of Costume design-Process of Costume design - Make up –Character/Special effects /Prosthetics. | |||||||||||||||||||||
Unit-4 |
Teaching Hours:10 |
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Light and Sound
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Stage light history with theatre-Objective of Stage lighting-Elements of Stage lighting-process of Stage lighting-Sound Design objectives-Elements of Sound design-Process of Sound design. | |||||||||||||||||||||
Text Books And Reference Books: Kelly, Thomas A. The Back Stage Guide to Stage Management, 3rd Edition Gruver, Bert. The Stage management Handbook. New York: Drama Book Publishers, 1972
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Essential Reading / Recommended Reading
Rowe, Clare P. Drawing & rendering for theatre: A practical course for scenic, costume, and lighting designers. Amsterdam; Boston: Focal Press, C2007 Michael Holt. Costume and Make up, New York: Phaidon Press, 2012 Parker, W Oren block, Dick Wolf, R Craig. Scene Design and Stage lighting, Canada Thomson Wadsworth 2003 Shelly, Steven Louis. Lighting: Focal Press, c 1999
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Evaluation Pattern
End Semester Exam: 5x10=50. 7 Questions are to be given | |||||||||||||||||||||
TES532 - INTRODUCTION TO PERFORMANCE STUDIES (2019 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
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Max Marks:100 |
Credits:4 |
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Course Objectives/Course Description |
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COURSE CODE: TES 532 SEMESTER V COURSE NAME: Introduction to Performance Studies Course Description:The course attempts to introduce the students to the contemporary academic discipline of Performance Studies. It will look into the various debates, movements, and issues within this field. This course aims to explore the interdisciplinary nature of the study of ‘performance’. It aims at opening up the field of ‘performance’ as an academic and empowering area to engage with, specifically orienting students to the discourses on power, gender, race, class, and caste. Course Objectives:
Students will have a foundational understanding of the development of human and social encounters, understood as performative acts in everyday lives and performative traditions in their own communities. A critical engagement with the interlink ages between practice, theory, academics, and socio-political awareness is hoped for. According to the Dreyfus model, the students are expected to be at the level: Beginner.
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Course Outcome |
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Course Learning Outcome: Students will have a foundational understanding of the development of human and social encounters, understood as performative acts in everyday lives and performative traditions in their own communities. A critical engagement with the interlink ages between practice, theory, academics, and socio-political awareness is hoped for. According to the Dreyfus model, the students are expected to be at the level: Beginner |
Unit-1 |
Teaching Hours:15 |
Situating Performance - An Introduction
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This module will introduce the students to the core ideas of performance studies using Western traditional frameworks. Foundation: Performance Studies 1. What is Performance: Marvin Carlson: What is Performance? 2. What is Performance Studies: Richard Schechner 3. Performance Studies- The Broad Spectrum Approach – Richard Schechner
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Unit-2 |
Teaching Hours:15 |
Unit 2:Performing
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This module will introduce the various frames of performance, its interconnections with various disciplines, specifically the cultural praxis of performativity, drawing insights both from the West and India. Everyday 1. Goffman, excerpt from Presentation of Self in Everyday Life 2. Performance, Performativity and Cultural Poiesis in Practices of Everyday Life by Judith Hamera in The SAGE Handbook of Performance Studies (edited by D. Soyini Madison, Judith Hamera) 3. Pramod Nayar, Packaging Life: Cultures of the Everyday, Sage 2009 Visual Text: the Screening Room series Ritual and Play 1. Victor Turner: Liminal to Liminoid, in Play, Flow, and Ritual From Ritual to Theatre (Chapter – pp. 20-32. However, the book could act as one of the reference books) 2. Johan Huizinga: The Nature and Significance of Play as a Cultural Phenomenon (Article)
Community: 1. Constructing a Radical Popular Theatre: Roland Barthes, Brecht and Théâtre populaire 2. Tragic Utopia: Barthes’s Theatre Criticism, 1953–1960 from Performance Degree Zero- Roland Barthes and Theatre by Timothy Scheie (pp. 1-64)
Memory and Performance – Ontology: The ontology of performance: representation without reproduction from Peggy Phelan’s Unmarked - The Politics of Performance (pp. 146-166) | |
Unit-3 |
Teaching Hours:15 |
Unit 3:Ethnography: Locations and Methods of Analysis
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1. Performing Ethnography by Victor Turner and Edith Turner in The Drama Review: TDR, Vol. 26, No. 2, Intercultural Performance. (Summer, 1982), pp. 33-50. Retrieved from http://links.jstor.org/sici?sici=0012-5962%28198222%2926%3A2%3C33%3APE%3E2.0.CO%3B2-C 2. Performance Ethnography: The Role of Embodiment in Cultural Authenticity by Joni L. Jones. Theatre Topics, Volume 12, Number 1, March 2002, pp. 1-15. | |
Unit-4 |
Teaching Hours:10 |
Unit 4:Performativity
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This module will engage with questions on identities.
1. Performance and Speech: Introduction from Performativity and Performance (Edited by Andrew Parker Eve Kosofsky Sedgwick) 1.a. King’s Speech and Stand-up Comedy 2. Performing Identities: Disidentifications: Queers of Color and the Performance of Politics by José Esteban Muñoz. Cultural Studies of the Americas, Volume 2. Minneapolis: University of Minnesota Press, 1999; pp. ix + 227. 3. Judith Butler: Performative Acts and Gender Constitution - Burning Acts-Injurious Speech by Judith Butler from Performativity and Performance (Edited by Andrew Parker Eve Kosofsky Sedgwick) 4. Disability and Capacity: Rosemarie Garland Thomson’s Dares to Stares: Disabled Women Performance Artists and the Dynamics Of Staring from Carrie Sandahl and Philip Auslander’s edited book - Bodies in Commotion_ Disability and Performance Corporealities 5. Bodies-nations-identities. Excerpts from Coco Fusco - Corpus Delecti_ Performance Art of the Americas (1999).
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Unit-5 |
Teaching Hours:5 |
Unit 5:Theatre Studies
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Performance studies started as a critique to the other methods of engagements and interaction, providing a space to unapologetically critique, deconstruct and rebuild existing narratives. Theatre and Activism 1. The Polemics and Potential of Theatre Studies and Performance by Jill Dolan from The SAGE Handbook of Performance Studies (edited by D. Soyini Madison, Judith Hamera) 2. Augusto Boal - Theatre for the Oppressed 3. Different Shakespeares: The Bard in Colonial/Postcolonial India by Jyotsna Singh (Article) | |
Text Books And Reference Books:
Bial, Henry. The Performance Studies Reader. London: Routledge, 2004. Carlson, Marvin. Performance: A Critical Introduction. New York: Routledge, 2004. Theories of the Theatre. Ithaca: Cornell University Press, 1984. Huxley, Michael, and Noel Witts. The Twentieth Century Performance Reader. London: Routledge, 1996. Schechner, Richard. Performance Studies. Hoboken: Taylor and Francis, 2013. The Future of Ritual. London: Routledge, 1993 Stucky, Nathan, and Cynthia Wimmer. Teaching Performance Studies. Carbondale: Southern Illinois University Press, 2002. Turner, Victor W. From Ritual to Theatre. New York City: Performing Arts Journal Publications, 1982. | |
Essential Reading / Recommended Reading
Bial, Henry. The Performance Studies Reader. London: Routledge, 2004. Carlson, Marvin. Performance: A Critical Introduction. New York: Routledge, 2004. Theories of the Theatre. Ithaca: Cornell University Press, 1984. Huxley, Michael, and Noel Witts. The Twentieth Century Performance Reader. London: Routledge, 1996. Schechner, Richard. Performance Studies. Hoboken: Taylor and Francis, 2013. The Future of Ritual. London: Routledge, 1993. Stucky, Nathan, and Cynthia Wimmer. Teaching Performance Studies. Carbondale: Southern Illinois University Press, 2002. Turner, Victor W. From Ritual to Theatre. New York City: Performing Arts Journal Publications, 1982. | |
Evaluation Pattern
CIA: Proposal for field study (20 marks) CIA2: Centralized exam (50 marks-5*6 short answers - 20*1 long answer) CIA 3: Pilot survey and report (20 marks) CIA 4: end semester/Submission (100 marks)
Field Study: The students will have to conduct a shot ethnographic project as one of the assignments for the course. This will require around 12 hours of recorded observations in any urban, semi-urban, or rural setting (station, cafe, park, public spaces, and sports) and analyse interactions based on ritual, play, performance and presentation of self in everyday life. They will have to write the process on the basis of the following questions:
Based on these questions, they would be assigned an area of study within Performance Studies and on which they will have to produce an academic essay archiving a specific performative process. This archive will be used for future pedagogic purposes. Special areas for research: Performance and crisis: the gendered terrain, theatre of war, terror, gender, democracy
Special areas for research:
Performance and crisis: the gendered terrain, theatre of war, terror, gender, democracy
Performance Review: Students will have to attend one performance during the course. It could be a staged or organised event – play, musical concert, political rally or religious service, festival, parade or sporting event. They need to write a review of the same. The students will be provided orientation on writing reviews.
This is mandatory for the students. | |
TES551 - STAGE / PRODUCTION PROCESS (2019 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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This course aims at teaching the details of a production process (Practical) in a professional quality including the importance of all theatre elements like Set, costume-make up, light-sound and publicity |
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Course Outcome |
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· Able to manage play productions completely. |
Unit-1 |
Teaching Hours:20 |
Scenic Design
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Sketching, Drawing,2D/3D Model making/Designs | |
Unit-2 |
Teaching Hours:30 |
Costume and Make up
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Selections,patterns,design and Stiching | |
Unit-3 |
Teaching Hours:25 |
Light and Sound
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Rigging/Rendering,focusing,audio/sound mixing, recording. | |
Text Books And Reference Books: Rowe, Clare P. Drawing & rendering for theatre: A practical course for scenic, costume, and lighting designers. Amsterdam; Boston: Focal Press, C2007 | |
Essential Reading / Recommended Reading Kelly, Thomas A. The Back Stage Guide to Stage Management, 3rd Edition | |
Evaluation Pattern Submissions Assignments | |
TES552 - PRACTICUM-II - ANNUAL PRODUCTION (2019 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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Course Outcome |
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Unit-1 |
Teaching Hours:25 |
Pre-production
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Research- Script-Audition-cast | |
Unit-2 |
Teaching Hours:40 |
Production
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Play Reading-Rehearsals-Performance | |
Unit-3 |
Teaching Hours:10 |
Post production
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Discussion-presentations-Feedback | |
Text Books And Reference Books:
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Essential Reading / Recommended Reading | |
Evaluation Pattern Preproduction- 35 Production -40 Post production-25 | |
TES581 - INTERNSHIP (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:6 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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The Department of Theatre Studies, Christ University, insists on students doing an internship for a month (30-31 days). The objective of this compulsory curricular activity is to support students to initiate contacts with the industry, provide a professional platform to apply what they have been taught in class and bolster their confidence in practising theatre. The students are expected to furnish details of the workplace they are interning in, send in weekly reports to the faculty mentor, get an internship completion certificate and a feedback report from the reporting head of the workplace in a sealed and stamped envelope. Both the certificate and the feedback should be printed on the institution's letterhead. |
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Course Outcome |
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Unit-1 |
Teaching Hours:120 |
Internship Report
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At the end of the required period of internship the candidates will submit a report in not less than 1500 words. The report should be submitted within first 10 days of reopening of the university for the III semester.
Apart from a photocopy of the letter from the organization stating the sucessfulcompleting of internship, the report shall have the following parts.
Introduction to the place of internship Reasons for the choice of the place and kind of internship Nature of internship Objectives of the internship Tasks undertaken Learning outcome
Suggestions, if any | |
Text Books And Reference Books: Any books which is related and useful to their intership topic | |
Essential Reading / Recommended Reading Any books which is related and useful to their intership topic | |
Evaluation Pattern The report: 75 (Job done and learning outcome: 40, regularity: 15; language: 10, adherence to the format: 10)
The presentation: 25 (clarity: 10, effectiveness: 10, impression: 5) | |
EST631 - INTRODUCTION TO WORLD LITERATURES (2019 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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Course Description: This paper is informed by David Damrosch’s understanding that world literature is not a canon of Western master works but a mode of cross cultural reading. So the selection reflects similar themes of gender, race, being responsible citizen in oppressive conditions which the students have encountered in their earlier semester. While these themes have been discussed earlier in specific nationalistic contexts, this paper draws on that awareness and brings in comparative approach for analysis.
Objectives: To introduce students to methods of studying literature and culture across national and linguistic boundaries
To understand the nature and function of literature from global perspective |
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Course Outcome |
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CO1: Display a basic understanding of historical and cultural contexts of world literatures CO2: To identify and respond to the ways in which literary texts from diverse cultures, time are interconnected CO3: Compare and contrast significant similarities and differences between various literary forms, periods, histories in both western and non-western writings CO4: Will demonstrate tools of literary analysis including appropriate literary terminology for writing analysis of the texts CO5: Will be able to examine reading experiences, culture from multiple frames of references, specifically frames that define world literatures |
Unit-1 |
Teaching Hours:10 |
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Essay
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Introductory texts to World Literatures. To introduce the students to the theorical category called World Literatures through writers from across the world. | |||||||||||||||||||||
Unit-2 |
Teaching Hours:20 |
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Poetry
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Unit-3 |
Teaching Hours:20 |
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Unit 3
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Unit-4 |
Teaching Hours:10 |
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Play
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Text Books And Reference Books: · ‘Frames for World Literatures’, David Damrosch
· Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges · Anna Akhamatova – Requiem (Russia) · Constantine Cavafy – The City (Greek) · Rainer Maria Rilke – Spanish dancer (Czech Republic) · Nazik al-Mala'ika - Love Song for Words (Iraq) · Imtiaz Dharkar – Purdha I (Pakistan) · Ashraful Musaddeq - Cyber Love (Bangladesh) · Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore) · Octavio Paz - Listen to the Rain
· Federico Garcia Lorca - City that Does Not Sleep Fyodor Dostoevsky – Notes From the Underground
Che Guevara - The Motorcycle Diaries Sophocles – Antigone
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Essential Reading / Recommended Reading Amichai, Yehudi. The Slected Poetry of Yehuda Amichai. USA: University of California, 1996. . Print. “Even A Fist Was Once an Open Palm With Fingers” the Selected Poetry of Yahudi Amichai – Poetry in Translation Trans. Bloch, Chana and Mitchell, Stephen. http:// www-english.tamu.edu/pers/fac/myers/default.html. Web. Arendt, Hannah. Eichmann in Jerusalem. New York: Viking, 1963. Bauman, Zygmunt,Life in Fragments: Essays in Postmodern Morality, Oxford: Blackwell. Print. Calvino, Italo, The Literature Machine. London: Vintage, 1987. Print. Cargas, Harry James, ed. Telling the Tale: A Tribute to Elie Wiesel – Saint Louis. Damrosch, David. What is World Ltierature? Princeton University Press, 2003. Print. Eco, Umberto,The Role of the Reader.Bloomington: Indiana University Press. Eco, Umberto, On Literature. London: Vintage, 2005. Print. Farah, Nuruddin. Links. Penguin.Yesterday, Tomorrow: Voices from the Somali Diaspora. London and New York, Cassell, 2000. Print. Forsdick, Charles. “‘Worlds in Collision:’The Languages and Locations of World Literature”. A Companion to Comparative Literature. Eds. Ali Behdad and Dominic Thomas. Oxford: Blackwell, 2011. 473–89. Print Fromm, Erich. Escape from Freedom. New York: Rinehart, 1941. Print. Ghosh, Amitav. Sea of Poppies. Macmillan.A Guide to twentieth-century literature in English. Ed. Harry Blamires. London; New York: Methuen, 1983. Print. Lifton, Robert J. The Nazi Doctors: Medical Killing and the Psychology of Genocide. New York: Basic, 1986.Print. M. Hollington, Günter Grass: The Writer in a Pluralist Society. 1980.Print. Moretti, Franco. “Conjectures on World Literature,” New Left Review 1 (January–February2000): 54-64. Print. Victor Frankl, From Death-Camp to Existentialism. New York: Alfred A. Knopf, 1979.
Villet, John. The Theatre of Bertolt Brecht, A Study from Eight Aspects. Print. | |||||||||||||||||||||
Evaluation Pattern CIA 1 and 3: Tests on prescribed texts. Five marks are reserved for active classroom participation.
Question Paper Pattern Mid Semester
End Semester
5x20 =100 choosing one question each from Poetry, Drama, Essay & Novel and one additional question. | |||||||||||||||||||||
EST641A - CULTURAL STUDIES (2019 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
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Max Marks:100 |
Credits:04 |
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Course Objectives/Course Description |
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Course Outcome |
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CO1: Create awareness of approaches to reading cultures and society CO2: Demonstrate cross-cultural sensitivity CO3: Understand of the contexts which influence the relationship between spatiality and cultural studies |
Unit-1 |
Teaching Hours:10 |
Introduction
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Ashis Nandy, The Twentieth Century: The Ambivalent Homecoming of Homo Psychologicus Henry Giroux, et al. “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres” Richard Howells “Semiotics” Roland Richard Howells “Ideology” CSCS. “Femininity -Masculinity” CSCS. “Imagining the Nation” | |
Unit-2 |
Teaching Hours:15 |
City
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Ravi S. Vasudevan. “The Cities of Everyday Life” Nitin Govil. “The Metropolis and Mental Strife: The city in science fiction cinema” Joy Chatterjee. “Long Bus Drive” Veena Das. “Violence and Translation”; Rana Dasgupta. “The Face of the Future: Biometric surveillance and progress” Shuddhabrata Sengupta. “Everyday Surveillance: ID cards, cameras and the database of ditties” Sam de Silva. “Blind Intelligence” David Lyon. “Surveillance: After September 11, 2001” --- “Urban Transformations and Media Piracy” ---- “Obscenity, Decency and Morality” | |
Unit-3 |
Teaching Hours:15 |
Cinema
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Pramod Nayar, “Screen Culture” Ashis Nandy. “Introduction: Indian Popular Cinema as the Slum’s Eye View of Politics”
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Unit-4 |
Teaching Hours:10 |
Cyber culture
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Warwick Mules. “Cyberculture” Mark Poster. “Postmodern Virtualities” Manuel Castells “The Network Society and Organizational Change” Manuel Castells “Identity in the Network Society”
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Unit-5 |
Teaching Hours:10 |
Research method in cultural studies
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Research method in Cultural Studies | |
Text Books And Reference Books: Course pack compiled by the Dept of English, Christ University, for private circulation | |
Essential Reading / Recommended Reading
Barthes, Roland. Mythologies.Trs Annette Lavers. London: Vintage, 1993. Print. Castells, Manuel “The Network Society and Organizational Change.” Conversations with History Institute of International Studies, UC Berkeley, 2001. Print. --- “Identity in the Network Society.” Conversations with History Institute of International Studies, UC Berkeley, 2001. Print. CSCS. “Femininity – Masculinity” http://courses.cscsarchive.org/courses/ugdip05/paper1/mod8/ > --- “Imagining the Nation”. Web. <http://courses.cscsarchive.org/courses/ugdip05/paper1/mod5/> ---. “Legal Identity and Culture”. Web. <http://courses.cscsarchive.org/courses/ugdip05/paper1/mod9/> Giroux, Henry, David Shumway, Paul Smith, and James Sosnoski, “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”. http://theory.eserver.org/need.html. Web. Howells, Richard. Visual Culture. Cambridge: Polity, 2003.Print. Liang, Lawrence. “Obscenity, Decency and Morality” http://courses.cscsarchive.org/courses/ugdip05/paper%202/mod%206/.Web. Liang, Lawrence. “Urban Transformations and Media Piracy” http://courses.cscsarchive.org/courses/ugdip05/paper%202/mod%2010/.Web. Liang, Lawrence. “The Black and White (And Grey) of Copyright.”. ‘World Information City’. Bangalore: 14-20 Nov 2005, p 2. Print. Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. University of Minnesota Press, 1985. Print. Mark Poster. The Second Media Age Blackwell 1995 http://www.hnet.uci.edu/mposter/writings/internet.html. Web Mulvey, Laura. “Visual Pleasure and Narrative Cinema” (1975) http://www.nwe.ufl.edu/~lhodges/vpnc.html. Web. Nandi, Ashish ed. The Secret Politics of Our Desires: Innocence, Culpability and Indian Popular Cinema. Delhi: OUP, 1998. Print. Nayar, Pramod K. Reading Culture: Theory, Praxis, Politics. New Delhi: Sage, 2006. Print. Ramanujan, A.K “Introduction” Folktales from India, New Delhi: Penguin, 1994.Print. Thwites, Tony, Lloyd Davis, and Warwick Mules. Introducing Cultural and Media Studies: A Semiotic Approach. New York: Palgrave, Rpt 2005. Print. Vasudevan, Ravi S. et al. SARAI Reader 02. Delhi/Amsterdam: SARAI, 2002. Print.
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Evaluation Pattern
Examination and Assessment
CIA 1: Class Test
CIA 2: Mid-Sem Exam for 50 marks
CIA 3: Class Presentations / Submissions
End Semester: Exam for 100 marks
There will be a written end-semester exam for 100 marks whereby the students will assessed on the basis of their understanding of the basic concepts discussed in the class.
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EST641B - INTRODUCTION TO ENGLISH LANGUAGE TEACHING (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:04 |
Course Objectives/Course Description |
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Course Outcome |
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CO1: Ability to use theoretical knowledge of various schools of thoughts to understand principles of language learning and teaching CO2: Ability to create lesson plans with clear outcomes and well defined strategies for teaching CO3: Ability to develop tasks and activities for reading, writing, speaking, listening, grammar and vocabulary |
Unit-1 |
Teaching Hours:10 |
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Introduction
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General Linguistics: the science of language; describing language; the functions of language; the structure of language; Linguistics; psycholinguistics; sociolinguistics. Phonetics and Phonology: the international phonetic alphabet; phonetic transcription; articulatory phonetics; word and sentence stress; vowel sound and articulation of vowels and diphthongs; intonation patterns; presenting the sounds of English to learners; remediation; mother tongue influence and accent neutralization. Linguistics/ Phonetics and Language Teaching | |||
Unit-2 |
Teaching Hours:15 |
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Language Acquisition/ Learning theories
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B.F.Skinner, Noam Chomsky, Vygotsky, Krashen, Jean Piaget ( in detail) Factors affecting Second language acquisition. | |||
Unit-3 |
Teaching Hours:15 |
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Skills
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Receptive Skills: reading and listening materials; reasons and strategies for reading; reading speed; intensive and extensive reading and listening; reading development; reasons and strategies for listening; listening practice materials and listening development. Productive Skills: speaking and writing; skimming, scanning, taking notes from lectures and from books; reasons and opportunities for speaking; development of speaking skills; information-gap activities; simulation and role-play; dramatization; mime-based activity; relaying instructions; written and oral communicative activities. Vocabulary: choice of words and other lexical items; active and passive vocabulary; word formation; denotative, connotative meanings. | |||
Unit-4 |
Teaching Hours:20 |
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Application
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Testing and Assessment: value of errors; problems of correction and remediation; scales of attainment. Lesson Planning: instructional objectives and the teaching-learning process; writing a lesson plan; the class, the plan, stages and preparation; teacher-student activities; writing concept questions; teacher-student talking time; classroom language; class management and organization. | |||
Text Books And Reference Books: Essential Reading / Recommended Reading
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Essential Reading / Recommended Reading
Bailey, Richard W. Images of English. A Cultural History of the Language. Cambridge: CUP, 1991. . Print. Bayer, Jennifer. Language and social identity. In: Multilingualism in India. Clevedon: Multilingual Matters Ltd: 101-111. 1990. Print. Cheshire, Jenny. Introduction: sociolinguistics and English around the world. In Cheshire: 1-12. 1991.Print. Crystal, David. The Cambridge Encyclopedia of the English Language. Cambridge: CUP. 1995. Print. Ellis, R. Understanding Second Language Acquisition. Oxford:OUP. 1991.Print. Gardner, R.C. Social Psychology and Second Language Learning. The Role of Attitude and Motivation. London: Edward Arnold Ltd. 1985.Print. Holmes, Janet. An Introduction to Sociolinguistics. London: Longman Group UK Ltd. 1992.Print. Kachru, Braj B. The Indianization of English. The English Language in India. Oxford: OUP. 1983. Print. Loveday, Leo. The Sociolinguistics of Learning and Using a Non-Native Language. Oxford: Pergamon Press Ltd. 1982. Print. Richards Jack C.Curriculum Development in Language Teaching. Cambridge University Press. 2001.Print. Richards Jack C. and Rodgers Theodore S. Approaches and Methods in Language Teaching. Cambridge University Press.1986. Print. Richards Jack C. and Graves Kathleen. Teachers as course developers. Cambridge University Press.1996. Print. Webster's Encyclopedic Unabridged Dictionary of the English Language. (2nd ed.) New York: Gramercy Books. 1996. Print. Widdowson, H G. Teaching Language as Communication. Oxford University Press.1978. Print. | |||
Evaluation Pattern Testing Pattern The students will have to take a semester end examination of 50 marks for 2 hours. They will be assessed for the other 50 marks on a submission of a report and a viva-voce based on the work done by them individually in terms of research or field study. CIA 1 will be based on demonstration classes taking into consideration classroom aids, teaching methodology and activities. CIA 3 will be based on blog articles written by students, classroom presentations will also be part of this cia. Mid Semester Exam
Case Study for 50 marks
End Semester Exam Project Work for 100 marks. The project will be practice oriented. Students will earn their marks by preparing or designing a set of course materials for teaching a target adult learner group. The course materials maybe presented in the forms of text books, workbooks, worksheets, audio/cd tapes; visual aids (charts, pictures, cds etc.)
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EST641C - INTRODUCTION TO SHORT STORY (2019 Batch) | |||
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
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Max Marks:100 |
Credits:04 |
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Course Objectives/Course Description |
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· To understand short story as a form · To read short stories in an analytical manner · To use critical vocabulary while discussing/writing about short stories |
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Course Outcome |
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CO1: Recognize the different elements of short story and write about short stories using the rhetoric of fiction CO2: Course would help students to engage with the genre in a more holistic manner (In reading stories as literary and non-literary form). CO3: Students would acquire basic prerequisites to do analysis of short stories academically CO4: The course will ensure the use critical vocabulary in the process of analysis of stories |
Unit-1 |
Teaching Hours:10 |
Introduction to short story
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· Different forms of short story – non-literary and literary; brief history of short story · Elements of short story | |
Unit-2 |
Teaching Hours:20 |
Story telling before the emergence of short story
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· Origin myths – Greek, Nigerian, Indian, Inca · Fairy tales – 5 versions of Cinderella – Chinese, German, Kannada, English, Scottish · Folk tales – selection from The Flowering Tree and Other Stories | |
Unit-3 |
Teaching Hours:30 |
Modern short stories across the world
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· O. Henry – The Last Leaf · Amy Tan – A pair of Tickets · Tolstoy – How Much Land does a Man Need? · D. H. Lawrence- The Rocking – Horse Winner · Jamaica Kincaid – Girl · William Faulkner – A Rose for Emily · Gabriel Garcia Marquez – A very old man with enormous wings · Lalithambika Antharjanam – Admission of Guilt · Pratibha Ray – Salvation | |
Text Books And Reference Books: Course pack compiled by the Dept of English for private circulation | |
Essential Reading / Recommended Reading
Cassill, R V. The Norton Anthology of Short Fiction, New York: W.W.Norton & Company, 1995 Carle Bain, Jermoe Beaty, J Paul Hunter, The Norton Introduction to Literature, New York: W.W.Norton & Company, 1986 Wayne C Booth, The Rhetoric of Fiction, Penguin, 1991 Ann Charters, The Story and Its Writer: An Introduction to Short Fiction, Sixth Edition, Bedford/St. Martin’s, 2003. | |
Evaluation Pattern
Testing Pattern:
CIAs could be
· reading a short story with a focus on structural elements
· retelling a story from a different cultural perspective or to a different audience – to children or a children’s story to adult audience
· converting a short story into a graphic novel form
Mid Sem Exam – 50 marks
· Two hour exam, questions based on module I and II
· 5 questions to be answered from 8 questions
· 10x5 = 50
End Sem Exam – 100 marks
· Three hour exam, questions based on all modules
· 5 questions to be answered from 8 questions ; questions will not just test the comprehension of the elements of short story but the ability of the student to analyse, compare different stories – thematically/ structurally
· 20x5 = 100
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EST641D - INTRODUCTION TO FILM STUDIES (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:04 |
Course Objectives/Course Description |
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This introductory course to Film Studies aims to: · Enable students to appreciate, understand and read films as audio-visual texts. · Help students learn the key concepts of cinema and analyze films in a better light · Equip students to read and write critically about and on films · Initiate them to the diverse forms and types of cinemas |
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Course Outcome |
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CO1: Closely read films as audio-visual texts to understand the language and grammar of cinema CO2: Appreciate and analyze films using the concepts CO3: Recognize and understand the processes of production and reception of films over the years |
Unit-1 |
Teaching Hours:10 |
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Film as an Art
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o Nature of Art o Ways of Looking at Art o Film and the Other Arts o Structure of Art o Narrative o Character o Point of View | ||||||||||
Unit-2 |
Teaching Hours:10 |
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Film Aesthetics : Formalism and Realism
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o Mise-en-scene o Mise-en-shot | ||||||||||
Unit-3 |
Teaching Hours:10 |
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Film Authorship
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o Filmmakers o Auteurs | ||||||||||
Unit-4 |
Teaching Hours:10 |
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Film Genres
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o Defining genres o Theory o Problems | ||||||||||
Unit-5 |
Teaching Hours:10 |
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Non-fiction films
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o Documentary | ||||||||||
Unit-6 |
Teaching Hours:10 |
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Film Reception
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o Review o Evaluation and Criticism | ||||||||||
Text Books And Reference Books:
Films will be screened regularly to explain the concepts to students. The films screened will be the primary texts and not mere contexts to teach the concepts. Therefore due importance will be given to all the films selected for the paper. Texts for detailed reference How to read a Film – James Monaco Understand Film Studies – Warren Buckland | ||||||||||
Essential Reading / Recommended Reading
How to read a Film – James Monaco Film Art: An Introduction - David Bordwell and Kristin Thompson Introduction to Film Studies – Jill Nelmes Cinema Studies: Key Concepts – Susan Hayward Short Guide to Writing about Film – Timothy Corrigan | ||||||||||
Evaluation Pattern
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EST641E - ECOLOGICAL DISCOURSES AND PRACTICES (2019 Batch) | ||||||||||
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
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Max Marks:100 |
Credits:4 |
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Course Objectives/Course Description |
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Description: This paper is conceptualised to address one of the pressing concerns of our times – Ecology. The paper gives an introduction to the various discourses that surround the ecological movements of the past and present and the ground work they have laid to avoid a perilous future. The paper also critically looks at certain cultural phenomenon like Anthropocentricism and emphasises the urgent need for Eco Activism and cultivation of an Ecological Self. Since the paper does not just aim at getting the students familiarised with theory, it also includes field visit as an integral part.
Objectives:
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Course Outcome |
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CO1: Analyse the different debates and discourses on ecology CO2: Understand the role of us in responding to contemporary ecological crises CO3: to develop a critical understanding of the nature, self and the urgent need to nurture an ecological self |
Unit-1 |
Teaching Hours:10 |
THE SOUTHERN CHALLENGE
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The postmaterialist hypothesis is challenged; The Environmentalism of the poor – Social Action among the desperately disadvantaged in the Third World; An India/Brazil Comparison – ecological degradation and environmental protest in two large and important countries; A Chipko/Chico Comparison – the parallels between two famous forest movements; Redefining Development – bringing back nature and the people William Cronon's The Trouble with Wilderness; or, Getting Back to the Wrong Nature | |
Unit-1 |
Teaching Hours:10 |
Introduction
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This unit introduces the students to the important debates in the field of ecology and familiarises them to the terms and concepts related to the field. Nobody Was Supposed to Survive by Alice Walker Terms and Concepts: Altruism, Ecology, Environment, Biodiversity, Biocentrism, Anthropocentricism, Conservation, Climate Change, Cloning, Food Chain, Carbon Food Print, Ecosystem, Eco-psychology, Ecofeminism, Ecocriticism, Environmental Ethics, Environmental Philosophy, Gaia Theory, Deep Ecology, MOVE, Behavioural Ecology, Genetics, Habitats and Niches, Biomes, Political Ecology, Postmodern Environmentalism, Sustainability, Symbiosis, Environmental Overkill, Ecocreation, Eco-Warrior, Social Ecology, Ecotopian Discourse, Ecological Philosophy, Ecological Self, Romanticism, Utilitarianism The ECOLOGY OF AFFLUENCE: The significance of Silent Spring – how a book by a woman scientist changed the world; The Environmental Debate – Science and the discourse of ecological crisis; The Environmental Movement – Environmental Action in Europe and the United States; Radical American Environmentalism – the competing claims of Deep Ecology and Environmental Justice; The German Greens – how a protest movement became a political party. | |
Unit-2 |
Teaching Hours:10 |
A History of Anthropocentric Cultural Practices
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This section introduces the students to the root of the problem in our conception of culture and development and how it impacts our ecology.
· Unearthing the Roots of Colonial Forest Laws: Iron Smelting and the State in Pre- and Early-Colonial India by Sashi Sivramkrishna · Flowering Tree – Introduction and Short Story by A. K. Ramanujam · The Great Derangement by Amitav Ghosh · Excerpts from The Sixth Extinction: An Unnatural History by Elizabeth Colbert | |
Unit-3 |
Teaching Hours:15 |
Eco Activism
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This section presents students a selection of texts that bring cases and contexts of eco-activism from across the globe. · “Integrated Study Needed for Ghats,” an interview with Professor Madhav Gadgil, by Lyla Bavdam · “Protecting Urban Diversity” by Harini Nagendra · Kolbert, Elizabeth. “The Lost World: Fossils of the Future”. The New Yorker, December 23, 2013. http://www.newyorker.com/magazine/2013/12/23/the-lost-world-3 · The One Straw Revolution: Introduction to Natural Farming by Masanobu Fukuoka · Mother Forest: The Unfinished Story of CK Janu by CK Janu | |
Unit-4 |
Teaching Hours:10 |
Ecological Self
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This section presents students with texts that argue for the need to have an ecological self as the only option to ensure a sustainable future. · Where I Lived, and What I Lived for, Excerpts from Walden by Thoreau · “Greenspace: Tree Man” – by M J Prabhu · Irada by Aparnaa Singh · Haraway, Donna. “Playing String Figures with Companion Species” in Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press, 2016 (9-29). · McGregor, Fiona. Indelible Ink. Melbourne: Scribe, 2010. | |
Unit-5 |
Teaching Hours:15 |
Field Visits and Library work
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Field visits are to enable the student to gain an experiential sense of biodiversity, forest life, and city ecology. One hour of library work per week, adding up to 15 at the end of semester is part of the curriculum. This is aimed at enabling the student to freely explore the domain without any teacherly regulation. | |
Text Books And Reference Books: ·Bavadam, Lyla. “Integrated Study Needed for Ghats.” Interview with Madhav Gadgil. Frontline: 28 July, 2012. Print. ·Bindra, Prerna Singh. Voices in the Wilderness. Rupa & Co. 2010. Print. ·Benton, L.M. and J.R. Short. Environmental Discourse and Practice. Oxford. 1998. Print. ·Guha, Ramachandra. Environmentalism: A Global History. Longman. 2000. Print. ·Nagendra, Harini. “Protecting Urban Diversity.” The Hindu: Survey of Environment 2010: 7-30. Print. ·Ramanujam A.K. A Flowering Tree and Other tales from India. 1997. Print. ·Sivramakrishna, Sashi. “Production Cycles and Decline in Traditional Iron Smelting in Maidan, Southern India, C. 1750-1950: An Environmental History Perspective” Environment and History (2009): 163-97. Print. | |
Essential Reading / Recommended Reading ·Bavadam, Lyla. “Integrated Study Needed for Ghats.” Interview with Madhav Gadgil. Frontline: 28 July, 2012. Print. ·Bindra, Prerna Singh. Voices in the Wilderness. Rupa & Co. 2010. Print. ·Benton, L.M. and J.R. Short. Environmental Discourse and Practice. Oxford. 1998. Print. ·Guha, Ramachandra. Environmentalism: A Global History. Longman. 2000. Print. ·Nagendra, Harini. “Protecting Urban Diversity.” The Hindu: Survey of Environment 2010: 7-30. Print. ·Ramanujam A.K. A Flowering Tree and Other tales from India. 1997. Print. ·Sivramakrishna, Sashi. “Production Cycles and Decline in Traditional Iron Smelting in Maidan, Southern India, C. 1750-1950: An Environmental History Perspective” Environment and History (2009): 163-97. Print. | |
Evaluation Pattern CIA II: A written test on Unit I Mid Semester: Written test. 5 out of 7 to be answered. Maximum mark per question: 10. CIA III: Field Work and Library work based assessment End Semester: Written test. 5 out of 7 to be answered. Maximum mark per question: 20. | |
EST641F - REVISITING INDIAN EPICS (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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General Description: This paper will re-visit the two popular Indian epics – the Mahabharata and the Ramayana. The Mahabharata and the Ramayana are not mere literary texts in India; no Indian reader reads them for the first time. As Prof Anantamurthy points out they function as languages and prompt new narratives in literary traditions. The paper intends to read the critical discussions and creative re-presentations of the epics – The Mahabharata and the Ramayana. The essays will probe the posited meanings in the tellings of the epics. The other two modules will look at the creative interpretations, re-presentations of certain episodes, marginal characters from the epics. As we read, discuss the re-visited tellings of the epics, we would need a specific telling to refer to. C Rajagopalachari’s telling of the Mahabharata, The Epic and The Ramayana can be considered as a reference point. Pertinent episodes can be read or discussed in class or if time permits the entire narrative can be read/discussed in class.
Objective
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Course Outcome |
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CO1: Understand the Indic tradition through its "two major languages" - the _Ramayana_ and the _Mahabharata CO2: Reflect upon the idea of ?Self? in the context of the epics by embracing the eternal questions of existence CO3: Attend to the contemporary problems of life with reference to the epics |
Unit-1 |
Teaching Hours:15 |
Essays
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U. R. Ananthamurthy. “Towards the Concept of a New Nationhood: Languages and Literatures in India” ((Talk delivered at Institute of Physics, Bhubaneswar, India on 3 September, 2006) Sheldon Pollock. “Ramayana and Political Imagination in India”, The Journal of Asian Studies, Vol. 52, No. 2 (May, 1993), pp. 261-297
V. S. Sukthankar. “The Mahabharata and its Critics”, On the Meaning of the Mahabharata.
Bimal Krishna Matilal. “Moral Dilemmas: Insights from Indian Epics”, Ethics and Epics: The Collected Essays of Bimal Krishna Matilal. New Delhi: OUP, 2002. | |
Unit-2 |
Teaching Hours:15 |
Ramayana
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Sara Joseph’s Stories –Tr. VasantiSankranarayanan, Retelling the Ramayana: Voices from Kerala, New Delhi: Oxford Unviersity Press, 2005
S. Sivasekaram, “The nature of Stone: Ahalya” Tr. Lakshmi Holmstorm Ramayana Stories in Modern South India, compiled and edited by Paula Richman, Bloomington: Indiana University Press, 2008
Buddhadeva Bose, “The Example of Ram”, Tr. Sujit Mukherjee. The Book of Yudhisthir: A Study of the Mahabharata of Vyas. Hyderabad: Sangam Books, 1986. | |
Unit-3 |
Teaching Hours:20 |
Mahabharata
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Bhima: Lone Warrier – M.T.Vasudevan Nair Parva– S L Byrappa | |
Unit-4 |
Teaching Hours:10 |
Library Guided Reading
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15 hours of guided library reading. | |
Text Books And Reference Books: Paula Richman.(ed) Many Ramayanas: The Diversity of a Narrative Tradition in South Asia. New Delhi: Oxford University Press, 1991 Nick Allen. “Just war in the Mahabharata” in The Ethics of War: Shared Problems in Different Traditions (eds) Richard Sorabji and David Rodin, Ahsgate. 2006/7 Bimal Krishna Matilal. “Krishna: In Defence of a Devious Divinity” & “The Throne: Was Duryodhana Wrong?” in Ethics and Epics edited by JonardanGaneri. New York: Oxford University Press, 2002 Velcheru Narayana Rao. “A Ramayana of their own: Women’s Oral Tradition in Telugu” in Paula Richman edsMany Ramayanas. Berkeley: University of California Press, 1991 Alf Hiltebietel. “The Epic of Pabuji” & “Draupadi Becomes Bela, Bela Becomes Sati” in Rethinking India’s Oral and Classical Epics: Draupadi among Rajputs, Muslims, and Dalits. Chicago: The University of Chicago Press, 1999 Marie Gillsepie. “The Mahabharata: From Sanskrit to Sacred Soap. A case study of the Reception of Two Contemporary Televisual Versions” in “Reading audiences Young People and the Media” Manchester and New York: Manchester University Press, 1993 Laurie J. Sears. “Mysticism and Islam in Javanese Ramayana Tales”. Mandakranta Bose. The Ramayana Revisited. New York: Oxford University Press, 2004. Julie B. Mehta. “The Ramayana in the Arts of Thailand and Cambodia”. Mandakranta Bose. The Ramayana Revisited. (New York: Oxford University Press, 2004. KapilaVatsyayan. “The Ramayana Theme in the Visual Arts of South and Southeast Asia” in Mandakranta Bose. The Ramayana Revisited. New York: Oxford University Press, 2004. Malashri Lal and NamitaGokhale. In Search of Sita: Revisiting Mythology. New Delhi: Penguin Books, 2009.
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Essential Reading / Recommended Reading Paula Richman.(ed) Many Ramayanas: The Diversity of a Narrative Tradition in South Asia. New Delhi: Oxford University Press, 1991 Nick Allen. “Just war in the Mahabharata” in The Ethics of War: Shared Problems in Different Traditions (eds) Richard Sorabji and David Rodin, Ahsgate. 2006/7 Bimal Krishna Matilal. “Krishna: In Defence of a Devious Divinity” & “The Throne: Was Duryodhana Wrong?” in Ethics and Epics edited by JonardanGaneri. New York: Oxford University Press, 2002 Velcheru Narayana Rao. “A Ramayana of their own: Women’s Oral Tradition in Telugu” in Paula Richman edsMany Ramayanas. Berkeley: University of California Press, 1991 Alf Hiltebietel. “The Epic of Pabuji” & “Draupadi Becomes Bela, Bela Becomes Sati” in Rethinking India’s Oral and Classical Epics: Draupadi among Rajputs, Muslims, and Dalits. Chicago: The University of Chicago Press, 1999 Marie Gillsepie. “The Mahabharata: From Sanskrit to Sacred Soap. A case study of the Reception of Two Contemporary Televisual Versions” in “Reading audiences Young People and the Media” Manchester and New York: Manchester University Press, 1993 Laurie J. Sears. “Mysticism and Islam in Javanese Ramayana Tales”. Mandakranta Bose. The Ramayana Revisited. New York: Oxford University Press, 2004. Julie B. Mehta. “The Ramayana in the Arts of Thailand and Cambodia”. Mandakranta Bose. The Ramayana Revisited. (New York: Oxford University Press, 2004. KapilaVatsyayan. “The Ramayana Theme in the Visual Arts of South and Southeast Asia” in Mandakranta Bose. The Ramayana Revisited. New York: Oxford University Press, 2004. Malashri Lal and NamitaGokhale. In Search of Sita: Revisiting Mythology. New Delhi: Penguin Books, 2009.
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Evaluation Pattern CIA I: A written assignment for 20 Marks Mid Semester: Written test for 50 Marks CIA III: Field Work and Library work based assessment End Semester: Written test for 100 Marks | |
PSY631 - POSITIVE PSYCHOLOGY (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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This course introduces undergraduate students a strength-based approach in understanding human behaviour. Each unit is designed with personal mini-experiments which have personal implications. The course brings in an understanding about the basic principles of Positive Psychology. The significance of this course lies in orienting the students in applying these principles for self-regulation and personal goal setting. This course will help the learner to
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Introduction
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Positive psychology: Definition; goals and assumptions; Relationship with health psychology, developmental psychology, clinical psychology Activities: Personal mini-experiments; Collection of life stories from magazines, websites, films etc and discussion in the class | |
Unit-2 |
Teaching Hours:12 |
Positive emotions, Well-being and Happiness
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Positive emotions: Broaden and build theory; Cultivating positive emotions; Happiness- hedonic and Eudaimonic; Well- being: negative v/s positive functions; Subjective well –being: Emotional, social and psychological well-being; Model of complete mental life Test: The positive and negative affect schedule (PANAS-X); The satisfaction with life scale (Diener et al, 1985); Practice ‘Be happy’ attitude | |
Unit-3 |
Teaching Hours:12 |
Self control, Regulation and Personal goal setting
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The value of self-control; Personal goals and self-regulation; Personal goal and well-being; goals that create self-regulation; everyday explanations for self-control failure problems Activity: SWOT analysis | |
Unit-4 |
Teaching Hours:12 |
Positive Cognitive States and Processes
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Resilience: Developmental and clinical perspectives; Sources of resilience in children; Sources of resilience in adulthood and later life; Optimism- How optimism works; variation of optimism and pessimism; Spirituality: the search for meaning(Frankl); Spirituality and well-being; Forgiveness and gratitude Test: Mental well-being assessment scale; Test: Signature strength | |
Unit-5 |
Teaching Hours:12 |
Applications of Positive Psychology
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Positive schooling: Components; Positive coping strategies; Gainful employment Mental health: Moving toward balanced conceptualization; Lack of a developmental perspective. Activity: An action plan for coping Test: Brief COPE assessment scale | |
Text Books And Reference Books: Baumgardner, S.R & Crothers, M.K.(2014). Positive Psychology. U.P: Dorling Kindersley Pvt Ltd. Carr, A. (2004). Positive psychology, The science of happiness and human strengths.New York: Routledge. | |
Essential Reading / Recommended Reading Singh, A.(2013).Behavioral science: Achieving behavioral excellence for success. New Delhi: Wiley India Pvt ltd. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY633 - THERAPEUTIC INTERVENTIONS - II (2019 Batch) | |
Total Teaching Hours for Semester:60 |
No of Lecture Hours/Week:4 |
Max Marks:100 |
Credits:4 |
Course Objectives/Course Description |
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This course will give students an insight into topics that provide a foundation for the use of expressive arts in therapeutic interventions. Topics covered include an introduction to expressive arts, art, dance, music and play therapy. This course provides students with an understanding of:
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Introduction to Expressive Arts
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History of Expressive Arts, Expressive Arts in a Therapeutic context, Crafting Therapeutic Experiences in Expressive Arts | |
Unit-2 |
Teaching Hours:12 |
Art Therapy
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Introduction to Art therapy, Role of art material in art therapy, Art based assessment, Therapeutic Applications | |
Unit-3 |
Teaching Hours:12 |
Dance and Movement Therapy
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Introduction to Dance and Movement Therapy, Therapeutic Applications | |
Unit-4 |
Teaching Hours:12 |
Music Therapy
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History, Introduction to Music Therapy, Therapeutic Applications | |
Unit-5 |
Teaching Hours:12 |
Play Therapy
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Introduction to Play Therapy, Therapeutic Applications | |
Text Books And Reference Books: Malchiodi, C. A. (2005). Expressive therapies. Guilford Press. | |
Essential Reading / Recommended Reading Appalachian Expressive Arts Collective. (2003). Expressive arts therapy: Creative process in art and life. Boone. | |
Evaluation Pattern CIA (CONTINUOUS INTERNAL ASSESSMENT)
End Semester Examination : Total Marks=100=50 Question paper pattern
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PSY651 - PSYCHOLOGICAL RESEARCH METHODS AND ASSESSMENT-II (2019 Batch) | |
Total Teaching Hours for Semester:30 |
No of Lecture Hours/Week:2 |
Max Marks:50 |
Credits:2 |
Course Objectives/Course Description |
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Course description: This course has been conceptualized in order to capstone experience for psychology undergraduates, in which students identify a research topic, conduct comprehensive literature reviews, and then develop a substantial written small empirical research project. The paper aims to help students collaborate and complete psychological research projects with their peers. The program is designed to enable students to complete a group research project under the supervision of a faculty. They are expected to conduct the research and submit the final research report. The Research report will be in the form of a professional journal article manuscript, though it is not required to submit it to a journal. Students are expected to do a presentation of the research findings as a poster or oral presentation at the undergraduate research conference. Course objectives: This course will help the learner to gain knowledge with the process and the methods of quantitative and qualitative psychological research traditions. |
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Course Outcome |
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By the end of the course the learner will be able to: |
Unit-1 |
Teaching Hours:12 |
Data Analysis and Interpretation
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Ethical issues in data collection and recording, organization of data collection process, dissemination, the concept of data audit Data organization and audit. Hypothesis testing/evaluating the research questions, data analysis and reporting results, discussing the findings with research evidence | |
Unit-2 |
Teaching Hours:10 |
Report Writing and Dissemination of Research findings
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APA styles of writing the project report, elements of a research project, referencing, plagiarism, doing peer review and feedback. Abstract writing, Publication in journal/ newspapers, selecting a journal, oral presentation and poster presentation; participating in research forums/seminars. | |
Unit-3 |
Teaching Hours:8 |
Psychological Assessments
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Develop a profile for an individual based on a minimum of three to a maximum of five psychological assessments and a brief interview that would help the individual gain positive insights about themselves. The profile would be on the career or healthy living and assessments used may include Career assessments, DBDA, Interest inventory, learning styles, academic adjustment, quality of life, happiness index, PANAS, character strengths or motivation, personal value inventory/ locus of control; students would learn elements of a client profile report, writing a report without biases and being professional in writing and communicating reports | |
Text Books And Reference Books: Cohen, R. J., & Swerdlik, M. E. (2013). Psychological testing and assessment: an introduction to tests and measurement. Eighth edition. McGraw-Hill Education. Coolican, H. (2014). Research Methods and Statistics in Psychology, Sixth Edition. Taylor and Francis. | |
Essential Reading / Recommended Reading American Psychological Association. (2020). Publication manual of the American Psychological Association (7th Ed.).https://doi.org/10.1037/0000165-000 https://christuniversity.in/uploads/userfiles/CRCE.pdf. CHRIST (Deemed to be University) Institutional Ethics Documentation | |
Evaluation Pattern Continuous Internal Evaluations (CIAs) – 50 Marks
Department Level End Semester Examination (ESE)- 50 Marks Poster presentation and viva on research methods and testing. CIAs (50 marks) + ESE (50 Marks) = 100 Marks /2 = 50 Marks
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TES631 - APPLIED THEATRE (2019 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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· Provide practical methodologies for using theatre as a tool in a range of social/educational contexts · To instill social responsibility through applied theatre · Encourage a reflective understanding of theatre within applied frames and contexts
· Performe, direct and devise theatre, explore performance that takes place outside traditional theatre environments
· Encourage a reflective understanding of theatre within applied frames and contexts |
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Course Outcome |
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Research, analyze and synthesize complex information, problems, concepts and theories and apply established theories to different bodies of knowledge or practice; Plan and execute a substantial research based performance project; Apply knowledge and skills to demonstrate autonomy, expert judgment, adaptability and ethical conduct as a practitioner and learner |
Unit-1 |
Teaching Hours:5 |
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Introduction to Applied Theatre
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History and growth of Applied theatre-Research methods and outlook | |||||||||||||||||||||
Unit-2 |
Teaching Hours:5 |
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Major concept of Applied theatre
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Children’s Theatre and Youth Theatre, TIE, Drama in education, theatre for development, prison theatre... | |||||||||||||||||||||
Unit-3 |
Teaching Hours:10 |
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Tools for applied theatre
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Improvisations, Street theatre ,theatre games ,devising and witnessing | |||||||||||||||||||||
Unit-4 |
Teaching Hours:10 |
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Applied theatre methods and practices(practicum)
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Theatre of the oppressed and other Augusto Boal s variants like:Forum theatre, Invisible theatre ,Psycho drama and Theatre therapy, Devising theatre , propaganda theatre , Community theatre ,playback..
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Unit-5 |
Teaching Hours:15 |
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Applied theatre Practicum
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Project based applied theatre presentations | |||||||||||||||||||||
Text Books And Reference Books: Nicholson, Helen. Applied Drama. Basingstoke [England]: Palgrave Macmillan, 2005. Prentki, Tim, Michael Balfour, and Sheila Preston. Applied Theatre, n.d. Taylor, Philip. Applied Theatre, n.d. | |||||||||||||||||||||
Essential Reading / Recommended Reading Boal, Augusto. Games for actors and non-actors, 2nd Edition Blatner, Adam, and Daniel J Wiener. Interactive and Improvisational Drama. New York: Universe, 2007.
Boal, Augusto. Theatre of the Oppressed O'Connor, Peter, and Michael Anderson. Applied Theatre, n.d. Fox Jonathan. Acts of Service-Spontanity,Commitment,Tradition in non scripted theatre Thompson, James. Performance Affects. Basingstoke: Palgrave Macmillan, 2009. | |||||||||||||||||||||
Evaluation Pattern
End semester exam: 100 Marks= Applied theatre Practicum and Project submission | |||||||||||||||||||||
TES632 - SPECIALISATION IN ACTING (2019 Batch) | |||||||||||||||||||||
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
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Max Marks:100 |
Credits:3 |
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Course Objectives/Course Description |
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In recent years artistic practice has developed into a major focus of research activity, both as process and product, and discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art. This paper presents a methodological approach to creative practice as research, and includes an overview of the different types of practice-related research currently undertaken across a variety of disciplines; discussion of the purposes and applications of creative practice research. This paper studies the processes of acting to generate research. |
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Course Outcome |
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Engaging with styles of acting at a process oriented level to result in research that will benefit the domain. |
Unit-1 |
Teaching Hours:15 |
Vakhtangov style of Theatre
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Autobiography of Yevgeny Vakhtangov: Due to almost no resource material about the school of thought online. Creating material would be a key practice. Tracing his growth and struggle. How he mentored Chekhov. Application of the Vakhtangov Style for Analysis of performances: Detailed Journal and analysis of the handbook created for practical classes. How to use the research material to one's advantage. Characteristics of the Style. Elements of the Style. Applications of the style Success and failures of the development of the style. Using the skills from psychology and theatre practicals to learn and critically analyse the elements of Vakhtangov. Relationship of Movement and Heightened Styles. | |
Unit-2 |
Teaching Hours:15 |
Acting performance practice as research
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Detailed analysis of the “Stanislavsky’s system” through his written books, letters, diaries as an example of PAR (performance practice as research).
Introducing the PAR concept, the results of practice-led research may be fully described in text form without the inclusion of creative work. The primary focus of the research is to advance knowledge about practice or to advance knowledge within practice. Such research
includes practice as an integral part of its method and often falls within the general area of action research.
Reference book: Sanford Meisner “On Acting” as another example of creative research. The students write a paper using experiential research. | |
Unit-3 |
Teaching Hours:15 |
Bertolt Brecht styles of acting
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Elements of Brechtian Acting method Understanding Brechtian Acting techniques Presentational style of acting Analysis of performances using Brecht’s technique Reflective journaling | |
Text Books And Reference Books: 1. Malaev-Babel, A Yevgeny Vakhtangov A critical portraitby; 2. Brecht, B Brecht onTheatre; 3. Stanislavski, K Stanislavski on the art of thestage; 4. Meisner, S OnActing; | |
Essential Reading / Recommended Reading 1. Stanislavski, K An Actorprepares; 2. Stanislavski, K Building aCharacter; 3. Stanislavski, K My life inart; 4. Stanislavski, K Creating arole; | |
Evaluation Pattern Students have to work on Research Paper and Submission under Faculty Academic Supervision at the end of the Semester. End Semester Exam: Based on final research paper submission with presentation and viva voce. | |
TES633 - SPECIALISATION IN DIRECTING (2019 Batch) | |
Total Teaching Hours for Semester:45 |
No of Lecture Hours/Week:3 |
Max Marks:100 |
Credits:3 |
Course Objectives/Course Description |
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In recent years artistic practice has developed into a major focus of research activity, both as process and product, and discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art. This paper presents a methodological approach to creative practice as research, and includes an overview of the different types of practice-related research currently undertaken across a variety of disciplines; discussion of the purposes and applications of creative practice research. This paper studies the processes of directing to generate research. |
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Course Outcome |
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Engaging with styles of directing at a process oriented level to result in research thatwill benefit thedomain. |
Unit-1 |
Teaching Hours:15 |
Vakhtangov style of Theatre
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This style of theatre encourages one to play with variations, tactics and objectives of characters and the set. In this style of theatre, all the various sub-departments like sets, lights, props, make-up, music, acting and direction follow the principles of contrast, justification of the grotesque and a heightened style. Furthermore, Character Analysis through the eyes of Yat M and R Laban would be used to embellish the learning process for the students.
Vakhtangov: ● History of the Vakhtangov style of theatre. ● Origin of the style. ● The influence has on other cultures. ● Relationship to Movement and Stagemovement. ● Applications of the technique. ● Is it a rehearsal process or a genre.
Movement: ● Relationship between Laban and at. ● How to create movement stories. ● What is the difference between movement and cardio/exercise? ● Importance of music. ● Movement as a stepping stone to explore theVakhtangov.
Research Element: ● Using the applications of the various styles to generate nomenclature and articulation in the fo of research papers. ● Generating critical insights. ● Observing the relationship, theoretically, between the heightened style of Acting Vakhtangov and Bollywood Stereotypes. Understanding the implications of Commedia Del Arte in the same domain. | |
Unit-2 |
Teaching Hours:15 |
Directing performance practice as research
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Detailed analysis of the “Stanislavsky’s system” through his written books, letters, diaries as an example of PAR (performance practice as research). Introducing the PAR concept, the results of practice-led research may be fully described in text form without the inclusion of creative work. The primary focus of the research is to advance knowledge about practice or to advance knowledge within practice. Such research includes practise as an integral part of its method and often falls within the general area of action research. Using a book of “The profession of the stage-director” by Tovstonogov as another example of creative research. The students write a paper using experiential research. | |
Unit-3 |
Teaching Hours:15 |
Brecht on directing
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Eugen Bertolt Friedrich Brecht was one of the pre-eminent theatre forces among other trendsetters in the twentieth century. His contribution to the history of world theatre is immense as it has influenced many playwrights and is still influencing many more across the world. As he says that his “epic theatre” is meant for the “scientific age” not only to enlighten but also to instruct the masses in an hour of need. The epic theatre has revolutionized the world theatre by subverting the conventional literary and theatrical genre. He rejected the conventional theatrical styles outright and contributed his original theatrical devices as he strongly believed. Brechtian influences can be traced from most of the world directors. Brecht’s the “theatre of reason” is one of the most influential theatre movements from the 1960s onwards and it provided a theatrical model that influences the British theatre even today.
This divided into three segments: · Brecht directing BerlinerEnsemble. · Brecht plays in director done by other directors. · Offshoots of Brecht's theory of alienation in the practices with a case study of living Theatre. | |
Text Books And Reference Books: 1. Brecht, B Brecht onTheatre 2. Malaev-Babel, A Yevgeny Vakhtangov A critical portraitby 3. Stanislavski, K Stanislavski on the art of thestage | |
Essential Reading / Recommended Reading Stanislavski, K My life in art | |
Evaluation Pattern Students have to work on Research Paper and Submission under Faculty Academic Supervision at the end of the Semester. End Semester Exam:Based on final research paper submission with presentation and viva voce. | |
TES651 - SPECIALISATION IN ACTING (2019 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:2 |
Credits:2 |
Course Objectives/Course Description |
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Actors choice is something a lot of people hear about but rarely do we see actors bringing in their own styles to their rehearsal process. With this course we aim to provide actors graduating from the department with a rehearsal ethic and a unique process of their own. This may be one that they have invented or one that they create by picking and choosing different elements from completely different styles. |
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Course Outcome |
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The students would be able to research towards understanding the concept of providing the 'what' 'where' 'when' 'why' from the point of view of a director. The actors discover the 'how'. To invent new exercises to further their points of understanding the concept of heightened as opposed to Slapstick and mimicry. Value for newer styles and opening up their minds to multiple interpretations and playfulness. Developing required skills through exercises to master the elements of “Stanislavski system”. |
Unit-1 |
Teaching Hours:25 |
Vakhtangov style of Acting
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Stage Movement: · Understanding the door table and wheel plane. · Playing in parallels · 'Viewpoints' as a mechanism to unveil the character. · Introduction to rhythmics and it impacts on scene development and characterisation. Prop and SetOwnership · Understanding the importance of one's prop and set. · How to create body props and master certain personality props · Relocating the props and costumes repository to the classroom space for the propagation of rehearsal through garments and props.
Vakhtangov through Character Analysis · Exploring different scenes using movement and variations. · Exploring contrasts and heightened styles. · Discovering the impact of levels and inner justifications through physical movement and exploration of the'space'. | |
Unit-2 |
Teaching Hours:25 |
The concept of realism in acting
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Psychophysical technique. Developing the required skills through exercises to master the elements of the “Stanislavski system”. Feeling of the scenic truth and logic in the sequence of actions. Theatrical etude as the main means of educating the actor. Deep characterization to bring a scenic truth on the stage. | |
Unit-3 |
Teaching Hours:25 |
Bertolt Brecht styles of acting
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It is a practical unit. Sessions based on learned practices monitored by the faculty. After every session students will be provided with feedback. | |
Text Books And Reference Books: 1. Malaev-Babel, A Yevgeny Vakhtangov A critical portraitby; 2. Brecht, B Brecht onTheatre; 3. Stanislavski, K Stanislavski on the art of thestage; 4. Meisner, S OnActing; | |
Essential Reading / Recommended Reading 1. Stanislavski, K An Actorprepares; 2. Stanislavski, K Building aCharacter; 3. Stanislavski, K My life inart; 4. Stanislavski, K Creating arole; | |
Evaluation Pattern Final performance that is a collaboration between Directing and Acting Specialisations. End Semester Exams: Final Show with show day factors. Possibility of off site public performances. Evaluation : Invited theatre professionals to evaluate the students based on performance criteria. | |
TES652 - SPECIALISATION IN DIRECTING (2019 Batch) | |
Total Teaching Hours for Semester:75 |
No of Lecture Hours/Week:5 |
Max Marks:100 |
Credits:2 |
Course Objectives/Course Description |
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Direction as a subject in the opinion of the department requires great research and time to expect the unveiling of a show that is well designed and interesting to the eyes of the beholder, either from research, dramatic or spectacle point of view.
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Course Outcome |
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· Application of directorialperspective. · Developing creativecontrol · Incorporating criticism andfeedback · Ensembletraining |
Unit-1 |
Teaching Hours:25 |
Vakhtangov style of directing
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Understanding the variations: · Capturing the essence of variations by doing the same thing with different circumstances, physical environments and emotional circumstances. · Discovering magic number 13.The significance of the number of attempts. · Experimenting with objects and people. · Importance of tactics in the direction sphere.
Understanding the contrast: · Experiencing a difference between extremes from a director. · ExploringTheatreof the absurd, Theatre of the Oppressed, Theatre of cruelty and Theatre of grotesque in comparison. · Understanding the relationship between Bollywood andVakhtangov.
Understanding heightened style: · How to direct situations and exercises keeping the boundary of slapstick and heightened very clear. · Principles of Movement through movement exercises. · Introduction to Rudolf Laban and Yat as tools for improving the directing process. · Vakhtangov style of direction. | |
Unit-2 |
Teaching Hours:25 |
The concept of realism in directing a play
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Active Analysis through Physical Actions as a method for a director to work with “an actor- creator” and not “a dependent mannequin”. Identifying a super-task of the play. Creating tableaus to find the right mise-en-scene. Applying the “system” from the director's point of view. | |
Unit-3 |
Teaching Hours:25 |
Bertolt Brecht directorial styles
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It is a practical unit. Sessions based on learned practices monitored by the faculty. After every session students will be provided with feedback. | |
Text Books And Reference Books: 1. Brecht, B Brecht onTheatre. 2. Malaev-Babel, A Yevgeny Vakhtangov A critical portraitby. 3. Stanislavski, K Stanislavski on the art of thestage | |
Essential Reading / Recommended Reading Stanislavski, K My life in art | |
Evaluation Pattern Final performance that is a collaboration between Directing and Acting Specialisations. End Semester Exams: Final Show with show day factors. Possibility of off site public performances. Evaluation : Invited theatre professionals to evaluate the students based on performance criteria. |