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1 Semester - 2021 - Batch | Course Code |
Course |
Type |
Hours Per Week |
Credits |
Marks |
AEN121 | ADDITIONAL ENGLISH | Ability Enhancement Compulsory Course | 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) | Core Courses | 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 | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
ENG223 | WRITING SKILLS | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
EST231 | BRITISH LITERATURE: LATE VICTORIAN TO THE PRESENT | Core Courses | 5 | 4 | 100 |
FRN221 | FRENCH | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
HIN221 | HINDI | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
KAN221 | KANNADA | Ability Enhancement Compulsory Course | 3 | 03 | 100 |
MUS231 | MUSIC FOUNDATIONS - II | Core Courses | 5 | 5 | 100 |
MUS251A | MAJOR IN PIANO-II (Solo) | Core Courses | 1 | 1 | 100 |
MUS251B | MAJOR IN PIANO-II (Ensmble) | Core Courses | 1 | 1 | 100 |
MUS252A | MAJOR IN VOICE-II (Solo) | Core Courses | 1 | 1 | 100 |
MUS252B | MAJOR IN VOICE-II (Ensemble) | Core Courses | 1 | 1 | 100 |
MUS281 | INTERNSHIP | - | 15 | 2 | 100 |
PSY231 | BASIC PSYCHOLOGICAL PROCESSES - II | Core Courses | 5 | 5 | 100 |
SAN221 | SANSKRIT | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
TAM221 | TAMIL | Ability Enhancement Compulsory Course | 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 | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
ENG423 | WRITING FOR MEDIA | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
EST431 | INTRODUCTION TO LITERARY THEORY | Core Courses | 5 | 4 | 100 |
FRN421 | FRENCH | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
HIN421 | HINDI | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
KAN421 | KANNADA | Ability Enhancement Compulsory Course | 3 | 03 | 100 |
MUS431 | HARMONY - II | Core Courses | 2 | 2 | 100 |
MUS441A | PIANO LITERATURE - II | Discipline Specific Elective | 2 | 2 | 100 |
MUS441B | OPERA LITERATURE - II | Discipline Specific Elective | 2 | 2 | 100 |
MUS451A | MAJOR IN PIANO-IV (Solo) | Core Courses | 1 | 1 | 100 |
MUS451B | MAJOR IN PIANO-IV (Ensmble) | Core Courses | 1 | 1 | 100 |
MUS452A | MAJOR IN VOICE-IV (Solo) | Core Courses | 1 | 1 | 100 |
MUS452B | MAJOR IN VOICE-IV (Ensemble) | Core Courses | 1 | 1 | 100 |
PSY432 | LIFE SPAN DEVELOPMENT | Core Courses | 5 | 5 | 100 |
PSY452 | PSYCHOLOGICAL STATISTICS AND EXPERIMENTS | Ability Enhancement Compulsory Course | 2 | 2 | 50 |
SAN421 | SANSKRIT | Ability Enhancement Compulsory Course | 3 | 3 | 100 |
TAM421 | TAMIL | Ability Enhancement Compulsory Course | 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 | Core Courses | 5 | 4 | 100 |
EST641A | CULTURAL STUDIES | Discipline Specific Elective | 4 | 04 | 100 |
EST641B | INTRODUCTION TO ENGLISH LANGUAGE TEACHING | Discipline Specific Elective | 4 | 04 | 100 |
EST641C | INTRODUCTION TO SHORT STORY | Discipline Specific Elective | 4 | 04 | 100 |
EST641D | INTRODUCTION TO FILM STUDIES | Discipline Specific Elective | 4 | 04 | 100 |
EST641E | ECOLOGICAL DISCOURSES AND PRACTICES | Discipline Specific Elective | 4 | 4 | 100 |
EST641F | REVISITING INDIAN EPICS | Discipline Specific Elective | 4 | 4 | 100 |
MUS631 | HISTORY OF WESTERN MUSIC - II | Core Courses | 2 | 2 | 100 |
MUS641A | MUSIC PEDAGOGY - II | Skill Enhancement Course | 2 | 2 | 100 |
MUS641B | CHOIR CONDUCTING TECHNIQUES - II | Skill Enhancement Course | 2 | 2 | 100 |
MUS651A | MAJOR IN PIANO-VI (Solo) | Core Courses | 1 | 1 | 100 |
MUS651B | MAJOR IN PIANO-VI (Ensmble) | Core Courses | 1 | 1 | 100 |
MUS652A | MAJOR IN VOICE-VI (Solo) | Core Courses | 1 | 1 | 100 |
MUS652B | MAJOR IN VOICE-VI (Ensemble) | Core Courses | 1 | 1 | 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 Course | 2 | 2 | 50 |
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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 practically demonstrating embodied understandings through the practical skills taught. This makes it especially important to define clear evaluation rubrics well in advance to set learning goals.
School of Arts & Humanities Programme Outcomes These outcomes articulate the global values held by a School. They interlink with both higher focal points (such as SDGs, Government Policy, Cultural Organization and Strategic Planning) and also help scaffold the breaking down of more specific outcomes of individual departments. These outcomes are derived from the university graduate attributes and are by their very nature interdisciplinary. Below is the list of Programme Outcomes that are to be displayed by all courses within the School of Arts and Humanities: 1. Academic Expertise 2. Critical Thinking 3. Effective Communication 4. Social Interaction 5. Effective Citizenship 6. Ethics 7. Environment and Sustainability 8. Self-directed and Life-long Learning
Programme Specific Outcomes (MPE: Music, Psychology and English Studies) The Music, Psychology and English Studies triple major program synthesises the outcomes of three disciplines to form an integrated understanding of interdisciplinary approaches. As such, as discipline contains concomitant contexts which overlap, as seen in the table below. Each discipline’s contexts have been disseminated from the values-based outcomes articulated by the School of Arts & Humanities. The combined programme aims to develop skills that work on resolving English language, psychological and practical musical issues which may be blocking the individual’s path of reaching their fullest potential throughout life. By the end of the triple major programme, students will be able to demonstrate:
Programme Specific Outcomes (PSO): Department of Western Music Contexts 1. Performance 2. Emotional Thought 3. Interpretation Approaches 4. Ensemble Integrity 5. Leadership Skills 6. Philosophy 7. Musical Environments 8. Musicality
Programme Specific Component Outcomes: Department of Western Music The department of western music adopts a holistic approach to the teaching and learning of music. All musical contexts within the programme have been derived from the values-based outcomes outlined by the School of Arts and Humanities. Skills and Knowledge components are disseminated from the overlapping of musical contexts and identified values-based outcomes. In fusing such focal points of musical horizons through performance repertoire; each student actively participating in the course will benefit through receiving an autonomous musical skills toolbox, customizable to the individual's learning style. By the end of the western music programme, students will be able to:
Skills 1. Performance Skills 2. Aural Mechanics 3. Nonverbal Communication 4. Event Management 5. Pedagogy and Conducting 6. Research and Phenomenology 7. Culturally Sustainable Practices 8. Autonomous Thinking
Knowledge 1. Technical Mastery 2. Musical Structure 3. Elocution and Articulation 4. History and Sociology 5. Community Building 6. Neuropsychology 7. Cultural Values 8. Practice Approaches | |||||||||||||||||||||||||||
Assesment Pattern | |||||||||||||||||||||||||||
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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 |
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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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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
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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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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 |
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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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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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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 |
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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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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.
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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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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 | |
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 |
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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
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Course Outcome |
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Unit-1 |
Teaching Hours:15 |
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Notation and Reading Western Music
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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 |
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Music Theory Rudiments I
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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 |
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Sight Singing and Solfeggio
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Reading Notation; Deciphering Rhythms; Basic Conducting Schemes; Interval Solfeggio; Syncopation & Practical Application of Concepts learned Music Theory. | |||||||||||||||||||||||||||||
Unit-4 |
Teaching Hours:15 |
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Diatonic Transcription
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You, Music and Developing Your Ears; Rhythmic Transcription: Simple and Compound Meters; Diatonic Intervals in Detail; Melodic Transcription. | |||||||||||||||||||||||||||||
Unit-5 |
Teaching Hours:15 |
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Quality Practice Techniques
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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
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MUS151A - MAJOR IN PIANO-I (Solo) (2021 Batch) | |||||||||||||||||||||||||||||
Total Teaching Hours for Semester:15 |
No of Lecture Hours/Week:1 |
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Max Marks:100 |
Credits:1 |
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Course Objectives/Course Description |
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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 concentrates on developing an individuals piano techniques.
Course Objectives
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Course Outcome |
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By the end of the program students will be able to: |
Unit-1 |
Teaching Hours:15 |
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Individual development
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Students will be directed individually with respect to the following guidelines:
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Text Books And Reference Books: Required resources will be provided by the professor in charge. | |||||||||||||||||||||||||||||
Essential Reading / Recommended Reading Not required | |||||||||||||||||||||||||||||
Evaluation Pattern
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MUS151B - MAJOR IN PIANO-I (Ensemble) (2021 Batch) | |||||||||||||||||||||||||||||
Total Teaching Hours for Semester:15 |
No of Lecture Hours/Week:1 |
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Max Marks:100 |
Credits:1 |
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Course Objectives/Course Description |
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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
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Course Outcome |
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By the end of the program students will be able to: |
Unit-1 |
Teaching Hours:15 |
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Individual development
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Text Books And Reference Books: Required materials will be provided by the professor in charge. | |||||||||||||||||||||||||
Essential Reading / Recommended Reading Not required | |||||||||||||||||||||||||
Evaluation Pattern
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 |
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Max Marks:70 |
Credits:1 |
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Course Objectives/Course Description |
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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. |
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Course Outcome |
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Unit-1 |
Teaching Hours:15 |
Personal Development
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The individual student will be taught vocal technique, customised to individual strengths and weaknesses
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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
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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 |
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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. |
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Course Outcome |
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Working in different vocal ensembles (Duets, Trios, Quartets, Ensembles, Choirs). |
Unit-1 |
Teaching Hours:15 |
Individual Development
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Students will work together in groups assigned by the professor per skill levels and ability. | |
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 | |
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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By the end of the course the learner will be able to: |
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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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
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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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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
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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 | |
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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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
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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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● 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 |
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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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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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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 |
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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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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
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