Department of PSYCHOLOGY

Syllabus for
Bachelor of Arts (Music, Psychology, English)
Academic Year  (2021)

 
1 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
AEN121 ADDITIONAL ENGLISH - 3 3 100
ENG123 PHONETICS AND COMMUNICATION Ability Enhancement Compulsory Course 3 3 100
EST131 BRITISH LITERATURE: ANGLO SAXON TO EARLY VICTORIAN Core Courses 5 4 100
FRN121 FRENCH Ability Enhancement Compulsory Course 3 3 100
HIN121 HINDI Ability Enhancement Compulsory Course 3 3 100
KAN121 KANNADA Ability Enhancement Compulsory Course 3 03 100
MUS131 MUSIC FOUNDATIONS - I Core Courses 5 5 100
MUS151A MAJOR IN PIANO-I (Solo) Core Courses 1 1 100
MUS151B MAJOR IN PIANO-I (Ensemble) Core Courses 1 1 100
MUS152A MAJOR IN VOICE-I (Solo) Core Courses 1 1 70
MUS152B MAJOR IN VOICE-I (Ensemble) Add On Course 1 1 30
PSY131 BASIC PSYCHOLOGICAL PROCESSES - I Core Courses 5 5 100
SAN121 SANSKRIT Ability Enhancement Compulsory Course 3 3 100
TAM121 TAMIL Ability Enhancement Compulsory Course 3 3 100
2 Semester - 2021 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
AEN221 ADDITIONAL ENGLISH - 3 3 100
ENG223 WRITING SKILLS - 3 3 100
EST231 BRITISH LITERATURE: LATE VICTORIAN TO THE PRESENT - 5 4 100
FRN221 FRENCH - 3 3 100
HIN221 HINDI - 3 3 100
KAN221 KANNADA - 3 03 100
MUS231 MUSIC FOUNDATIONS - II - 5 5 100
MUS251A MAJOR IN PIANO-II (Solo) - 1 1 100
MUS251B MAJOR IN PIANO-II (Ensmble) - 1 1 100
MUS252A MAJOR IN VOICE-II (Solo) - 1 1 100
MUS252B MAJOR IN VOICE-II (Ensemble) - 1 1 100
MUS281 INTERNSHIP - 15 2 100
PSY231 BASIC PSYCHOLOGICAL PROCESSES - II - 5 5 100
SAN221 SANSKRIT - 3 3 100
TAM221 TAMIL - 3 3 100
3 Semester - 2020 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
AEN321 ADDITIONAL ENGLISH Ability Enhancement Compulsory Course 3 3 100
ENG323 CREATIVE WRITING Ability Enhancement Compulsory Course 3 3 100
EST331 AMERICAN LITERATURES Core Courses 5 4 100
FRN321 FRENCH Ability Enhancement Compulsory Course 3 3 100
HIN321 HINDI Ability Enhancement Compulsory Course 3 3 100
KAN321 KANNADA Ability Enhancement Compulsory Course 3 03 100
MUS331 HARMONY - I Core Courses 2 2 100
MUS341A PIANO LITERATURE - I Discipline Specific Elective 2 2 100
MUS341B OPERA LITERATURE-I Discipline Specific Elective 2 2 100
MUS351A MAJOR IN PIANO-III (Solo) Core Courses 1 1 100
MUS351B MAJOR IN PIANO-III (Ensmble) Core Courses 1 1 100
MUS352A MAJOR IN VOICE-III (Solo) Core Courses 1 1 70
MUS352B MAJOR IN VOICE- III (Ensemble) Core Courses 1 1 30
PSY332 SOCIO CULTURAL FOUNDATIONS OF BEHAVIOUR Core Courses 5 5 100
PSY352 PERSONAL GROWTH Ability Enhancement Compulsory Course 2 2 50
SAN321 SANSKRIT Ability Enhancement Compulsory Course 3 3 100
TAM321 TAMIL Ability Enhancement Compulsory Course 3 3 100
4 Semester - 2020 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
AEN421 ADDITIONAL ENGLISH - 3 3 100
ENG423 WRITING FOR MEDIA - 3 3 100
EST431 INTRODUCTION TO LITERARY THEORY - 5 4 100
FRN421 FRENCH - 3 3 100
HIN421 HINDI - 3 3 100
KAN421 KANNADA - 3 03 100
MUS431 HARMONY - II - 2 2 100
MUS441A PIANO LITERATURE - II - 2 2 100
MUS441B OPERA LITERATURE - II - 2 2 100
MUS451A MAJOR IN PIANO-IV (Solo) - 1 1 100
MUS451B MAJOR IN PIANO-IV (Ensmble) - 1 1 100
MUS452A MAJOR IN VOICE-IV (Solo) - 1 1 100
MUS452B MAJOR IN VOICE-IV (Ensemble) - 1 1 100
MUS481 INTERNSHIP - 15 2 100
PSY432 LIFE SPAN DEVELOPMENT - 5 5 100
PSY452 PSYCHOLOGICAL STATISTICS AND EXPERIMENTS - 2 2 50
SAN421 SANSKRIT - 3 3 100
TAM421 TAMIL - 3 3 100
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
MUS531 HISTORY OF WESTERN MUSIC - I Core Courses 2 2 100
MUS541A MUSIC PEDAGOGY - I Skill Enhancement Course 2 2 100
MUS541B CHOIR CONDUCTING TECHNIQUES - I Skill Enhancement Course 2 2 100
MUS551A MAJOR IN PIANO-V (Solo) Core Courses 1 1 100
MUS551B MAJOR IN PIANO-V (Ensmble) Core Courses 1 1 100
MUS552A MAJOR IN VOICE-V (Solo) Core Courses 1 1 100
MUS552B MAJOR IN VOICE-V (Ensemble) Core Courses 1 1 100
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 Course 2 2 50
6 Semester - 2019 - Batch
Course Code
Course
Type
Hours Per
Week
Credits
Marks
EST631 INTRODUCTION TO WORLD LITERATURES - 5 4 100
EST641A CULTURAL STUDIES - 4 04 100
EST641B INTRODUCTION TO ENGLISH LANGUAGE TEACHING - 4 04 100
EST641C INTRODUCTION TO SHORT STORY - 4 04 100
EST641D INTRODUCTION TO FILM STUDIES - 4 04 100
EST641E ECOLOGICAL DISCOURSES AND PRACTICES - 4 4 100
EST641F REVISITING INDIAN EPICS - 4 4 100
MUS631 HISTORY OF WESTERN MUSIC - II - 2 2 100
MUS641A MUSIC PEDAGOGY - II - 2 2 100
MUS641B CHOIR CONDUCTING TECHNIQUES - II - 2 2 100
MUS651A MAJOR IN PIANO-VI (Solo) - 1 1 100
MUS651B MAJOR IN PIANO-VI (Ensmble) - 1 1 100
MUS652A MAJOR IN VOICE-VI (Solo) - 1 1 100
MUS652B MAJOR IN VOICE-VI (Ensemble) - 1 1 100
PSY631 POSITIVE PSYCHOLOGY - 4 4 100
PSY633 THERAPEUTIC INTERVENTIONS - II - 4 4 100
PSY651 PSYCHOLOGICAL RESEARCH METHODS AND ASSESSMENT-II - 2 2 50
      

    

Department Overview:

Music is a universal language that goes beyond physical and geographical boundaries of the world. It brings one closer to oneself and to the lived experiences of others. Music helps communicate something that is difficult to put down in a few words: our first-person perspective of reality. It rises from one’s soul in hope to reach the another.

The Department of Western Music aspires to create a genuine interest and appreciation for western classical music (voice and piano) among students. Throughout the first year, the Musical Foundations course combines music notation, theory, ear training, sight singing, effective practice and performance anxiety skills. The second year builds on this integrated toolbox by adding practical uses of tonal harmony across all western tonal styles and delving into the art of interpretation. Third year then scaffolds a final layer to this core set of skills which contextualise the history of Western Music to discuss the philosophical outlooks that underpin western approaches to music and life up until the present day. Each student will major in either voice or piano over the course of six practical semesters. The programme maintains a good balance between theory and practical knowledge, along with numerous opportunities for performances. Music as a subject itself goes much beyond just academics, and the programme is structured in a way to be able to contribute to everyone’s life

Mission Statement:

Vision

Learn. Create. Share.

Mission

To produce graduates of musical excellence in service to the community: able to perform, lead, learn and share throughout their entire life.

Introduction to Program:

Nowhere else in the world can the interweaving of language, psychology and western music be found. This combination provides a solid foundation into career paths that value interdisciplinary links already established within the graduate degree holders. Understandings of western culture, history, psychology, and philosophy are bridged within all three overlapping disciplines whilst simultaneously developing a solid musical platform from which one can express themselves artistically and creatively.

A large pool of customization remains within the course structure. Students can elect to specialise as a music teacher or choral director / conductor within the music programme. They can elect to study film, short story or teaching from the English programme; and specialise in French, Hindi, Kannada, Sanskrit or Tamil languages.

Literature is an important cultural product of a society or a nation. Hence, the study of literature offers insights into the worldviews of different societies. This course begins with traditional British literature to the present. The course also introduces students to other literatures namely American world, postcolonial and the Indian literature in translation. The course also introduces students to interdisciplinary studies in culture and gender helping them to gain insights from other disciplines like history, anthropology, sociology etc.

Program Objective:

The content taught in music is teleologic throughout global to highly individualised perspectives. This means that although the subject matter contains a global, national and regional social perspectives, the learning process is completely individual. In practical subjects the department takes an embodied learning approach, where a student is required to apply all learnings from their individual experiences throughout their lives and demonstrate how their individual world-views link into the global structures inherent to music through performance. More simply put, students are required to practically demonstrate individual abilities by applying theoretical principles to actions rather than regurgitating content from presentations. The department essentially monitors how much students practice their art through a guided system of global principles taught by faculty.

This means that multiple-choice, short answer questions and other surface-level assessment formats are sometimes not sufficient as the only way to assess within each course. Instead, most assessments are project-based with aligned criteria in rubrics which outline the evidence of learning more accurately within our courses. It is the demonstration of emotion and knowledge through principled practice of skills that prove student learning to the faculty. This approach also dramatically decreases the ability for students to cheat, as sharing notes actually helps everyone since assessments are based on pract

Assesment Pattern

 

Task

Marks Allocated

Weighting Adjustment

CIA I & III

Assessments Based on Asynchronous Tasks

20 Marks (each)

 

CIA II

Notation and Basic Music Theory

50 Marks

 

 

Total CIA

90 Marks

Reduced: 45 Marks

Attendance

 

5 Marks

ESE

Centralised End-of-semester Examination and Viva

100 Marks

Reduced: 50 Marks

 

Total Mark

 

100 Marks

Examination And Assesments

As music is the universal language, we approach its education in a similar way: as a language of intersubjective experience. Although this classification makes it easier to relate to on a surface level, when we peer deeper into what this language actually comprises, it begins to take on a different shape and nature to what we generally understand as a traditional language. This global language requires sensitivity to all elements of expression and thus we approach its teaching and learning from an ontological perspective. We accept that every student will approach their learning individually, and in relation to their previous experiences, and as such adopt a learner-centred pedagogical design. Our pedagogy is underpinned by the philosophical dialogues that branch from phenomenological thought, as our students are beings-in-the-world which actively participate within their environments to build upon their experiences as they learn.

By looking at what aspects of music interact with the experience one has of interacting with and in it, pedagogic layers across the entire spectrum of being emerge. As such we can approach teaching and learning musical skills through domains such as “speaking” the language through performance and articulating clearly through elocution; reading, interpreting and writing western notation;  listening deeply using aural mechanics and close examination of interpretation; and comprehension (harmony); this language also requires a deep sensitivity to other contextualising areas across interpersonal and intercultural domains such as phenomenology, autonomous thinking, practice approaches, performance anxiety, emotional connection, interpretation, leadership, pedagogy, history, sociology, effective citizenship, cultural values and culturally sustainable practices. 

Generally, teaching and learning music uses multiple learning models in tandem to assess each learner individually. Using a combination of Bloom's Revised Taxonomy of Cognitive Development (2001); Krathwohl's Taxonomy of Affective Development (1964); and Harrow's Taxonomy of Psychomotor Development (1972), can grant tremendous insight into the multitudes of ways learners compose themselves. These taxonomies are used to evaluate how students think, feel and act when they engage with music using different intelligences or sensibilities. Such sensibilities, thoughts, skill sets, and feelings are part of the pedagogic dialogue. Tasks can be geared to allow for educators to learn and engage with how individuals emotionally respond to their individual learning style and the musical phenomenon. 

The skills of articulating emotions through both word and musical practices are important components of artistic expression. The typical music educator finds such emotional discipline common knowledge as it is safe to assume most have experienced empathy. To a performer, emotional understanding becomes the vehicle that modulates their own theory- and practice-based skills. For instance, if a difficult musical passage is encountered and not fully known whilst practicing, it often becomes a point of anxiety during a performance. However, once the passage has been mastered, it becomes fun to perform as one gains control over the movements required of the passage. To engage in effective pedagogical dialogue, a music educator should see each learner as an individual, as each student brings different experiences to the classroom. The learning outcome for the music program is to empower each student by showing them the multiplicities of ways they (a) learn, (b) relate with and to music, and (c) use music as a vehicle of self-expression. Such an approach assists individual students to navigate through the jungle of finding meaning within their own experiences. With such a mode of thought, it can be said that everything we do is a combination of thinking, feeling, and moving.

Since these actions occur throughout all activities undertaken, these taxonomies are used as the underpinning scaffolds that contextualise assessment criteria. Throughout the duration of the course, neurological connections of these three domains are unpacked and applied to aspects of musical performance. When students understand which parts of the brain are working for what means, a framework for critical self-reflection can be assessed. Such assessments taking an experiential-reflective approach use English and Psychology to understand Music (and vice-versa) to determine individual emotional growth of each student. Practical courses within the department take such knowledge and focus on their physical applications throughout the skill sets. Such an approach links all three taxonomies underpinning both theoretical and practical aspects of English, Psychology and Western Music. It is with these thoughts in mind that the department of music creates and aligns each and every assessment criterion within our courses.

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

 

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)

  

 

Learning Outcome

Learning Outcome

 

The students will become

sensitive to cultural, social, religious and ethnic diversities and help them engage with their peers and all around them in a more understanding and ‘educated’ manner.

 

it will also enable them through the activities conducted to become more proactive citizens/participants in society.

 

aware of the dynamics of gender, identity, communalism and politics of this vast nation through its literature.

 

Unit-1
Teaching Hours:10
Poetry
 

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
 

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
 

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”

 

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

 

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

Learning Outcome

By the end of the course the learner should be able to:

      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

      Ability to use the understanding of pronunciation in theatre speeches and singing

      Ability to transcribe words from RP to IPA

      Ability to learn the pronunciation of English words using Daniel Jones English Pronouncing Dictionary

      Inquisitiveness appreciation for  towards languages in general

      Understanding of the requirements for various intellectual assemblies and platform speeches and ability to write platform speeches.

 

Unit-1
Teaching Hours:20
Phonemes and words
 

                                                                          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
Stress and Rhythm
 

1.    The Syllable

a. Morphemes

b. Assimilation and Elision

      2.  Word Accent

      3.  Intonation

      4. Tag

Unit-3
Teaching Hours:5
Language and Society
 
  1. Mother tongue influence on English in India
  2. British and American English, Language and Power
  3. English and Social Mobility in India

 

Unit-4
Teaching Hours:5
Public Speaking-Platform Roles
 
  1. Public Speaking – The four stages, flourishes (use of anecdotes, humour, proverbs, quotes etc)
  2. Types of Speeches(Lecture Series)

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:

 

Attendance

 

CIA (Weight)

ESE (Weight)

10%

40%

50 %

EST131 - BRITISH LITERATURE: ANGLO SAXON TO EARLY VICTORIAN (2021 Batch)

Total Teaching Hours for Semester:75
No of Lecture Hours/Week:5
Max Marks:100
Credits:4

Course Objectives/Course Description

 

Course Description:

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

 

Course Objectives

 

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

Learning Outcome

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
 

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
 

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

Unit-3
Teaching Hours:25
Reformation, Restoration and after
 

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
 

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

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

 

CIA III will be a moddle test on the Novel

 

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

 

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

 

Mid Semester Examination CIA II: 2 Hours

 

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

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

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

 

Total: 50 Marks

 

End Semester Examination: 3 Hours

 

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

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

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

 

 

Total: 100 Marks

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

 

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

Learning Outcome

Enhancement of linguistic competencies and sharpening of written and oral communicative skills. Being aware of francophone civilization. Ability to engage in simple conversations in French.

Unit-1
Teaching Hours:10
I discover
 

Lesson 1: Good Morning, how are you?

 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

 

Unit-2
Teaching Hours:5
Les fables de la Fontaine
 

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

Unit-3
Teaching Hours:10
Culture: Physical and Political France
 

 

Lesson 1: Who is it?

Lexicon - Professions

Grammar – Formation of the feminine, interrogative /negative phrases, it is

Speech acts – Asking and answering politely

   
 

Lesson 2: In my bag, I have......

Lexicon – Some objects, identity card

Grammar – First group verbs, verbs ‘to go’ and ‘to come’

Speech acts – Asking personal information

 

 

Unit-4
Teaching Hours:5
Les fables de la Fontaine
 

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

Unit-5
Teaching Hours:10
Video Workshop: How cute he is!
 

 

Lesson 1: How is he?

Lexicon – The physical aspect, character

Grammar – The formation of the feminine, contracted articles, tonique pronouns, there

                    is/are, interrogative adverbs

Speech acts – Describing the physical aspects and the character

   
 

Lesson 2: Hello?

Lexicon – Prepositions of place, numbers from 70

Grammar – Numbers, prepositions of place, second group verbs, verb ‘to do’

Speech acts – Speaking on the phone                                                                              

 

Unit-6
Teaching Hours:5
Visual text
 

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

Assessment Pattern

CIA (Weight)

ESE (Weight)

CIA 1 – Assignments / Letter writing / Film review

10%

 

CIA 2 –Mid Sem Exam

25%

 

CIA 3 – Quiz / Role Play / Theatre / Creative projects 

10%

 

Attendance

05%

 

End Sem Exam

 

50%

Total

50%

50%

HIN121 - HINDI (2021 Batch)

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

Course Objectives/Course Description

 

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.

Learning Outcome

 

At the end of the course, the student will be able to:

 

CO1: Improve their writing skill in literary Hindi by doing asynchronous session assignments.

 

●    CO2: Improve their analytical skills through critical analysis of the poems.

 

●    CO3: To appreciate the different aspects of Hindustani music.

 

●    CO4: To improve their basic research skills through creative and research oriented CIAs.

 

Unit-1
Teaching Hours:15
Samakaleen Hindi Kavitha (Collection of contemporary Hindi Poems),Kabir Ke Dohe and Sur Ke Pad.
 

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

 

Level of knowledge: Analytical

 

Unit-2
Teaching Hours:10
Translation-Theory and Practice
 

                                                                                            

                                      

                                          

                                           

         

Translation-Practice                English to Hindi and vice- versa.

Unit-3
Teaching Hours:10
Bharath ki pramukh sanskruthic kalayen-
 

Ramleela,Krishnaleela,Yakshagaana,kathakali.

Unit-4
Teaching Hours:10
Hindusthani Sangeeth-parampara evam pramukh kalakar
 

Utbhav,Vikas aur paramparaein

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

Text Books And Reference Books:

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

                                                                 

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

 

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.

Learning Outcome

  • Initiates to compose a lyrical poem
  • Understands and appreciates poetry as literary art form.
  • Develops analytical and critical bent of mind to compare and analyse the various literature they read and discuss in class.
  • Develops a more humane and service oriented approach to all forms of life around them.
  • Develop awareness about the Kannada Language, Literature and Culture
  • Ability to communicate effectively in speech and in writing.
  • Ability to use better language to communicate effectively

Unit-1
Teaching Hours:15
Old , Medieval and Modern Kannada Literature
 

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
 

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
 

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

2. Change of meanings

3. Translation: English to Kannada 

 

Unit-4
Teaching Hours:10
Folk Art forms of Karnataka
 

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

 

 

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

MUS131 - MUSIC FOUNDATIONS - I (2021 Batch)

Total Teaching Hours for Semester:75
No of Lecture Hours/Week:5
Max Marks:100
Credits:5

Course Objectives/Course Description

 

Western music features a set of core skills that enable musicians to communicate, translate, share and use ideas throughout all other musical skills. This foundation set of knowledge results in a toolbox that is practised to increase one’s musical fluency from a core focal point. Such a toolbox involves an integrated approach to practicing, reading, hearing and notating western music; understanding the underlying structures of music theory and singing by sight.

Course Objectives

  • Introduce the foundations of western music using and integrated approach.
  • Provide for ear training, sight singing, basic theory and notation skills.
  • Integrate all practical foundational skills to form a multi-purpose toolbox.
  • Promote fundamentals for fluency in practicing, listening, singing, reading and writing western music.
  • Use tools learned to autonomously develop an empathetic musical ear through indentification of temporal and melodic musical structures.
  • Develop a repertoire of approaches to transcription, practice and self-development.
  • Transcribe rhythms in any combination up to semiquaver subdivision; and melodies in both simple and compound meters.
  • Introduction to the fundamental concepts of Western Music theory.
  • Understanding of the fundamental concepts related to pitch and rhythm.
  • Applying theoretical knowledge to develop transcription, sight singing and performance skills.

Learning Outcome

  1. Define fundamental terminologies used in western music theory.
  2. Learn to read and write Western music notation.
  3. Relate the theoretical concepts to enhance transcription, sight singing and sight-reading skills.
  4. Link the theoretical knowledge through musical analysis to enhance your practical performance.
  5. Sing basic melodies upon first sight using Solfeggio.
  6. Transcribe rhythms and melodies in simple and compound time signatures to semiquaver subdivisions.
  7. Reflect on learning experiences and practice approaches to achieve self-developing musical goals.
  8. Use sounds heard within the environment as musical references.

Unit-1
Teaching Hours:15
Notation and Reading Western Music
 

Pitch & Relevant Terminologies; Accidentals & Introduction to Rhythm & Meter; Simple Time Signatures & Beaming rules; Compound time signatures and beaming rules and Odd time signatures.

Unit-2
Teaching Hours:15
Music Theory Rudiments I
 

Intervals; Major Scale and Minor Modes; Parallel and Relative Minors, pentatonic and whole tone scales; Key signatures and Circle of Fifths, Triads & inversion, Diatonic chord qualities; 7th chord qualities and inversions; Dynamics, Articulation, and ornamentation terminologies.

Unit-3
Teaching Hours:15
Sight Singing and Solfeggio
 

Reading Notation; Deciphering Rhythms; Basic Conducting Schemes; Interval Solfeggio; Syncopation & Practical Application of Concepts learned Music Theory.

Unit-4
Teaching Hours:15
Diatonic Transcription
 

You, Music and Developing Your Ears; Rhythmic Transcription: Simple and Compound Meters; Diatonic Intervals in Detail; Melodic Transcription.

Unit-5
Teaching Hours:15
Quality Practice Techniques
 

Working Backwards, Transcription and Practice, Honing on Areas of Improvement, Creating Musical Games for Practice, Establishing a Practie Routine.

Text Books And Reference Books:

Required reading and materials will be provided by professor in charge.

Essential Reading / Recommended Reading

Kostka, Stefan M. and Dorothy Payne. (2018). Tonal Harmony, with an introduction to twentieth-century music. New York: McGraw-Hill Education. 

Edlund, L. (1963). Modus Vetus: Sight Singing and Ear-Training in Major/Minor Tonality, Edition Wilhelm Hansen Stockholm, J & W Chester, London.

Steven G. Laitz. (2003). The complete musician: an integrated approach to tonal theory, analysis and listening. New York; Oxford: Oxford University Press.

Evaluation Pattern

 

Task

Marks Allocated

Weighting Adjustment

CIA I & III

Sight Singing and Transcription Tasks 

20 Marks (each)

 

CIA II

Notation and Basic Music Theory Assessment

50 Marks

 

 

Total CIA

90 Marks

Reduced: 45 Marks

 

Attendance

 

5 Marks

ESE

Centralised: Music Theory and Practice Approaches (30 marks) and Aural Viva Voce (20 marks)

100 Marks

Reduced: 50 Marks

 

Total Mark

 

100 Marks

MUS151A - MAJOR IN PIANO-I (Solo) (2021 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:1
Max Marks:100
Credits:1

Course Objectives/Course Description

 

Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group and one-on-one interaction between instructor and learner. These interactions help in efficiently determining the theoretical and practical level of each student. The instructor will develop individual course plans to suit each student’s needs and requirements. The Major is a six-part course that will be completed throughout the three years of study in the music program. The course concentrates on developing an individuals piano techniques. 

 

Course Objectives

  •  Implement theoretical understandings from other courses into practice
  •  Exploring repertoire from different historical eras of western classical music. 
  •  Understand personal strengths and weaknesses and develop practice habits accordingly
  • Understanding of common western classical piano repertoire in performance through historical and harmonical context.

Learning Outcome

By the end of the program students will be able to:

  • Translate musical notation, language and nomenclature of each piece being performed into English.
  • Develop appropriate practice regime to suit individual performance requirements.
  • Perform selected Western classical repertoire with appropriate technical ability and musical expression.
  • Develop Stage performance, presentation and communication skills. 

Unit-1
Teaching Hours:15
Individual development
 

Students will be directed individually with respect to the following guidelines:

  • Implement theoretical understandings from other courses into practice.
  • Perform selected repertoire with appropriate technical ability and musical expression.
  • Understand personal strengths and weaknesses and develop practice habits accordingly.
Text Books And Reference Books:

Required resources will be provided by the professor in charge.

Essential Reading / Recommended Reading

Not required

Evaluation Pattern

 

Task

Marks Allocated

 

CIA

No CIA I, II & III

   

ESE

End of semester Practical Examination: Solo

100 Marks

 

 

Total Mark

100 Marks

 

 

 

 

 

 

 

 

 

 

 

 

 

MUS151B - MAJOR IN PIANO-I (Ensemble) (2021 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:1
Max Marks:100
Credits:1

Course Objectives/Course Description

 

A Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group and one-on-one interaction between instructor and learner. These interactions help in efficiently determining the theoretical and practical level of each student. The instructor will develop individual course plans to suit each student’s needs and requirements. 

The Major is a six-part course that will be completed throughout the three years of study in the music program. The course is divided into technical and Ensemble Units. The former unit concentrates on developing fundamental piano techniques through primary technical exercises, the latter focusing on general mentalities and nonverbal communication skills that contribute to successful group performances in differing piano ensemble settings (4-hands, 6-hands, multiple pianos, etc.) and/or vocal accompaniments.

Course Objectives

  • Implement theoretical understandings from other courses into group performance
  • Perform selected repertoire with appropriate technical ability and musical expression.
  • Understand personal strengths and weaknesses and develop practice habits accordingly. 
  • Develop a rigorous practice routine of fundamental technical exercises for pianists. 

Learning Outcome

By the end of the program students will be able to:

  • Contribute to a team by performing simultaneously with other musicians.
  • Determine appropriate practice techniques to solve problems within performance of repertoire.
  • Clearly communicate with ensemble members (musically and linguistically) to manage musical goals.
  •  Develop a solid piano techniques through primary exercises which directly contributes to technical development of a students’ piano repertoire for Major in Piano – Solo.

Unit-1
Teaching Hours:15
Individual development
 
  • Students will work together in groups assigned by the professor per skill levels and ability.
  • Progress will be monitored and difficulties attended to on an individual / group interaction basis.
  • Groups will have regular performance opportunities in front of peers, wider department and beyond. 
  • Develop a solid piano techniques through primary exercises which directly contributes to technical development of a students’ piano repertoire for Major in Piano – Solo.
Text Books And Reference Books:

Required materials will be provided by the professor in charge.

Essential Reading / Recommended Reading

Not required

Evaluation Pattern

Exam

Task

Marks Allotted

Minimum pass mark

CIA

NO CIA I, II & III

-

-

ESE

End Semester practical exam:

-

-

 

Technical exam*

50

25

 

Collaborative event*

50

15

 

Total ESE marks

100

40

NOTE: 

* The student has to achieve a min pass mark to receive an overall pass for Major in Piano (Ensemble) - I. If the student fails to achieve the min. pass mark in either of the component (Technical exam or collaborative event), it will be considered an overall fail. 

MUS152A - MAJOR IN VOICE-I (Solo) (2021 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:1
Max Marks:70
Credits:1

Course Objectives/Course Description

 

Major is the most important course among all music courses. This course offers one-on-one interaction between the instructor and the learner. These interactions help in determining efficiently the practical and theoretical level of learning of each student. The Major is a six part course that will be completed through the three years of study in the programme. The course aims at making each individual a better musician by helping them to understand the form better and be creators of it as well.

Learning Outcome

  • Fluently read western notation.
  • Develop musical expression.
  • To engage in the musical repertoire.

Unit-1
Teaching Hours:15
Personal Development
 

The individual student will be taught vocal technique, customised to individual strengths and weaknesses

  • Implement theoretical understandings from other courses into practice.
  • Perform selected repertoire with appropriate technical ability and musical expression.
  • Understand personal strengths and weaknesses and develop practice habits accordingly. 
Text Books And Reference Books:

Not required

Essential Reading / Recommended Reading

Not required

Evaluation Pattern

No CIA I, II or III

End semester examination – practical exam; 100 marks

 

MUS152B - MAJOR IN VOICE-I (Ensemble) (2021 Batch)

Total Teaching Hours for Semester:15
No of Lecture Hours/Week:1
Max Marks:30
Credits:1

Course Objectives/Course Description

 

This course offers small to large group interaction between the instructor and the students. These interactions help students by giving them the opportunity to play in various combinations of piano groups to a professional standard. The course joins with Major in Piano (solo) and is part of holistic performance education.

Learning Outcome

Working in different vocal ensembles (Duets, Trios, Quartets, Ensembles, Choirs).

Opportunities will be available to help in group performances across departments.

Unit-1
Teaching Hours:15
Individual Development
 

Students will work together in groups assigned by the professor per skill levels and ability.

Progress will be monitored and difficulties attended to on an individual / group interaction basis.

Groups will have regular performance opportunities in front of peers, wider department and beyond.
Essential References

Text Books And Reference Books:

Essential references will be provided by the professor in charge.

Essential Reading / Recommended Reading

Not required.

Evaluation Pattern

Evaluation Pattern
   

No CIA I, II or III

End semester examination – practical exam; 100 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

 

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

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

Learning Outcome

By the end of the course the learner will be able to:

  1. 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.
  2. Critically evaluate the different schools of thought in psychology
  3. Define the basic biological process that influence behaviour
  4. Analyse methods of scientific inquiry, evidence-based thinking, and critical thinking skills to psychological phenomena and examples of psychological science
  5. Write assignments and make presentations demonstrating basic knowledge of APA (American Psychological Association) style.

Unit-1
Teaching Hours:15
History and Schools of Thought
 

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
 

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
 
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
 

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
 

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)    

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

End Semester Examination : Total Marks=100=50

Question paper pattern

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

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

 

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.

Learning Outcome

To develop linguistic skills

To develop communication skills

To analyse and appreciate the poem and literature

To acquaint the students with the linguistic features, aesthetic sense and other specific key features of famous Sanskrit poetry.

Unit-1
Teaching Hours:42
Janaki Haranam
 

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
 

 

Sandhis and lakaras          

Unit-2
Teaching Hours:3
grammar
 

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

 

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.

Learning Outcome

To make the students experience the impact made by Bharathiyar and Bharathidasan during the 20th century and to bring them to the realities of 21st century. They will also learn, on their own, about the nuances of music and a unique aesthetic experience it offers 

Unit-1
Teaching Hours:10
Modern Poetry- Bharathiyar
 

1. Kannan yen sevagan

2. Kannan yen kozhandhai

3. Kannan yen vilayatu pillai

4. Kannan yen kadhalan

5. Kannan yen kadhali

 

Unit-2
Teaching Hours:10
Bharathi dasan
 

1. Kadal

2. Kundram

3. Nyaairu

4. Aal

5. Chittrur

Unit-3
Teaching Hours:10
Contemporary Cultural Issues
 

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
 

1.Ottadai -Thamarai

2. Kapinaani thozhudhal- Ponmani vairamutu

3. Yendhan tozha- Subhathra

4. Kadal konda pen puram- Andal priya dharshini

5. Pen- P. Kalpana '

 

 

Unit-5
Teaching Hours:2
Grammer- Language skills
 

Pira mozhi chorkal

Unit-6
Teaching Hours:3
Common topic
 

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

 

 

 

 

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

 

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

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

 

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)

 

Learning Outcome

The students will become

more aware culturally, ethically, socially and politically as citizens

the course will sensitize students towards cultural, social, religious and ethnic diversities and help them engage with their peers and all around them in a more understanding and ‘educated’ manner.

it will also enable them through the activities conducted to become more proactive citizens/participants in society.

aware of the dynamics of gender, identity, communalism and politics of this vast nation through its literature.

 

Unit-1
Teaching Hours:10
Poetry
 

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
 

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
 

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.


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: 5 x 5 = 25

Section B: 5 x 15= 75

Total                   100

 

 

 

 

 

 

 

 

 

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

 

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. 

Learning Outcome

      To develop connection between reading, thinking and writing

      To use writing as a way to explore an idea, concept

      To develop the ability to read their own writing critically

      To make the students conversant with conventions of writing that clarify and

      enhance meaning   

      To compose variety of correspondence for specific purposes

      To write clearly, persuasively, ethically and to a deadline

      To use current available technology to streamline and maximize the effectiveness     

of written and verbal reports and to facilitate research

      To find and organize material appropriate to audience, purpose, and situation

      To develop clear, complete, and accurate written and spoken messages

      To recognize communication barriers and how to remove them

Unit-1
Teaching Hours:7
Rhetoric of Writing
 

a.   Writer

b.   Purpose

c.   Audience

d.   Tone

e.   Context 

Unit-2
Teaching Hours:10
The Writing Process
 

1.  The different kinds of Essays

a. Planning

b. Drafting

c. Revising

Unit-3
Teaching Hours:10
Research
 
  1. The Purpose of Research

a.     Basic Skills of Researching

b.     Collecting Information from People

c.     Collecting Published Information

d.     Designing Pages

e.     Design for Readers

f.      Elements of Page Design

 Basic Design Guidelines

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

a.     IMRD Reports

b.      Progress Reports

c.     Formal Reports

d.     Recommendation Reports

e.     Feasibility Reports

f.       Oral Reports

  1.  Proposals
Text Books And Reference Books:

Will be provided by the course instructor

Essential Reading / Recommended Reading

Will be provided by the course instructor

Evaluation Pattern

CIA 1: 20

CIA 2: 50

CIA 3: 20

ESE: 50

Assessment pattern:

 

Attendance

 

CIA (Weight)

ESE (Weight)

10%

40%

50 %

EST231 - BRITISH LITERATURE: LATE VICTORIAN TO THE PRESENT (2021 Batch)

Total Teaching Hours for Semester:75
No of Lecture Hours/Week:5
Max Marks:100
Credits:4

Course Objectives/Course Description

 

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

 

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

Learning Outcome

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
 

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
 

Modernism, The World Wars, The Boer war, Russian revolution, Surrealism, Cubism, Expressionism

Unit-3
Teaching Hours:20
Late Twentieth Century to the Present Day
 

British Beat Generation, Performance Poetry, Postmodernism, Diaspora, Multiculturalism, Hybridity

 

 

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:

 

  1. For all texts Norton Editions are to be treated as the official prescribed editions.
  2. For critical material The Cambridge Companion Series of CUP, Case Book Series of Macmillan and Palgrave, and Norton series of WW Norton are officially prescribed.

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

 

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

Learning Outcome

Enhancement of linguistic competencies and sharpening of written and oral communicative skills. Being aware of francophone civilization. Ability to engage in simple conversations in French.

Unit-1
Teaching Hours:10
Culture: A country of vacation
 

Dossier 4- Culture: A country of vacation

 

Lesson 1: Hobbies

Lexicon – Hobbies, daily activities, matter

Grammar – Interrogative adjectives, ordinal numbers, time, direct object personal pronouns

Speech acts – Speaking about tastes and preferences

 

   
 

Lesson 2: The routine

Lexicon – Weather and time, frequency

Grammar – Pronominal verbs, first group verbs, verb ‘to take’

Speech acts – Describing one’s day

Unit-2
Teaching Hours:5
Poem
 

1. Demain dès l'aube (Tomorrow from dawn)- Victor Hugo

Unit-3
Teaching Hours:10
I discover
 

Dossier 5 - I discover

Lesson 1: Where to shop?

Lexicon – Food, quantity, trade and traders

Grammar – Partitive articles, pronouns of quantity, very or very much

Speech acts – At the restaurant -ordering and commenting

   
 

Lesson 2: Discover and Taste

Lexicon – To ask and say the price, services, modes of payment

Grammar – It is/ He is, imperative tense, it is necessary, verbs ‘to owe’, ‘to be able,

                  ‘to know’, ‘to wish/want’

Speech acts -Inviting and responding to an invitation

Unit-4
Teaching Hours:5
Poem
 

 

2. Le Lac (The Lake) - Alphonse de Lamartine

Unit-5
Teaching Hours:10
Culture: Gourmet Countries
 

Dossier 6- Culture: Gourmet Countries

 

Lesson 1: Everyone is having fun

Lexicon- Outings, situating in time

Grammar – Demonstrative adjectives, formation of the feminine, indefinite pronoun ‘one’

                   Immediate future

Speech acts – Describing an outfit

   
 

Lesson 2: Daily routine of Teenagers

Lexicon – The family, clothes and accessories

Grammar – Simple past tense, first group verbs ending in ‘yer’, verbs ‘to see’ and ‘to go out’

Speech acts – Writing a friendly message                                                                                                         

 

Unit-6
Teaching Hours:5
Revision
 

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

Assessment Pattern

CIA (Weight)

ESE (Weight)

CIA 1 – Assignments / Letter writing / Film review

10%

 

CIA 2 –Mid Sem Exam

25%

 

CIA 3 – Quiz / Role Play / Theatre / Creative projects 

10%

 

Attendance

05%

 

End Sem Exam

 

50%

Total

50%

50%

HIN221 - HINDI (2021 Batch)

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

Course Objectives/Course Description

 

 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.

 

Learning Outcome

By the end of the course the student should be able to:

●    CO1: Improve their writing skill in literary Hindi by doing asynchronous session assignments.

●    CO2: Improve their analytical skills through critical analysis of the short stories.

●    CO3: Understand and appreciate the thematic and technical aspects of Hindi movies through visual text.

●    CO4: Enhance the basic research skills through CIAs.

 

Unit-1
Teaching Hours:15
Samakaleen Kahaniyam