Syllabus for
Master of Arts (English and Cultural Studies)
Academic Year  (2018)

Refer Below

This course ensures that the students have the necessary skills that a psychology graduate should have once they graduate out of the program. This course ensures that the students are on par with the students from various international colleges and universities, thereby widening their horizons when it comes to further research or higher education options. 

Definition of a goal; Types of goal; Goal setting; Evaluation of goal setting plan

Course Description:

This course is compulsory core course that shall provide a survey of key debates in the field of Cultural Studies. The course aims to introduce students to the interdisciplinary nature of the domain of cultural studies and also that polemics is fundamental to the field of study. Structured around four important domains, the course closely looks at problematizing representations of genres, nation, identities and truth. 

Course Objectives:

• To introduce students to ‘culture’ as an academic field of study;
• To help develop a dialogue with other areas of study like Gender, Caste, Nation etc;
• To emphasize the relationship between knowledge and power as being central to understand the nuances of cultural debates

At the end of the course, students would be able to:

• Understand ‘culture’ as a contested category
• Understand debates as being central to the constructedness of ‘culture’
• Develop a critically sharp outlook towards reading and understanding aspects of culture

This module introduces students to debates surrounding ‘literature’ and cultures of literatures/letters. The objective of the unit is to help students understand the problematics of genres, nomenclatures, and categories and develop a critical aesthetic and a bent of mind to approach aspects of culture. The unit will also look at the critical turn and the emergent cultures of reading, especially in the digital age.  

1. Terry Eagleton: “What is Literature?”
2. Michel Foucault: “What is an Author?”
3. Roland Barthes: “Death of the Author” and “From Work to Text
4. Henry Giroux: “The Politics of Theory, Practice and Clarity”
5. Simone Chambers: “The Politics of Critical Theory”

Barthes, Roland. Mythologies. Vintage, 1993.

Grossberg, Lawrence. “Cultural Studies in the Future Tense”. Duke UP, 2010.

Martin, Fran, ed. Interpreting Everyday Culture. Arnold Publishers, 2003.

Rampley, Matthew, ed. Exploring Visual Culture: Definitions, Concepts, Contexts. Edinburgh UP, 2005.

 Rorty, Richard. Achieving our Country: Leftist Thought in Twentieth Century America. Harvard UP, 1999. 

                                                Section B (15X2 = 30 marks)

End Semester Examination:   Section A (10X2=20 marks)

Section B (15X2 = 30 marks)

This course aims to introduce postgraduate learners to advanced approaches to reading poetry, with the integration of literary readings and interdisciplinary perspectives, particularly with reference to the role of poetry in cultural studies. It is hoped that the reading of poetry through different media—inclusive of emerging media in the digital era – will underscore the significance of critical thinking and autonomous engagement with texts, both of which are skills crucial to our time.

Learners will be able to:

·   Understand the different cultural and socio-political factors responsible for the creation of such works of art

·   Examine poetry from a variety of contexts and approaches and

·   Develop critical insights into engaging with poetry and its relevance to real-world contexts.

Unit 1: Understanding Poetry                                                                               10 hours

·         Naomi Shihab Nye, “Kindness”

·         Academy of American Poets: Why Poetry Matters Now

·         Wislawa Szymborska - Nobel Lecture: The Poet and the World

·         Bean and Chasar, Poetry After Cultural Studies (2011) – Extracts

·         Adorno, “Two Essays on Poetry and Society”

·         Amitava Kumar, “Poetry for the People” (from Poetry and Cultural Studies: A Reader)

·         Auden, “Musée des Beaux Arts” + Eagleton Chapter 1: Poetry and Criticism

Damon, Maria and Livingston, Ira.Poetry and Cultural Studies: A Reader. Chicago: University of Illinois Press, 2009.

Arana, R. Victoria. W.H. Auden's Poetry: Mythos, Theory, and Practice. Cambria Press, 2009.

Bean, Heidi R. And Chaser, Mike. Poetry After Cultural Studies. University of Iowa Press, 2011.

Croft, Barbara L. Stylistic Arrangements: A Study of William Butler Yeats' A Vision, Bucknell University Press, 1987.

Eagleton, Terry. How to Read a Poem. Malden, Mass: Blackwell Publishers, 2007.

Firchow, Peter Edgerly. W.H. Auden: Contexts for Poetry. University of Delaware Press, 2002.

Fisher, William J. The American Literature of the Nineteenth Century: An Anthology. New Delhi Eurasia Publishing House Pvt Ltd, 1970.

King, Bruce. Modern Indian Poetry in English. New Delhi: Oxford University Press, 1987. Print.

McDiarmid, Lucy. Saving Civilization: Yeats, Eliot, and Auden Between the Wars. CUP Archive, 1984.

Oliver, Mary. The Poetry Handbook: A Prose Guide to Writing and Understanding Poetry. New York: Harcourt Brace & Company, 1994.

Parthasarathy, R. ed., Ten Twentieth Century Indian Poets, Delhi: Oxford University Press, 1976.

Course Description

During the 2014 edition of the Muziris Biennale, the walls of Fort Kochi were splashed with extremely idiosyncratic graffiti paintings by an anonymous artist who goes by the quirky moniker, “Guess Who”. These doodles liberally spiced up with political wit attempted a capricious melding- of Bob Marley, Jimi Hendrix and Michael Jackson conjured up in the bodies of the Carnatic music trio; Heath Ledger’s Joker in the vidooshaka’s costume typical of Koodiyattam; Marx and Engels meditating like Sankara and his disciple; Colonel Sanders busy making dosas at a local wayside shop etc., thereby staging a cultural encounter of the East and the West in ways that mutually comment on each other. If as John Berger puts it in his iconic work, Ways of Seeing, “the relation between what we see and what we know is never settled”, how does one understand culture, a word at once passed off as self-explanatory and yet remains elusive in spite of its frenzied currency in contemporary usage. Cultural Studies is a comparatively young area of research and teaching that brings in new perspectives to our notions regarding ‘texts’ and ‘meanings’ and therefore to the study of literatures, cultures and societies. This course seeks to pool together theoretical tools and critical perspectives to interrogate cultural texts of multiple kinds like, advertisements, films, television, newspaper and internet texts and so on that saturate our lives.

Course Objectives: The course seeks to equip students to

• Analyse and explain major theories that both influenced and came out of Cultural Studies and its approach to ‘high’ and popular culture
• Apply one or more concepts of cultural studies to unique research problems
• Demonstrate the practicality of cultural studies theory to new situations and practices relevant to the everyday experience of students.

Barthes, Roland (1957). "Myth Today".

Williams, Raymond, (1958) "Culture is Ordinary" from The Everyday Life Reader.

Walter Benjamin (1968) "The Work of Art in the Age of Mechanical Reproduction," in Hannah Arendt (ed) Illuminations

·         During, Simon. The Cultural Studies Reader. New York: Routledge, 2007.

·         Storey, John. An Introduction to Cultural Theory and Popular Culture. Virginia:Pretence Hall, 1997.

·         Milner, Andrew & Jeff Browitt. Contemporary Cultural Theory: An Introduction. London: Routledge, 2006.

Midsemester Exam (50 Marks)

CIA-2 (20 Marks)

Final Exam (50 Marks)

Course Description

The aim of this course is to introduce students to the various theoretical frameworks in literary and cultural studies that they may use to enhance their readings of texts and, eventually, to formulate their own research questions and to discover areas of inquiry that they are interested in specialising in.

Course Objectives

On the completion of course, students will be able to:

·         Conceptualize their scholarly field

·         Develop suitable methodological strategies

·         demonstrate the ability to describe and discuss different methods and their areas of application, their strengths and weaknesses and their epistemological roots

·         demonstrate the ability to formulate research questions, design a scientific study and choose relevant methods based on a specific research questions

·         demonstrate the ability to reflect over methodological aspects that are related to different research paradigms, and to able see the relationship between the theoretical basis and the choice of research method

·         demonstrate the ability to critically reflect over one’s own role and position as a researcher

·         demonstrate the ability to reflect over issues related to scientific theory

Introduction to Research

·         Philosophy of Research

·         Research in Literary Studies

·         Research in Cultural Studies

·         Ethics and Politics of Research

·         How to use Library Resources

·         Plagiarism

Donald Keesey: Contexts for Criticism.

CIA I & II: Can deal with understanding concepts of research and the philosophy of research and its applicability.

MSE: Can be a submission on a reading and analysis of an example of how to apply theory to text. – Can be in terms of Annotations. – JSTOR, Springer, Project Muse research articles can be chosen.

ESE: Choose a text and clearly articulate how a particular theory can be applied to the chosen text with relevant examples. Do not have to write a research paper as this will be dealt with in the next semester.

Scholars have theorised that World War II necessitated the development of postmodernism. In poetry, post-World War II writers engaged with form and meaning in ways that had rarely been explored in earlier times. As we move into an era of human history in which violence is ubiquitous and our definitions of self, the nation, and the world require serious thought and revision, we offer Postwar Poetry as a unique module that reflects contemporary concerns and leads learners to reflect critically on issues intrinsic to their identities, lives, and communities.

Students will be able to:

·    become familiar with the basic history of poetry in the period 1945-the present.

·    begin to understand the place of poetry within the cultural market during this period;

·    discover the main trends and authors of this time; and

·    develop critical insights into engaging with poetry of this period.

·       Bishop, North & South, A Cold Spring, Questions of Travel; Vendler, “Elizabeth Bishop”, Geography III

·       Brooks, A Street in Bronzeville Annie Allen, The Bean Eaters, In the Mecca, To Disembark, “Interview with Ida Lewis”

Baker, “The Florescence of Nationalism in the 1960s and 1970s”

Required Texts

·       Elizabeth Bishop, The Complete Poems

·       Gwendolyn Brooks, Blacks

·       Allen Ginsberg, Howl

·       Adrienne Rich, The Dream of a Common Language

·       John Ashbery, The Mooring of Starting Out: The First Five Books of Poetry

·       John Ashbery, Self-Portrait in a Convex Mirror

·       Charles Bernstein, Controlling Interests

·       C.D. Wright, Deepstep Come Shining

·       Thylias Moss, Tokyo Butter

·       Carol Ann Duffy

·       John Burnside

·       Agha Shahid Ali, The Country without a Post Office

·       Agha Shahid Ali, Ravishing (Dis)Unities

·       Michael Ondaatje, The Collected Works of Billy the Kid

·       Vikram Seth, Golden Gate

·       Rukmini Bhaya Nair, Ayodha Cantos

·       Faiz Ahmed Faiz, The Rebel’s Silhouette

·       Anna Akhmatova

·       Pablo Neruda

·       Czeslaw Milosz

·       Ranjit Hoskote, “The Cartographer’s Apprentice”

·       Handouts of poems by other authors

·       Critical essays—will be provided by course facilitator.

Testing Pattern

CIA 1: 20 Marks

CIA 2:- MSE: 50 marks (Weightage 25%)

CIA 3: 20 Marks

ESE: 50 marks (Weightage 30%)

Pattern: MSE and ESE

Section A: 2 x 10 = 20 (Conceptual + Application)

Section B: 1 x 15 = 15 (Conceptual + Application)

Section C: 1 x 15 = 15 (Application)

Total marks = 50

This course is an introductory survey of English in India. It aims to unravel the social life of English amidst the politics of language in India.

•To create a disciplinary awareness of English in India

•To familiarize with the social life of English in India

•To understand the politics of language in India

Learners will be able to critically appreciate the role of English in Indian social and political life.

Learners will be able to trace the history of English in India.

This unit provides a brief overview and survey of the development of English as a discipline 

1. Terry Eagleton “The Rise of English”

2. Gayathri Spivak “The Burden of English”

3. Satish Poduval, “To be in Eng. Lit., Now That … the Voyage Out”

4. Ania Loomba “Teaching the Bard in India”

5. Padmakumar M M et al, “Narrativising an English Department” from Artha: Journal of Social Sciences, Christ University Centre for Publications 5(3), 2016

Kothari, Rita and Snell, Rupert (ed). Chutnefying English: The Phenomenon of Hinglish, Penguin, 2011.

Tharu, Susie. Subject to Change: Teaching Literature in the Nineties. Orient Longman, 1998. 

Joshi, Svati. Rethinking English: Essays in Literature, Language, History. OUP, 1994.

Kothari, Rita and Snell, Rupert (ed). Chutnefying English: The Phenomenon of Hinglish, Penguin, 2011.

Marathe, Sudhakar and Mohan G. Ramanan. Provocations: The Teaching of English Literature in India. Orient Longman, 1994.

Mukherjee, Alok. This Gift of English: English Education and the Formation of Alternative Hegemonies in India. Orient Blackswan, 2009.

Rajan, Rajeshwari Sunder. Lie of the Land: English Literary Studies in India. OUP, 1992. 

Tharu, Susie. Subject to Change: Teaching Literature in the Nineties. Orient Longman, 1998. 

Trivedi, Harish and Devendra Kohli. The Heritage of English. Macmillan, 1995.

--Colonial Transactions: English Literature and India, Manchester University Press, 1993.

Uma, Alladi et al. English in the Dalit Context, Orient Blackswan, 2014. 

Application of theoretical models discussed in the class.

Word Limit: 2000

CIA 3. Individual presentation on a paper selected from Kothari, Rita and Snell, Rupert (ed). Chutnefying English: The Phenomenon of Hinglish, Penguin, 2011.

Evaluation will be done as per the rubrics for the assessment.

The course intends to introduce the learner to the basic themes and historiographical debates in Indian history. It is designed to give the learner a brief overview of the multiple narratives of the ‘Indian past’. The intention of the course is to make the student aware of the complexities in reconstructing the past of a nation and to enable the learner to problematize the past as a non-monolithic entity.

a)      Framing the region – India, Bhārata, Hindustan, Āryāvarta ?

b)     History and  Identity

c)      Narrating the past – sources, periodization; multiple pasts 

Irfan Habib , Essays in Indian History;Towards a Marxist Perception, 2002

Ranajit Guha, ed., A Subaltem Studies Reader, 1997

Bipan Chandra, Nationalism and Colonialism in Modern India, 1979

Kumkum Roy, ed., Insights and Interventions; Essays in honour of Uma Chakravarti,2011

R. S. Sharma, Material Culture and Social Formations in Ancient India,1983.

Thomas Trautmann, The Aryan Debate, Debates in Indian History and Society,2007

R.S. Sharma, Indian Feudalism (circa 300 – 1200),   1980

Bipan Chandra, Nationalism and Colonialism in Modern India,  1979.

Roy, K., ed. Women in Early Indian Societies, 1999

Suvira Jaiswal, Caste: Origin, Function and Dimensions of Change, 1998.

B.D.,Chattopadhyaya,  Representing the Other? Sanskrit Sources and the Muslims (eight to

fourteenth century),1998

Ronald B Inden, Imagining India, 1990

C .B.Asher and C. Talbot, eds. India before Europe, 2006

R.M.Eaton, Essays on Islam and Indian History, 2000

G Michell and J.M.Fritz. New Light on Hampi: Recent Research at Vijayanagar, 2001

Muzaffar Alam, The Languages of Political Islam in India, c.1200-1800, 2004.

Ruby Lal, Domesticity and Power in the Early Mughal World, 2005.

Athar Ali, Mughal India, Studies in Polity, Ideas, Society & Culture, New Delhi,2006

Mid Semester Examination

End Semester Examination

The course offers research orientation on various cultural issues in global context and provides an understanding of the culture and psychological processes. Sensitivity towards the importance of an interdisciplinary approach in psychology is generated. 

1. To understand the interface between psychology and culture. 
2. To orient students on how culture is shaping human behaviours.
3. To orient students on how cultural psychology variables can be used in applied settings. 

Culture- Definition- Importance, Interface between Psychology and Culture; Cultural difference; Culture and Human Behavior, Ethics and Emics; Scope of Cultural Psychology. 

Matsumoto D, Juang, L. (2016) Culture and Psychology: New York: Cengage Learning

  Mid Semester Examination

End Semester Examination

This paper in the second semester covers the concept of literary and cultural studies. It engages with the domains of cultures and their narratives that one engages with in the field of cultural studies. It attempts to situate cultural studies as an interdisciplinary field of theory and praxis and will enable students to understand with the problematic of culture and society. 

This course will enable students to

• attempt a cultural critique of the disciplines
• develop and critically apply their knowledge and understanding of theoretical and critical debates in Cultural Studies, as well as of key historical developments in intellectual debates
• garner a range of skills in independent research, and critical analysis
• gain an insight into these contemporary debates in the Indian scenario. 

Students will be able to

• locate the intersections of culture and its domains of study
• develop a critical engagement with questions of culture

Literary Studies and Cultural Studies                                               15 hrs                 

Richard Hoggart: From Uses of Literacy

Susie Tharu and K. Lalita: “Empire, Nation and the Literary Text” 

Compilation

Abbot, H. Porter. The Cambridge Introduction to Narrative. CUP. 2002.

Cobley , Paul. Narrative. Routledge, 2001.

Dorairaj. A. Joseph. Philosophical Hermeneutics. Satya Nilayam. 2011.

Freeman, M. 'Mythical time , historical time, and the narrative fabric of the Self’ Narrative Inquiry 8 (1): 27-50, 1998.

Genette, G. Narrative discourse Basil Blackwell, 1982.

Jenkins, H. Textual Poachers: Television and Participatory Culture, Routledge, 1992.

Kothari, Rita and Rupert Snell, eds. Chutnefying English: The Phenomenon of English. New Delhi: Penguin, 2011.

Lothe ,J. Narrative in fiction and film : An Introduction Oxford University Press, 2000.

Murray.Hamlet on the Holodeck: The Future of Narrative in  Cyberspace,MIT Press, 1997.

Nandy, Ashis. “Gandhi after Gandhi after Gandhi.” The little magazine. Vol. I: Issue 1. n.d.    Web.  15 Jan 2013.

Ong,W.J Orality and Literacy : The Technologies of the word, Methuen, 1982.

Ricoeur, P.  'Narrative time' in W.J.T.Mitchell (ed.) On Narrative University of Chicago Press. 1981.

Snyder, I.'Beyond the hype: reassessing hypertext' in Page to Screen: Taking Literacy in the electronic era, Routledge. 1998.

Toker, I. Eloquent reticence: withholding information in fictional narrative. University press of Kentucky. 1993.

Evaluation

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

This course engages students with the dramatic traditions and texts. It will trace the evolution of drama over the ages while also looking at the sub-genres of the dramatic form. The course will deal with texts of importance in different sub genres of drama. It will also focus on the aesthetic and the political dimensions of the art form.

The objective of this paper is to attempt to help students

• Read and understand classical works of drama over the ages
• Understand the evolution of the dramatic form
• Acquaint themselves with the social function of drama
• Analyse the influence of drama in other forms of artistic expressions 

The course will enable students acquaint themselves with key dramatic texts from different sub-genres. It will lay the platform for further research for students interested in the drama and theatre.

Introduction and Elizabethan Drama                

1. Erika Fischer-Lichte, “Culture and Performance”
2. Fortier, Chapter on Theatre and Semiotics
3. Shakespeare, The Tempest

Esslin, Martin. “The Theatre of the Absurd.”The Tulane Drama Review 4.4 (1960): 3-15.

Fortier, Mark. Theory/Theatre: An Introduction. Routledge, 1997.

ReadingList:

Artaud, Antonin. “The Theater of Cruelty.” Selected Writings: Antonin Artaud. Ed. Susan Sontag. Farrar, Strauss, and Giroux, 1976. 242-251.

Balme, Christopher B. Cambridge Introduction to Theatre Studies. Cambridge University Press, 2010.

Bloom, Harold. Shakespeare: The Invention of the Human. Riverhead Books, 1998. 

Brandt, George W. Modern Theories of Drama: A Selection of Writings on Drama and Theatre 1850-1990. Oxford University Press, 1998.

Chambers, Colin. The Continuum Companion to Twentieth Century Theatre.  Continuum, 2002.

Dillon, Janette. Cambridge Introduction to Early English Theatre.  Cambridge University Press, 2006.

Else, Gerard. (Trans.) Aristotle: ThePoetics.University of Michigan, 1967.

Kott, Jan. Shakespeare Our Contemporary. Trans. Boleslaw Taborski. Methuen, 1964.

MSE: 50 marks (25%)

CIA 3: 20 marks (20%)

ESE: 50 marks (30%)

Course Description

The aim of this course is to introduce students to the range of qualitative research methods associated with English and Cultural studies. As such, the course covers a spectrum of methodological tools, including discourse analysis, narrative inquiry, interviewing, ethnography, participant observation and oral history.

 Objectives:

Students will be able to:

·         Produce and fine-tune our research questions

·         Conceptualize their scholarly field

·         Develop suitable methodological strategies

·         Decide on a system and rationale for analyzing data

·         demonstrate the ability to describe and discuss different methods and their areas of application, their strengths and weaknesses and their epistemological roots

·         demonstrate the ability to formulate research questions, design a scientific study and choose relevant methods based on a specific research questions

·         demonstrate the ability to reflect over methodological aspects that are related to different research paradigms, and to able see the relationship between the theoretical basis and the choice of research method

·         demonstrate the ability to critically reflect over one’s own role and position as a researcher

·         demonstrate the ability to reflect over issues related to scientific theory

·    Research Methods in Literary Studies

• Research Methods in Cultural Studies

Gabrielle Griffith. Research Methods in English Studies. Edinburgh UP, 2005.

Michael Pickering. Research Methods for Cultural Studies. Edinburgh UP, 2008.

Bain, Carl. E, Jerome Beaty and J. Paul Hunter. The Norton Introduction to Literature. 6^th ed. W.W. Norton Company,  1995.

Griffith, Kelley. Writing Essays about Literature: A Guide and Style Sheet. 6^th ed. Harcourt College Publishers,  2002.

Harvey, Michael. The Nuts & Bolts of College Writing. Hackett Publishing, 2003.

Madden, Frank. Exploring Literature: Writing and Arguing about Fiction, Poetry, Drama and the Essay. Pearson Longman, 2007.

Montgomery, Martin, et al. Ways of Reading: Advanced Reading Skills for Students of English Literature. Routledge,  2007.

Pirie, David B. How to Write Critical Essays: A Guide for Students of Literature. Routledge,  1985.

Whitla, William. The English Handbook: A Guide to Literary Studies. Blackwell,  2010.

Woolf, Judith. Writing about Literature. Routledge,  2005.

CIA 1: Choosing an area of research; validating the choice made and engaging with possibilities

MSE: Literature reviews

CIA 3: Attempting an annotated bibliography

ESE: Research Proposal for your paper / dissertation

This course introduces students to the modes of narratives, both in its textual sense and beyond. The course aims to familiarize students with methods and approaches to reading and understanding aspects of narrative and narratology.

Objectives/Learning Outcomes:

The paper attempts to make our students get a critical sense of

• the fundamentals of story telling
• the process of story telling
• different narrative forms
• our ways of ordering
• how we construct meaning through narratives
• how the processes of interpreting narratives operate
• how narratives shape any discourse

Introducing Narrative

General Introduction to the Course

General Introduction to Narrative and Narratology from A. V. Ashok’s Narrative and Hours of Enchantment

Abbot, H. Porter. The Cambridge Introduction to Narrative. CUP. 2002.

Cobley , Paul. Narrative. Routledge, 2001.

Dorairaj. A. Joseph. Philosophical Hermeneutics. Satya Nilayam. 2011.

Freeman, M. 'Mythical time , historical time, and the narrative fabric of the Self’ Narrative Inquiry 8 (1): 27-50, 1998.

Genette, G. Narrative discourse Basil Blackwell, 1982.

Jenkins, H. Textual Poachers: Television and Participatory Culture, Routledge, 1992.

Kothari, Rita and Rupert Snell, eds. Chutnefying English: The Phenomenon of English. New Delhi: Penguin, 2011.

Lothe ,J. Narrative in fiction and film : An Introduction Oxford University Press, 2000.

Murray.Hamlet on the Holodeck: The Future of Narrative in  Cyberspace,MIT Press, 1997.

Nandy, Ashis. “Gandhi after Gandhi after Gandhi.” The little magazine. Vol. I: Issue 1. n.d.    Web.  15 Jan 2013.

Ong,W.J Orality and Literacy : The Technologies of the word, Methuen, 1982.

Ricoeur, P.  'Narrative time' in W.J.T.Mitchell (ed.) On Narrative University of Chicago Press. 1981.

Snyder, I.'Beyond the hype: reassessing hypertext' in Page to Screen: Taking Literacy in the electronic era, Routledge. 1998.

Toker, I. Eloquent reticence: withholding information in fictional narrative. University press of Kentucky. 1993.

Abbot, H. Porter. The Cambridge Introduction to Narrative. CUP. 2002.

Cobley , Paul. Narrative. Routledge, 2001.

Dorairaj. A. Joseph. Philosophical Hermeneutics. Satya Nilayam. 2011.

Freeman, M. 'Mythical time , historical time, and the narrative fabric of the Self’ Narrative Inquiry 8 (1): 27-50, 1998.

Genette, G. Narrative discourse Basil Blackwell, 1982.

Jenkins, H. Textual Poachers: Television and Participatory Culture, Routledge, 1992.

Kothari, Rita and Rupert Snell, eds. Chutnefying English: The Phenomenon of English. New Delhi: Penguin, 2011.

Lothe ,J. Narrative in fiction and film : An Introduction Oxford University Press, 2000.

Murray.Hamlet on the Holodeck: The Future of Narrative in  Cyberspace,MIT Press, 1997.

Nandy, Ashis. “Gandhi after Gandhi after Gandhi.” The little magazine. Vol. I: Issue 1. n.d.    Web.  15 Jan 2013.

Ong,W.J Orality and Literacy : The Technologies of the word, Methuen, 1982.

Ricoeur, P.  'Narrative time' in W.J.T.Mitchell (ed.) On Narrative University of Chicago Press. 1981.

Snyder, I.'Beyond the hype: reassessing hypertext' in Page to Screen: Taking Literacy in the electronic era, Routledge. 1998.

Toker, I. Eloquent reticence: withholding information in fictional narrative. University press of Kentucky. 1993.

CIA 1: 20 marks

MSE: Written Exam for 50 marks

CIA 2: 20 Marks

ESE: Written Exam for 50 Marks

The course will familiarize students with classical drama through texts from ancient Greece, Latin Rome, Sanskrit texts as well as essays on various theatrical forms all over the pre-modern world. The course would provide the students first-hand experience of texts that are known to students mostly through their references in other texts. It also briefly looks at the unwritten and non-verbal dramatic traditions of the distant past.

The objectives of this paper is to attempt to help students

• To read and appreciate classical texts from different world traditions
• Gauge the extend of influence these texts have in contemporary literature and culture
• Develop a nuanced understanding of the connections between different dramatic traditions
• Develop newer ways of reading and analyzing classical texts
• Rethink the dramatic form itself by looking at the unwritten and non-verbal forms of dramatic expression

Students will be equipped with a basic knowledge of the classical dramatic world. The readings of selected texts will help them evaluate the importance of the classics. Rather than depending on the opinions of other scholars students will form their independent views on the merits of classical dramatic traditions and texts. The course would also provide the necessary impetus for students desirous of studying classics for research.

Greek Drama                       

1. Aeschylus – Orestia (One Play)
2. Sophocles: Theban Plays (One Play)
3. Euripides: Any Play
4. Aristophanes: The Wasps/ The Acharnians/ The Birds
5. Menander: Dyskolos

Evaluation

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

This course Popular Culture in India will introduce students to the area of popular culture studies within academia. It will trace the trajectories and concerns that determine this area and also the field of study in general. It will specifically acquaint the students and help them engage with forms of popular culture in India and help them read these popular culture forms as ‘texts’ – signifying systems that produce meanings in specific ways. It will look at the politics of the production, dissemination and consumption of these texts.

The objective of this paper is to attempt to help students

• Engage with popular culture as an academic domain
• Understand popular culture and read popular culture forms
• Acquaint themselves with the history of popular culture studies
• Understand and read popular culture forms in India
• Understand the political in the popular.

Students are expected to historically understand popular culture studies, understand popular culture texts and be able to read and interpret popular culture ‘texts’ and problematize them. They are expected to understand these ‘texts’ as mediated and ideological formations.

Popular Culture and Popular Culture Studies: General Perspectives                

1. Leo Lowenthal: “Historical Perspectives of Popular Culture”
2. Leo Lowenthal: “The Debate Over Art and Popular Culture: A Synopsis”
3. John Fiske: “Understanding the Popular”
4. Stuart Hall: “Notes on Deconstructing the ‘Popular’”
5. Guy Debord: “Society of the Spectacle”

Shoma, Munshi: Remote Control: Indian Television in the New Millenium

K Moti Gokulsing: Soft-Soaping Inida: The World of Indian Televised Soap Operas

Asha Kasbekar: Popular Culture: India!

Moti Gokulsing and Wimal Dissanayake: Popular Culture in a Globalised India

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

The Mentoring and Practice Teaching Programme developed for the students of MA English with Cultural Studies gives learners hands-on experience in teaching and research writing. Each student is assigned a mentor from the faculty of English Studies, with whom the student will receive training in teaching selected undergraduate classes as well as guidance on conducting research and publishing academic papers.

Objectives:

The programme is aimed at enabling postgraduate students to:

·         Engage in practice teaching for skill-based as well as discipline-specific undergraduate courses.

·         Work with a faculty member on a research project that will culminate in a joint publication by the student and professor during the student’s second year.

·         Receive a substantial amount of training in conducting research

·         Learn how to write papers for publication

·         Publish a research paper co-authored with the faculty mentor

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

In modern political history the state has assumed the function of arbitrator in artistic matters.Culture for the modern totalitarian state is a matter of political control. Treating the artistic works has become complex in authoritarian states. In this regard, this course examines major political Ideologies relating to the concept of State and its influence on culture. The political dimension is introduced into the discussions on Culture as an expression of transcending the society. Therefore, this Course covers the relationship and conflict between state and culture in the contemporary society. It offers the role of political ideologies play in understanding culture in the context of politics. The course includes classical ideologies: liberalism, conservatism and socialism, and new political ideologies: Multiculturalism, Cosmopolitanism, Feminism with special reference to contemporary Indian Culture.

Course Objectives

To introduce the students on:

• Important political ideologies and their relevance to understand the politics of culture
  
• Contemporary political debates on the roles of the state in dealing with the arguments on culture
  

·         Students will be able to make a distinction between classical and new political ideologies, structure of the state 

·         Students can apply the ideologies in the present political scenario to understand the state of affairs of culture, clashes among the varied culture and with the State.

State: Meaning, Nature and Elements of State and Nation-state.

Political Ideology: Meaning, Importance and Perspectives (Marxist, Lenin, Thomas Manheim and Gramsci). Functions of Ideology.

·         Johari, J.C. (2015). Contemporary Political Theory. New Delhi: Sterling.

·         Vinod, M.J. and Deshpande, M. (2013). Contemporary Political Theory. New Delhi: PHI Learning.

·         Paul Thomas and DavidLloyd (1997). Culture and the State, Routledge.

• Satish Chandra (2012).State, Society and Culture in Indian History, Oxford University Press.
• George Steinmetz (1999), State/Culture.State-Formation after the Cultural Turn, Cornell University Press.
• Heywood, A. (2014). Politics. New York: Palgrave Macmillan.

Evaluation Pattern

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

This course refers to patterns of behaviour used when on the Internet, sided both by law and personal philosophy. The majority of the emerging research illuminates how users engage with digital media, relatively little attention has been given to moral and ethical issues. Digital users use the internet primarily as a tool for both social interaction and information sharing, two acts that encompass the concepts of morality. Because the Internet functions as a global networking platform, it links people of various culture, age, gender and sexual preferences. This necessitates the need to examine the proper and improper ways of social interactions and sensitivities to those who do not share the same cultural and religious upbringing or opinion.

The digital space provides tools to modify, to inform or to keep information away (with ulterior motives). It can be used for propaganda or for a social cause. It can be used for security and for control and surveillance. The discourse around digital culture and ethics does not just narrow down to a battle between good and evil. The field of digital ethics also finds a common ground for what could be ‘acceptable’ in terms of digital conduct. This paper looks to understand ethical ambivalences and uncertainties, which are also equally significant. Moreover, the information age and emerging technologies are challenging and transforming about ideas about morality, privacy, friendship, social etiquette, freedom and democracy, and a host of other pertinent issues.

This course will draw on critical theories and case studies to address and understand these changing moral and ethical concerns of the information age.

1.      Understanding basic ethical concerns of the information age focusing on digital morality and ethics

2.      Equip students with changing perspectives on digital professional ethics, ethos and codes

3.      Familiarize students with theories and practices of online cultural and political issues such as privacy, surveillance, hacktivism, freedom and democracy

4.      Enable students to critically understand and appreciate online ethical issues, dilemmas and ambivalences to address personal and professional challenges and responsibilities in their future careers.

Introduction to Ethics                                                                     20 hours

·         What is Ethics

·         Indian Ethics

·         What is online ethics?

·         Digital Media Ethics

1.      Mass Communication in India.  Keval J. Kumar 4th Edition, Jaico Publishing House.

2.      The Culture of Connectivity. A Critical History of Social Media, Jose Van Dijck, Oxford University Press

3.      Intercultural Communication. The Indian Context. Ramesh N.Rao and Avinsah Thombre, Sage Publications.

1.      Mass Communication in India.  Keval J. Kumar 4th Edition, Jaico Publishing House.

2.      The Culture of Connectivity. A Critical History of Social Media, Jose Van Dijck, Oxford University Press

3.      Intercultural Communication. The Indian Context. Ramesh N.Rao and Avinsah Thombre, Sage Publications.

While lectures and case studies will be used to deliver the sessions, student projects also form an equally important component of pedagogy. Students are expected to go through the readings relevant for each lecture and class discussions.

·         Small Group Video assignments (Assessing the ability of the students to locate appropriate media theories in their media ubiquity)

·         Mid Semester Exams

·         Individual Assignment

·         End Semester-  50 marks

Exam  Pattern:
Section A: 2 x 10 = 20 (Conceptual + Application)

Section B: 1 x 15 = 15 (Conceptual + Application)

Section C: 1 x 15 = 15 (Application)

Total marks = 50

The main objective of this course is to familiarise the student with the various modes of narrative fiction attempted across centuries, continents and languages. It is expected that the pupil will be introduced to the various schools, influences and narrative devices that shaped narrative fiction in its present form.

Georg Lukacs: Theory of the Novel

John Barth: “Literature of Exhaustion”

Milan Kundera: “The Depreciated Legacy of Cervantes” (Part 1 of The Art of the Novel)

Mikhail Bakhtin: Discourse of the Novel -Extract of Polyphony

Booth, Wayne C. The Rhetoric of Fiction. University of Chicago Press, 1961.

Eagleton, Terry. “What is a Novel?” (from The English Novel: An Introduction). Blackwell,

2005.
Goldmann, Lucien. Towards Sociology of the Novel. Routledge,1977.

Hawthorn, Jeremy. Studying the Novel. Bloomsbury Academic, 2010.

Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. Routledge, 2003
Lodge, David. The Art of Fiction. Harvill Secker, 1992.

Oates, Joyce Carol. Telling Stories: An Anthology for Writers. Norton, 1998.

Rimmon-Kenan, Shlomith. Narrative Fiction. Routledge, 2001.

Waugh, Patricia.  Metafiction: The Theory and Practice of Self-conscious Fiction.Routledge,

2005.

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

Course Description

 The aim of this course is to introduce students to the range of qualitative research methods associated with English and Cultural studies. As such, the course covers a spectrum of methodological tools, including discourse analysis, narrative inquiry, interviewing, ethnography, participant observation and oral history.

 Objectives:

Students will be able to:

·         Produce and fine-tune our research questions

·         Conceptualize their scholarly field

·         Develop suitable methodological strategies

·         Decide on a system and rationale for analyzing data

·         demonstrate the ability to describe and discuss different methods and their areas of application, their strengths and weaknesses and their epistemological roots

·         demonstrate the ability to formulate research questions, design a scientific study and choose relevant methods based on a specific research questions

·         demonstrate the ability to reflect over methodological aspects that are related to different research paradigms, and to able see the relationship between the theoretical basis and the choice of research method

·         demonstrate the ability to critically reflect over one’s own role and position as a researcher

·         demonstrate the ability to reflect over issues related to scientific theory

·    Research Methods in Literary Studies

• Research Methods in Cultural Studies
•    Research Methodologies: A Quick Overview and Possibilities of Application

Gabrielle Griffith. Research Methods in English Studies. Edinburgh UP, 2005.

Michael Pickering. Research Methods for Cultural Studies. Edinburgh UP, 2008.

Bain, Carl. E, Jerome Beaty and J. Paul Hunter. The Norton Introduction to Literature. 6^th ed. W.W. Norton Company,  1995.

Griffith, Kelley. Writing Essays about Literature: A Guide and Style Sheet. 6^th ed. Harcourt College Publishers,  2002.

Harvey, Michael. The Nuts & Bolts of College Writing. Hackett Publishing, 2003.

Madden, Frank. Exploring Literature: Writing and Arguing about Fiction, Poetry, Drama and the Essay. Pearson Longman, 2007.

Montgomery, Martin, et al. Ways of Reading: Advanced Reading Skills for Students of English Literature. Routledge,  2007.

Pirie, David B. How to Write Critical Essays: A Guide for Students of Literature. Routledge,  1985.

Whitla, William. The English Handbook: A Guide to Literary Studies. Blackwell,  2010.

Woolf, Judith. Writing about Literature. Routledge,  2005.

CIA 1: Choosing an area of research; validating the choice made and engaging with possibilities

MSE: Literature reviews

CIA 3: Attempting an annotated bibliography

ESE: Research Proposal for your paper / dissertation

Course Description:

This compulsory core course is aimed to provide postgraduate students with perspectives as well as theoretical tools of advanced learning in the field of gender studies.

Course Objectives:

• To introduce students to the study of gender at an advanced level;
• To understand constructions of femininity, masculinity, and non-binary notions of gender;
• To allow the student to gain knowledge of key concepts in the field as well as critically apply those concepts to texts.

Level of Knowledge: Advanced

Learning Outcomes:

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

• Understand varied definitions as well as theoretical and textual representations on ‘gender’
• Develop critical perspectives toward reading and understanding gender.

Introduction to key theoretical concepts

This module introduces students to critical essays by noteworthy theorists in the field.

1. Eve Kosovsky Sedgwick, “The Beast in the Closet”
2. Judith Butler, “Critically Queer”
3. Urvashi Butalia, from The Other Side of Silence
4. Gayatri Chakravorty Spivak, Introduction to Mahasweta Devi’s Breast Stories
5. Helene Cixous, “Sorties”
6. Simone de Beauvoir, from The Second Sex
7. R. Cornell, from Masculinities
8. Gayle Rubin, “Thinking Sex”
9. Chasin, “Reconsidering Asexuality and Its Radical Potential”

Reading List

Ali, Agha Shahid. The Veiled Suite. Penguin, 2010.

Bannerji, Himani. The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender. Canadian Scholar's Press, 2000.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.

Castillo, Ana. Watercolor Women/Opaque Men.

De Beauvoir, Simone. The Second Sex. Vintage, 1953.

Friedan, Betty. The Feminine Mystique. Penguin, 1971.

Greer, Germaine. The Female Eunuch. Harper Perennial, 1976.

hooks, bell. Ain’t I a Woman: Black Women and Feminism. South End Press, 1982.

Lewis, Reina and Sara Mills (Eds). Feminist Postcolonial Theory: A Reader. Edinburgh University Press, 2010.

Lodge, David and Nigel Wood (Eds). Modern Criticism and Theory: A Reader. Routledge, 2014.

Esquivel Laura. Like Water for Chocolate: A Novel in Monthly Installments with Recipes, Romances and Home Remedies. Trans. Carol Christensen and Thomas Christensen. Doubleday, 1992.

Rubin, Gayle. The Lesbian and Gay Studies Reader. Routledge, 1993.

Spivak, Gayatri Chakravorty. In Other Worlds: Essays in Cultural Politics. Methuen, 1987.

Tharu, Susie and K Lalitha (Eds). Women Writing in India. Oxford University Press, 1992.

Reading List

Ali, Agha Shahid. The Veiled Suite. Penguin, 2010.

Bannerji, Himani. The Dark Side of the Nation: Essays on Multiculturalism, Nationalism and Gender. Canadian Scholar's Press, 2000.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.

Castillo, Ana. Watercolor Women/Opaque Men.

De Beauvoir, Simone. The Second Sex. Vintage, 1953.

Friedan, Betty. The Feminine Mystique. Penguin, 1971.

Greer, Germaine. The Female Eunuch. Harper Perennial, 1976.

hooks, bell. Ain’t I a Woman: Black Women and Feminism. South End Press, 1982.

Lewis, Reina and Sara Mills (Eds). Feminist Postcolonial Theory: A Reader. Edinburgh University Press, 2010.

Lodge, David and Nigel Wood (Eds). Modern Criticism and Theory: A Reader. Routledge, 2014.

Esquivel Laura. Like Water for Chocolate: A Novel in Monthly Installments with Recipes, Romances and Home Remedies. Trans. Carol Christensen and Thomas Christensen. Doubleday, 1992.

Rubin, Gayle. The Lesbian and Gay Studies Reader. Routledge, 1993.

Spivak, Gayatri Chakravorty. In Other Worlds: Essays in Cultural Politics. Methuen, 1987.

Tharu, Susie and K Lalitha (Eds). Women Writing in India. Oxford University Press, 1992.

Evaluation

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

Fiction enjoys a prominent position in contemporary literature as it is the favourite genre to a vast majority of readers. Understandably the genre has turned into a space of not just representation but also of active debate and activism. The course looks at selected texts written after the 1990s to make sense of literature’s engagement and appraisal of the contemporary world. It selects short stories and novels from all across the world to study the representation of an ever-changing world through works of fiction.

The objectives of this paper are: 

⦁To introduce them to current literary trends across the globe

⦁To draw connections and parallels between literary scenes in different countries

⦁Develop a nuanced understanding of the connections between current events and literature

⦁To familiarize students with the experimentations and innovation in the genre

⦁Rethink the fictional form itself by looking at newer emerging medium of fiction writing

⦁Samskara – U R Anathamurthy/Legends of Khasak – O V Vijayan

⦁Short story- Jhumpa Lahiri

⦁Murakami, Haruki. “Drive My Car” Men Without Women. Trans. Phillip Gabriel and Ted Goossen.

⦁Barnes, Julian. Sense of an Ending. London: Vintage, 2012.

⦁Zambra, Alejandro. “Thank You”. Translated by Megan Mcdowell. San Francisco: McSweeney’s, 2015.

⦁Murakami, Haruki. “Drive My Car” Men Without Women. Trans. Phillip Gabriel and Ted Goossen.

⦁Habila, Helone. The Granta Book of the African Short Story.

⦁Coetzee, J M. Disgrace. London: Vintage, 2000.

⦁Kadare, Ismail. A Girl in Exile: A Requiem for Linda B. Trans. John Hodgson. Berkley: Counterpoint, 2018.

⦁Lahiri, Jhumpa. Interpreter of Maladies. New York: Houghton Mifflin, 1999.

CIA - Evaluation Pattern

Individual AssignmentGroup AssessmentMid Semester

202025

Mid Semester Examination

Section ASection BSection CTotal

2X10=201X15=151X15=1550

End Semester Examination

Section ASection BSection CTotal

2X10=201X15=151X15=1550

This course introduces students to key questions in the context

of postcolonial literary and cultural contexts. One of the significant aims of the

course is the ‘revisit’ many of the postcolonial questions that have been in circulation

in academic discourses. In effect, the course also attempts to position the

contemporaneity of several postcolonial questions in the midst of a changing sociocultural

landscape. The course will provide an overview of postcoloniality and its

futures, as it were, and help students develop critical trajectories to work with. This

is a seminar-course. Students are expected to engage with any one domain from the

last unit and also conduct a student-led seminar around the same.

studies

• To help students gain critical tools required to analyse and engage with the

postcolonial context

• To help students frame debates and questions in and around areas of

postcoloniality

Learning Outcomes: At the

This module includes key issues in Postcolonial studies as being framed in today’s

context. Language, identity and the postcolonial voice would be introduced here as

key ideas.

Introduction: This module includes key issues in Postcolonial studies as being framed in today’s

context. Language, identity and the postcolonial voice would be introduced here as

key ideas.

This module includes key issues in Postcolonial studies as being framed in today’s

context. Language, identity and the postcolonial voice would be introduced here as

key ideas.

This module includes key issues in Postcolonial studies as being framed in today’s

context. Language, identity and the postcolonial voice would be introduced here as

key ideas.

Nationalism. Revised Edition. Verso, 1991.

Ashcroft, Bill. On Postcolonial Futures: Transformations of Colonial Cultures.

Continuum, 2001.

Ashcroft, Bill, Gareth Griffins, and Helen Tiffin. The Postcolonial Studies Reader. 2006.

Bhabha, Homi. “Signs Taken for Wonders.” The Post-Colonial Studies Reader. Eds. Bill

Ashcroft, Gareth Griffiths, Helen Tiffin. Routledge, 1995.

Chatterjee, Partha. “Nationalism as a Problem.” The Post-Colonial Studies Reader. Eds.

Bill Ashcroft, Gareth Griffiths, Helen Tiffin. Routledge, 1995.

Dharwadker, Vinay. Cosmopolitan Geographies. Routledge, 2001.

Loomba, Ania. Colonialism/Postcolonialism. Routledge, 2005.

Mohanty, Chandra Talpade. “Under Western Eyes: Feminist Scholarship and Colonial

Discourses”. The Post-colonial Studies Reader. Eds. Bill Ashcroft, Gareth Griffiths, Helen

Tiffin. Routledge, 1995.

Mudimbe, V. Y., The Invention of Africa. New York: Indiana University Press, 1988.

Nationalism and Sexualities. Eds. Andrew Parker, Mary Russo, Doris Sommer, and

Patricia Yaeger. Routledge, 1992.

Said, Edward W. Orientalism. Pantheon Books, 1978.

Young, Robert J. C. “Postcolonial Remains”. Postcolonial Studies: An Anthology. Ed.

Pramod K. Nayar. Wiley Blackwell, 2016.

presentations, written tests, group assignments, and a 2hr written exam. The end

semester exam will be for 30%.

The Mentoring and Practice Teaching Programme developed for the students of MA English with Cultural Studies gives learners hands-on experience in teaching and research writing. Each student is assigned a mentor from the faculty of English Studies, with whom the student will receive training in teaching selected undergraduate classes as well as guidance on conducting research and publishing academic papers.

Objectives:

The programme is aimed at enabling postgraduate students to:

·         Engage in practice teaching for skill-based as well as discipline-specific undergraduate courses.

·         Work with a faculty member on a research project that will culminate in a joint publication by the student and professor during the student’s second year.

·         Receive a substantial amount of training in conducting research

·         Learn how to write papers for publication

·         Publish a research paper co-authored with the faculty mentor

presentations, written tests, group assignments, and a 2hr written exam. The end

semester exam will be for 30%.

Gender and Caste have been the two of significant factors that impacts the human condition in India. These factors of social stratification indistinguishably define social relations and cultural norms of the country. Caste like gender hierarchy survives through unequal power distribution that is asserted through Gender/ Caste roles and duties. Hence it important to understand the complex interplay between these hierarchical systems of power. The course thus focuses on the relations between Gender and Caste and explores the intersectionality’s involved.

Course Objectives

·         Understand the intersections of gender and caste;

·         Expose students to multiple works on gender and caste issues in India.

·         Engage with key debates and concepts in articulating the gender and caste question; and

·         Analyse how caste ideologies shape the lives of men and women in India.

·         Problematise singular understanding of gender and caste

·         Critically engage with multiple questions related to Caste and Gender.

·         Understand issues related to gender from multiple perspective.

·         Understand the politics of exclusion and inclusion within the context of Feminist movement in India.

The unit will focus on Crenshaw, Kimberle’s concept of Intersectionality and its applicablity in the context of caste and Gender in India. 

2.      ‘Introduction’ to  Caste, Gender and Indian Feminism by Anupama Rao

3.      “Sexuality, Caste and Governmentality: Contests over Gender in India” by Nivedita Menon.

1.      Excerpts from Forgotten Liberator: Life and Struggles of Savitribai Phule by Braj Ranjan BaMani. (excerpts)

2.      Ambedkar, B.R. “Women and Counter Revolution” in Rege, Sharmila’sAgainst Madness of Manu

3.       “Periyar, Women and Ethic of Citizenship”by V Geetha

4.      “Conceptualizing Brahmanical Patriarchy in Early India: Gender, Caste, Class and State” by UmmaChakravorty.

1.      Caste and gender: Understanding dynamics of power and violence” by Kannabiran, Vasanth and Kalpana Kannabiran.

2.      “Dalit women Talk Differently”by Guru, Gopal

3.       “The Impossible Subject: Caste and the Gendered Body” by SusiaTharu

4.       “Gender and Caste Intersectionality in India: An Analysis of the Nirbhaya Case, 16 December 2012” by Adrija Dev.

1.      Rowena, Jenny. ‘Locating P K Rosy: Can a Dalit Woman Play a Nair Role in Malayalam Cinema Today?’(Movie Celluloid)

2.      Writing Caste, Writing Gender. Narrating Dalit women’s Testimonies by Shermila Rega (excerpt)

3.      Bandit Queen(movie)

4.      Agrawal A. Chaste Wives and Prostitute Sisters: Patriarchy and Prostitution among Bedias of India. ( excerpt )

5.      Caste Study: Breast Tax in Kerala

Ambedkar, B. R. (1916), “Castes in India: Their Mechanism, Genesis and Development”, in Dr. Baba Saheb Ambedkar: Speeches and Writings (1979), Vol 1, Education Department, Government of Maharashtra.

Crenshaw, Kimberle. (1991). ‘Mapping the margins: Intersectionality, identity politics, and violence against women of colour’. Stanford Law Review. 43 (6), 1241-1299

Chakravarti, Uma. (1993). ‘Conceptualizing brahmanical patriarchy in early India: Gender, caste, class and state’. Economic and Political Weekly. 28(14).

Rege, Sharmila (2013), Against Madness of Manu: B R Ambedkar’s Writings on Brahmanical Patriarchy, Navayana Publishing, New Delhi.

Guru, Gopal ‘Dalit women talk differently’. Economic and Political Weekly. 14-21, 2548-2550, 1995.

Kannabiran, Vasanth and Kalpana Kannabiran. (1991). ‘Caste and gender: Understanding dynamics of power and violence’. Economic and Political Weekly, 26 (37), 2130-2133.

https://feminisminindia.com/2016/09/12/kerala-breast-tax-nangeli/

AdrijaDey , , Bev Orton , (2016), Gender and Caste Intersectionality in India: An Analysis of the Nirbhaya Case, 16 December 2012, in ShaminderTakhar(ed.) Gender and Race Matter: Global Perspectives on Being a Woman (Advances in Gender Research, Volume 21) Emerald Group Publishing Limited, pp.87 – 105.

Hartmann, Heidi. (1979). ‘The unhappy marriage between feminism and marxism: Towards a more progressive union’. Capital and Class. 3 (2), 1- 33.

Rao, Anupama. (2009). ‘The sexual politics of caste: violence and the ritual-archaic’. In The Caste Question: Dalits and the Politics of Modern India. Berkeley: University of California Press (pp: 217-240).

Rowena, Jenny. ‘Locating P K Rosy: can a dalit woman play a nair role in Malayalam cinema today?’. In Savari. http://www.dalitweb.org/

Stree Shakti Sanghatana (1989). We were Making History: Women in the Telangana Uprising. London: Zed books.

Agrawal A. Chaste Wives and Prostitute Sisters: Patriarchy and Prostitution among Bedias of India. Delhi: Social Science Press.

CIA 2: 50 Marks, written Mid-Semester Examination

CIA 3: 20 Marks

ESE: 50 Marks Written Exam testing on the skills of reading and writing.

Course Description:

In a world in which globalisation is often seen as suspect and nationalism is often questioned as a chauvinism, transnationalism has emerged as a field of scholarly interest that seeks to investigate the ways in which contemporary identity is shaped. This course introduces the learner to the field and includes readings on various aspects of transnationalism such as migration and the effect of globalisation on how we view and respond to cinema.

Course Objectives:

• To introduce students to the study of transnationalism;
• To understand and apply academic theory in the field;
• To allow the student to gain knowledge of key concepts in the field as well as critically apply those concepts to texts.

Level of Knowledge: Advanced

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

• Understand varied definitions as well as theoretical and textual representations on transnationalism 
• Develop critical perspectives toward reading and understanding transnationalism in the context of textual analysis and research.

Unit 1:                                                                                                                        15 hours

Introduction to key theoretical concepts

This module introduces students to critical essays by noteworthy theorists in the field.

• Arjun Appadurai, “Modernity at Large”
• Vertovec, “Transnationalism, Migrant Transnationalism and Transformation”
• Ludger Pries, “The approach of transnational social spaces: Responding to new configurations of the social and the spatial.”

·         Oza, “Showcasing India: Gender, geography and globalization.” 

Reading List

Ali, Agha Shahid. The Country without a Post Office. Penguin, 2000.

De Costa, Ravi. A Higher Authority: Indigenous Transnationalism and Australia. University of New South Wales Press, 2006.

Durovicova, Natasa and Kathleen Newman. World Cinema, Transnational Perspectives. Routledge, 2010.

Gellner, E.. 'The Coming of Nationalism and its Interpretation'. The Politics andEconomics of Power, 2003, p.143-177.

Kennedy Paul T., Victor Roudometof. Communities across Borders: New Immigrants and Transnational Cultures. Routledge, 2002.

Manalansan, M.F., 2006. Queer intersections: Sexuality and gender in migration studies. International Migration Review, 40 (1), pp.224-249

Nayar, Pramod K. The Transnational in English Literature: Shakespeare to the Modern. Routledge, 2015.

Roy, Arundhati. The Ministry of Utmost Happiness. Knopf, 2017.

Schain, M., 2008. The politics of immigration in France, Britain, and the United States:A comparative study. Palgrave Macmillan.

Schiller, N.G., Basch, L. and Blanc-Szanton, C., 1992. Towards a definition of transnationalism. Annals of the New York Academy of Sciences, 645(1), pp.ix-xiv.

Shamsie, Kamila. Home Fire. Riverhead Books, 2017.

Soysal, Y.N., 2000. Citizenship and identity: living in diasporas in post-war Europe?. Ethnic and racial studies, 23(1), pp.1-15.

Vertovec, Steven. Transnationalism. Routledge, 2009.

Wodak, R. Right-wing populism in Europe: politics and discourse. Bloomsbury, 2013.

Ali, Agha Shahid. The Country without a Post Office. Penguin, 2000.

De Costa, Ravi. A Higher Authority: Indigenous Transnationalism and Australia. University of New South Wales Press, 2006.

Durovicova, Natasa and Kathleen Newman. World Cinema, Transnational Perspectives. Routledge, 2010.

Gellner, E.. 'The Coming of Nationalism and its Interpretation'. The Politics andEconomics of Power, 2003, p.143-177.

Kennedy Paul T., Victor Roudometof. Communities across Borders: New Immigrants and Transnational Cultures. Routledge, 2002.

Manalansan, M.F., 2006. Queer intersections: Sexuality and gender in migration studies. International Migration Review, 40 (1), pp.224-249

Nayar, Pramod K. The Transnational in English Literature: Shakespeare to the Modern. Routledge, 2015.

Roy, Arundhati. The Ministry of Utmost Happiness. Knopf, 2017.

Schain, M., 2008. The politics of immigration in France, Britain, and the United States:A comparative study. Palgrave Macmillan.

Schiller, N.G., Basch, L. and Blanc-Szanton, C., 1992. Towards a definition of transnationalism. Annals of the New York Academy of Sciences, 645(1), pp.ix-xiv.

Shamsie, Kamila. Home Fire. Riverhead Books, 2017.

Soysal, Y.N., 2000. Citizenship and identity: living in diasporas in post-war Europe?. Ethnic and racial studies, 23(1), pp.1-15.

Vertovec, Steven. Transnationalism. Routledge, 2009.

Wodak, R. Right-wing populism in Europe: politics and discourse. Bloomsbury, 2013.

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

MA in English with Cultural Studies programme students have to undertake an internship of not less than 26 working days at an organisation of their choice where they would be working with skills gained across the first two semesters of their programme. 

The internship is to be undertaken during the second semester break. The internship is a mandatory requirement for the completion of the programme. The students will have to give an internship proposal with the following details: organization where the student proposes to do the internship; reasons for the choice, nature of the internship, period of internship, relevant permission letters, if available, name of the mentor in the organization, and email, telephone and mobile numbers of the person in the organization with whom Christ (Deemed to be University) could communicate matters related to internship. 

The coordinator of the programme will assign faculty members from the department as guides at least two weeks before the end of the fifth semester.

The students will have to be in touch with the guides during the internship period either through personal meetings, over the phone, or through internet.

At the place of internship, the students are advised to be in constant touch with their mentors.

At the end of the required period of internship the candidates will submit a report in not less than 1,500 words. The report should be submitted within June.

Apart from a photocopy of the letter from the organisation stating the successful completion of the internship, the report shall have the following parts.

●Introduction to the place of internship

●Reasons for the choice of the place and kind of internship

●Nature of internship

●Objectives of the internship

●Tasks undertaken

●Learning outcome

●Suggestions, if any

●Conclusion

A photocopy of the portfolio, if available may be given along with the report. However, the original output, if available should be presented during the internship report presentation.

The report shall be in the following format.

12 font size; Times New Roman or Garamond font; one and half line spaced; Name, Register No, and Programme Name, Date of Submission on the left-hand top corner of the page; below that in the centre title of the report ‘Report of internship undertaken at ____ from ____ (date, month in words, year); no separate cover sheet to be attached.  

●to enable students to get exposure in their field of interest in the service domain

●to encourage learner and learning-centered pedagogy

●to strengthen the curriculum based on internship-feedback, wherever relevant

●to help student choose their career through practical experience

●to relate social and experiential learning with classroom practices

70% of the marks will be collected throughout the semester through oral quizzes, presentations, written tests, group assignments, and a 2hr written exam. The end semester exam will be for 30%.

CIA - Evaluation Pattern

Mid Semester Examination

End Semester Examination

Course Description:

Integral to contemporary Cultural Studies, film is an area in which critical theory may be applied in terms of both scholarly textuality and perspectives on popular culture. This course provides students with key concepts in the field and allows them to critically view and respond to cinematic texts.

Course Objectives:

• To introduce students to foundational concepts in the discipline of film studies;
• To allow the student to gain knowledge of key concepts in the field as well as critically apply those concepts to texts.

Level of Knowledge: Advanced

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

• Understand varied definitions as well as theoretical frameworks in film studies;
• Develop critical perspectives toward reading and understanding film.

Unit 1:                                                                                                                        20 hours

Introduction to key theoretical concepts

This module introduces students to critical essays by noteworthy theorists in the field.

• Michael Ondaatje, from The Conversations: Walter Murch and the Art of Editing Film
• Anthony Minghella, from Minghella on Minghella
• Laura Mulvey, “Visual Pleasure and the Narrative Cinema”
• Umberto Eco, “Casablanca:Cult Movies and Intertextual Collage”
• Casablanca (film)

Reading List

Abrams, Nathan. Studying Film. Bloomsbury, 2013.

Ashton, Dyrk. Using Deleuze: The Cinema Books, Film Studies and Effect. Bowling Green State University, 2006.

Bricknell, Timothy (Ed). Minghella on Minghella.Faber and Faber, 2005.

Chatterjee, Gayatri. ‘Icons and Events: Reinventing Visual Construction in Cinema in India’ in R. Kaur and A. Sinha (eds), Bollyworld, Popular Indian Cinema through a Transnational Lens, 2005.

Dix, Andrew. Beginning Film Studies. Manchester University Press, 2008.

Lehman, Peter. Defining Cinema. Rutgers University Press, 1997.

Ondaatje, Michael. The Conversations: Walter Murch and the Art of Editing Film. Knopf, 2002.

Perkins, Victor. Film as Film: Understanding and Judging Movies. Penguin, 1972.

Abrams, Nathan. Studying Film. Bloomsbury, 2013.

Ashton, Dyrk. Using Deleuze: The Cinema Books, Film Studies and Effect. Bowling Green State University, 2006.

Bricknell, Timothy (Ed). Minghella on Minghella.Faber and Faber, 2005.

Chatterjee, Gayatri. ‘Icons and Events: Reinventing Visual Construction in Cinema in India’ in R. Kaur and A. Sinha (eds), Bollyworld, Popular Indian Cinema through a Transnational Lens, 2005.

Dix, Andrew. Beginning Film Studies. Manchester University Press, 2008.

Lehman, Peter. Defining Cinema. Rutgers University Press, 1997.

Ondaatje, Michael. The Conversations: Walter Murch and the Art of Editing Film. Knopf, 2002.

Perkins, Victor. Film as Film: Understanding and Judging Movies. Penguin, 1972.

Mid Semester and End Semester Examination:

Section A: 2 x 10 = 20 (Conceptual + Application)

Section B: 1 x 15 = 15 (Conceptual + Application)

Section C: 1 x 15 = 15 (Application)

The Course aims to look at the theory and the practice of translation with the help of some insightful essays distributed over 4 units by authors in India and abroad. The latest trends and concerns are discussed at length to give an insight to the students about the nuances and techniques of translation. The course enables the students to engage in meaningful discourse with the logic, necessity and types of translation which makes reading diverse literatures a possibility and an enjoyable experience. The course caters to both, the students who have had translation studies in their UG program as well as to those who are being introduced to it for the first time in the PG program.

Course Objectives: The course aims to fulfill certain objectives which may be enumerated as:

1.     Understanding the nuances and techniques of translation

2.     Appreciating the necessity and need for translation

3.     Identifying the cultural diversity and the role of translation 

The students should by the end of the course

1.     Learn to appreciate the need for translation in a multi-lingual, multi-cultural diversity

2.     Understand  the reasons for the differences in texts as far as translation is concerned

3.     Appreciate the changing functions and purposes of translation in the age of world Literatures

4.     Acquire a skill of hands-on experience at translating from a source text to a target text.

Introduction- (a) What is Translation? Basil Hatim& Jeremy Munday

 (b) Translation Strategies (Extension) Basil Hatim& Jeremy Munday

(c) Pedagogic Translation vs. Translation Teaching: A Compromise Between Theory and Practice VALERIA PETROCCHI

(d) Teaching in—and about—Translation SANDRA BERMANN Profession (2010), pp. 82-90

Baker, Mona. Ed. Critical Readings in Translation Studies. London/New York: Routledge, 2010.

Bassnett, S. & A. Lefevre. Eds. Translation, History and Culture. Princeton: UP, 1990.

Bassnett, Susan. Translation Studies. London: Routledge, 2002.

Dasgupta, Subhas. “Tagore's Concept of Translation: A Critical Study” Indian Literature