Syllabus for
Master of Arts (English with Communication Studies)
Academic Year  (2017)

Examinations are a combination of formative and summative assessments. Expereinetial learning, research based assignments, dissertation, projects are used as tools of assessment.

The objective of the paper is to provide a survey course that studies a selection of British texts and their contexts. Chronologically this paper spans the Anglo Saxon era to the Victorian era. The paper will actively engage students in the reading process - to read, comprehend, respond to, analyse, interpret, evaluate and appreciate a wide variety of fiction, poetic and nonfiction texts

·                     To appreciate one of the foundational literary cultures in Europe

·                     To focus on the ideas that prompt literary development

·                     To explore the influence of other fields on literature

Medieval social theory and Chaucer

Renaissance and Humanism

• Excerpts from Utopia  

Nationhood, race, colonialism and empire

• Restoration -

• Consumer culture – William Hogarth’s engravings

A day in the 18^th century London

                        Jonathan Swift – A Description of the Morning

                        Description of the pleasure gardens

• Slave narratives

• Enlightenment cosmopolitanism – Addison   

• Revolution and reaction

• Spirit of the age – Poetic theory and Practice

• Romanticism as an aesthetic category

The Romantic Novel – Pride and Prejudice  

• Class relations, conflict, and the conditions of England

• Cityscapes, countryside and Victorian ruralism

• Science, nature and crises of faith

• Empire, race and national identity  

 Charles Dickens: Hard Times

George Eliot's: Mill on the Floss / Middlemarch 

Hogarth's Engravings

Pride and Prejudice

 Hard Times

 Mill on the Floss / Middlemarch 

1. Attridge, Derek. The Rhythms of English Poetry, 1982
2. Baugh, Albert. A Literary History of England, 1967 
3. Brantlinger, Patrick. Rule of Darkness: British Literature and Imperialism, 1830-1914,   1988
4. Conrad, Peter. Modern Times, Modern Places. 1998
5. Doody, Margaret. The True Story of the Novel. 1996
6. Ellmann, Richard and Feidelson, Charles (ed.)The Modern Tradition: Backgrounds of Modern Literature, 1965
7. Pinsky, Robert. The Sounds of Poetry: A Brief Guide, 1998
8. Poovey, Mary. Making a Social Body: British Cultural Formation, 1830-1864, 1995
9. Watt, Ian. The Rise of the Novel, 1957

CIA I and III can be either written analysis/presentation of a movement or dominant idea of the time

Mid semester exam will written paper on the modules covered

End-semester: One Section: Five questions carrying 20 marks to be answered out of eight.

The objective of the paper is to introduce students to research methods and writing. Quantitative and Qualitative methods as well as writing methods are to be studied. This paper will culminate in a Dissertation.

• To introduce the students to the idea of research
• To train students to write critically

Qualitative method, Quantitative method, Action research

Composing the dissertation: Developing a thesis, Organising ideas, Literature Review, Writing Abstracts, Writing the first draft, Analysis, Conclusion, Revising and editing, Chapterisation, Margins; Spacing; Heading and title; Page numbers; Tables and illustrations; Endnotes and footnotes; Corrections and insertions, Bibliography

1. Gibaldi, Joseph. MLA Style Manual and Guide to Scholarly Publishing. 3rd ed. New York:  Modern Language Association, 2008.
2. Somekh, Bridget and Cathy Lewin. eds. Research Methods in Social Sciences. New Delhi: Sage/Vistaar, 2005.
3. Griffin, Gabriele. ed. Research Methods for English Studies. Edinburgh: Edinburgh University Press, 2005.

1. Mckee, Alan. Textual Analysis: A Beginners Guide Sage, 2003
2. Reissman, Catherine K. Narrative analysis Sage, c1993
3. Ruane, Janet M. Essentials of Research Methods: A Guide to Social Science Research.Blackwell, 2004
4. The Chicago Manual of Style 15th ed. Chicago: Chicago University Press, 2003.

CIA I, III written assignments

Mid-semester exam

The objective of the paper is to cover the classical, neoclassical, romantic and Victorian shifts in thought, Russian Formalism, Practical Criticism and New Criticism and introduce students to key texts and ideas, so that they will be able to understand the epoch, and socio-cultural context of various thoughts and ideas.

It will familiarise the students with the major shifts/breaks that occurred in the history of thought and ideas across a period of time and will equip them to critically engage with contemporary critical theory.

Classical and Medieval: Art, Aesthetics and Ethics                                               

1. Plato – Excerpts from Republic/Ion
2. Aristotle – Excerpts from Poetics
3. Horace – Excerpts from Art of Poetry
4. Longinus – Excerpts from On Sublimity
5. St. Augustine – Norton Selections

Neoclassical: Nationalism and Literature

Level of Knowledge: Basic

1. Alexander Pope – From “An Essay on Criticism”
2. Edmund Burke – Excerpts from Norton Selections on the Beauty, Sublimity and taste

Romantic: Art, Aesthetics and Enlightenment

1. Hegel – Excerpts from “Phenomenology of Spirit” and “Lectures on Fine Art”
2. William Wordsworth – Excerpts from “Preface to the Lyrical Ballads”
3. Samuel T. Coleridge- Select chapters (Part I, XIII, Part II, XIV etc.) from Biographia Literaria
4. John Keats and P.B. Shelley – Key ideas. Selections from Keats’ Letters and excerpts from Shelley’s “Defense of Poetry”

Level of Knowledge: Conceptual

Victorian: Canon and Ideology

1. Charles Baudelaire: Excerpts from “Modernity”, “Beauty, Fashion and Happiness”
2. Mathew Arnold – Excerpts from “The Function of Criticism at the Present Time”.
3. Marxism – excerpts from Communist Manifesto, “Ideology”, and “Production of Consciousness.”

Russian Formalism: Language and Interpretation                                    10 Hrs.

1. Viktor Schklovsky – Excerpts from “Art as Technique”
2. Roman Jakobson –  Excerpts from “Metaphor and Metonymy”
3. Mikhail Bakhtin –  Concepts of “dialogism”, heteroglossia, dyglossia

Practical Criticism-New Criticism                                                               

1. I A Richards – Short excerpts from  Practical Criticism
2. William K. Wimsatt and Monroe C. Beardsley – Key ideas regarding “intentional and affective fallacies”
3. Cleanth Brooks – “The Formalist Critics”
4. T. S. Eliot – “Tradition and Individual Talent"

1. Culler, Jonathan. Literary Theory: A Very Short Introduction. Oxford: Oxford UP, 1997.
2. Eagleton, Terry. The Function of Criticism. Calcutta: Seagull Books, 2005.
3. Eagleton, Terry. Marxism and Literary Criticism. London: Routledge, 2002.
4. Habib, M. A. R. A History of Literary Criticism and Theory: From Plato to the Present. Malden: Blackwell Publishing, 2005.
5. Hawthorne, Jeremy. A Glossary of Literary Theory. London: Arnold Publishers, 2003.
6. Keesey, Donald. Contexts for Criticism. London: Mayfield Publishing Company, 1998.
7. Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. New York: W.W. Norton Company, 2001.
8. Murray, Penelope and T.S. Dorsch, trans. Classical Literary Criticism. London: Penguin, 1965.
9. Rice, Phillip and Patricia Waugh.  Modern Literary Theory. London: Hodder Arnold, 1989.
10. Zima, Peter. V. The Philosophy of Modern Literary Theory. London: The Athlone Press, 1999.

1. Giambattista Vico – From The New Science
2. Immanuel Kant - Excerpts from “Critique of Judgement”
3. Edgar Allen Poe – Excerpts from “The Philosophy of Composition”

Paper 1 (CIA I): An Introductory paper on the understanding of Literary Criticism (750 words) 

Paper 2: (CIA III): A research paper on any area of interest within the framework of this course. The Student could choose any text and apply the theories learnt.

CIA II Mid Semester: A written test of 50 marks.

Section A: 2 questions out of 3.  20 marks each.

Section B: 1 question out of 2. 10 marks   

End Semester Exam: A written exam of 100 marks

One Section: 5 questions out of 8 carrying 20 marks each.

The objective of the paper is to

• introduce the students to the basic concepts in Linguistics
• instil basic understanding of the different levels of analysis in Linguistics, including Phonology, Morphology, Syntax and Semantics.
• introduce the learners to the basic theories and concepts in Sociolinguistics and Psycholinguistics.
• enable an understanding of English Phonetics in relation to General English Linguistics.
• introduce learners to specific analysis of South Asia as a Linguistic Area.

Basic understanding of the scientific study of language; awareness of how linguistic analysis of a language is done at different levels; basic attempt at understanding one’s own mother tongue in linguistic terms; awareness of language families in India; curiosity to learn about the study of human language.

Level of Knowledge: Basic

Introduction to Linguistics: Brief history; definition; major concepts and branches

Language: Definition, nature, properties and functions of language, sub-systems of language

Communication: Definition, nature, requirements and types of communication

Phonetics

This module will familiarise the students with basic principles of Phonetics and introduce the social implications of accent, pitch and intonations.

1. Definition and branches - articulatory, acoustic and auditory phonetics
2. Speech: Formation, organs of speech and airstream mechanism (clicks ingressive sounds)
3. Stress, rhythm and intonation
4. Introduction to language families through tonal variations/qualities

Morphology-

1. Etymology
2. Morph, morpheme, and allomorph and their relationship.
3. Word: Definition and types; Processes of word formation

Syntax:  Syntactic analysis, I.C. Analysis, Phrase structure grammar, Transformational grammar, components of functions of grammar. Acceptability and grammaticality of sentences.

Semantics: Concept of meaning. Different types of meanings.

Meaning Relations, Semantic ambiguity.

Pragmatics: Presupposition, implicature and entailment

 This module will introduce four essential aspects of language studies:

 Relationship between language and words

1. Relationship between language and grammar
2. Relationship between language and meaning (language change and language varieties)
3. Relationship between language and interpretation

This module will aim to provide a foundation for understanding language variations, the ‘place’ of a language in society.

1.      South Asia as a linguistic area. Identifying a linguistic area, language families, Indo European family, Austro Asiatic, Sino Tibetan, and Dravidian.

2. Relationships between language and social structure
3. Linguicism-linguistic discrimination
4. Introduction to Sociolinguistics: Language isolates, Language change, Language varieties, Languages in Contact. Psycholinguistics: Introduction to psycholinguistics. Competence and Performance.Language acquisition in children. Major theories

1. Fromkin, Victoria, R. Rodman and N. Hyams. 2010. An Introduction to Language. 7th ed. Boston: Thomson Heinle.
2. Balasubramanian, T. (2000) . A Textbook of English Phonetics : For Indian Students.  Macmillan
3. Hockett. C.F. (1958) . A Course in Modern Linguistics. New York: Macmillian.

1. Bansal R. K. & Harrison J. B. (1983). Spoken English for India: A Mannual of Speech and Phonetics. Longman.Madras.
2. Chandler, Daniel. (2002) . Semiotics: The Basics. New York. 
3. Krishnaswamy, N & BurdeArchana S. (2004). The Politics of Indians' English: Linguistic Colonialism and the Expanding English Empire. New Delhi: OUP.
4. Krishnaswamy, N & Verma S K. (2005). Modern Linguistics: An Introduction. New Delhi: OUP.
5. Leech G N. (1983). Principles of Pragmatics. London: Longman.
6. Levinson S. (1983). Pragmatics. Cambridge, CUP.
7. O'Connor. (1993). Phonetics. Hanmondsworth: Penguin Books.
8. Palmer, F. R. (1976). Semantics : A New Outline Cambridge, CUP.
9. Prakasam, V. & Abbi Anvita. (1985). A Semantic Theories and Language Teaching. New Delhi, Allied Publishers.
10. Saussure, Ferdinand de. (1966). A Course in General Linguistics. New York: McGraw-Hill.
11. Thorat, Ashok. (2002). Discourse Analysis of Five Great Indian Novels. Macmillan.
12. Widdowson, H. D. (1975). Stylistics and the Teaching of Literature. London: Longman.
13. Wardhaugh, R. (1986). An Introduction to Sociolinguistics. New York, Basil Blackwell Ltd.
14. Tallerman, M. (1998). Understanding Syntax. London/New York: Arnold/OUP.

Language and Format: 5 marks

Subject matter- 10 marks – will include:

-- the comprehensive nature of the survey the student has attempted

-- how well the student has been able to trace the history and development of the genre

-- the kind of examples the student has collected

-- the critique of the genre

-- arguments in the paper

The relevance/appropriateness of the example/thesis question for the assignment: 5 marks

Mid-semester written exam based on modules 1 to 3 for 50 marks (2 hours)

End-semester written exam based on all the modules for 100 marks ( 3 hours)

The objective of the paper is to provide a basic understanding of Mass communication  to students. The nature of mass communication will be discussed following the trends in Print, Electronic, Broadcast mediums. Also the tools of PR and Advertising and their relation to Mass communication will be discussed.

Experiential, hands on learning of print media, design and layout.

Level of knowledge: Basic

• Nature of Mass communication
• Theories of Mass Communication- Basic theories
• Print- terminology, trends, reporting
• Advertising- Concepts, scope and functions
• Public Relations- Introduction to PR, concepts and techniques

• Media and Society- Trends and Transitions
• Marshall McLuhan: The Medium is the Message
• Michael Gurevitch: The Globalisation of Electronic Journalism
• Sugata Srinivasaraju: Sourced Locally
• Sanjoy Harzarika: Mainland Discourse

·         Practical Component- Quark Express-

CIA I – Interviewing/ editorial/feature writing

Mid Semester- Newsletter submission

CIA III- Write-up on a prescribed text- 800 words

End Semester: Portfolio (Advertising/PR) submission for 100 marks

• This course examines the idea of Gender and its social constructs
• The concept of gender, the difference between sex and gender, key concepts in gender studies and gender roles are examined through this paper.
• There is an attempt to answer questions pertaining to how the social constructs of race, class, gender, sexuality and ethnicity intersect
• The theoretical framework for the discussion of gender studies will be based on theories of the Body, history of gender studies, femininity and masculinity and queer studies 
• Students will be expected to undertake extensive individual and group research work.
• The course will involve Service Learning as one of the CIAs, thereby creating an interface with NGOs and Public organizations working for individuals marginalized on the basis of gender.

• Based on a few significant theories and literary texts in the context of Gender from India and abroad, this course aims at offering basic conceptual understanding of Gender Studies as a discipline which will further enable students to pursue individual research in interdisciplinary fields.
• The course underlines significantly, the Institutional Values of Christ University with emphasis on gender sensitivity, social responsibility and love of fellow beings

Level of Knowledge: Basic exposure to theoretical and literary concepts.

Theoretical Framework: Body, Sex and Gender, Popular ideologies of gender

Critical Texts:

• Dani Cavallaro: “Why the Body?”
• Denise Riley: “Does a Sex Have a History?”
• Simone de Beauvoir: Introduction to The Second Sex

Literary Texts:

• Imtiaz Dharker: “Purdah”
• Adrienne Rich: “Snapshots of a Daughter-in-Law”
• Selection from Sara Joseph and Devika. J: The Masculine of Virgin

Level of Knowledge: Basic exposure to theoretical and literary concepts.        

Theoretical Framework: Introduction to the three waves of feminism, Major feminist ideologies, Pre and Post Nationalist feminisms in India

Critical Texts:

• Tejaswini Niranjana: “Feminism and Cultural Studies in Asia”
• Ann Rosalind Jones: “Inscribing Femininity: French Theories of the Feminine”
• Helene Cixous: “The Laugh of the Medusa”
• Luce Irigaray: Introduction to Speculum of The Other Woman

Literary Texts:

• Susie Tharu & Lalita K: Women Writing in India (excerpts)
• Ismat Chugtai: “Lihaaf”

Level of Knowledge: Basic exposure to theoretical and literary concepts.       

Theoretical Framework: Masculinities, Queer Theories, Contemporary debates

Critical Texts:

• Rahul Roy & Anupama Chatterjee: A Little Book on Men
• Stephen M. Whitehead: “Materializing Male Bodies”
• Judith Butler: Subjects of Sex/Gender/Desire”
• David Valentine and Don Kulick: Introduction to Transexuality, Transvestism and Transgender

Literary Texts:

• Shyam Selvadurai: The Funny Boy
• Santosh Sivan: Navarasa (visual text)

1. Brinda Bose, The Desiring Subject: Female Pleasures and Feminist Resistance in  Deepa Mehta’s Fire. in Indian Journal of gender studies (volume 7 Number 2 July – December 2000 Special Issue: Feminism and the Politics of Resistance) Ed. Rajeswari Sunder Rajan. Print.
2. Butler, Judith. Undoing Gender. New York: Routledge, 2004. Print.
3. Chandra Talpade Mohanty, Cartographies of Struggle: Third World Women and The Politics of Feminism. In Feminism Without Borders: Decolonizing Theory, Practicing Solidarity, Duke UP: 2004. Pp: 43-84. Print.
4. Cixous, Helene. The Laugh of the Medusa trans. Keith Cohen and Paula Cohen, Signs 1, no. 4 (1976): 875-93, Print.
5. David; Kaplan, Cora. Genders. Glover, London, Routledge: 2000. Print
6. Eagleton, Mary (Ed). A Concise Companion to Feminist Theory, Oxford, Blackwell Publishing: 2003. Print.
7. Irigaray, Luce. This Sex Which is Not One. New York:Cornell University Press:1985. Print.
8. Jain, Jasbir (ed). Women in Patriarchy, New Delhi, Rawat Publications: 2005. Print.
9. Kimmel, Michael and Amy Aronson (eds). Men and Masculinities: A Social, Cultural, and Historical Encyclopedia. Santa Barbara, CA: ABC-Clio Press, 2003. Print.
10. Spivak, Gayatri Chakravorty. Three Women’s Text and a Critique of Imperialism, in Henry Louis Gates, Jr. Ed., Race, Writing and Difference Chicago: Chicago University Press: 1985. Print.
11. Whitehead, Stephen M., and Frank J. Barrett. (eds). The Masculinities Reader, Cambridge: Polity Press, 2001. Print.

1. Cavallaro, Dani. The Body for Beginners. Orient Longman: 2001. Print.
2. Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. Routledge: 2000. Print.
3. Featherstone M., Hepworth M. and Turner, B. (eds).The Body: Social Process and Cultural Theory. London, Sage: 1991. Print.
4. hooks, bell. Feminist Theory: Margin to Centre. South End Press: 1984. Print.
5. Illich, Ivan. Gender. New York: Pantheon Books: 1982. Print.
6. Irigaray, Luce. This Sex Which is Not One. New York. Cornell University Press: 1985. Print.
7. Kumar, Radha. The History of Doing: An Illustrated Account of Movements for Women’s Rights and Feminism in India, 1800-1990. New Delhi: Kali for Women: 1993. Print.
8. Moi, Toril. I Am Not a Woman Writer: About Women, Literature and Feminist Theory Today, Feminist Theory 9.3 (December 2008), 259-71. Print.

Students will be evaluated on the basis of their performance in Continuous Internal Assessments (CIAs) and the End-semester examination.

CIA 1: Individual Presentations with written abstracts based on literary texts (20 Marks)

CIA 2: Mid-semester Exam for 50 marks (10x5 =50 marks – Answer any 5 out of 7 questions)

CIA 3:  Research Paper/ Presentation in Seminar on Gender (20 Marks)

End-semester Examination: 20x5= 100 (Answer any 5 out of 8 questions).

The objective of the paper is to  cover  Structuralism,  phenomenology, poststructuralism,  deconstruction,  psychoanalysis,  feminist  theory,  modernism  and postmodernism.

Level of Knowledge:  Understanding of  MEL 133/Literary Criticism and Theory

1.  Ferdinand  de  Saussure  –  Selected  readings  from  A  Course  in  General Linguistics

2.  Claude Levi-Strauss  –  Key ideas and Excerpts from “The Structural Study of  Myth”

3.  Roland Barthes – “Myth Today”

4.  Gerard Gennette – “Structuralism and Literary Criticism

5.  Jonathan Culler – Selected readings from Structuralist Poetics

General readings on structuralism and application based examples in literature

1. Roland Barthes – “The Death of the Author”/ “From Work to Text”
2. Michel Foucault – Key ideas + “What is and Author?”
3. Jacques Derrida – Key ideas + “The Structure, Sign and Play in the Discourse of the Human Sciences”
4. Althusser - Ideological State Apparatuses.

General readings on post-structuralism and deconstruction and application based examples in literature

1. Sigmund  Freud  –  “Dream  Work”  and  “The  Ego  and  the  Id”  and  “Creative Writers and Day dreaming”
2. JacquesLacan  –  Excerpts  from  “The  Mirror  Stage  as  Formative  of  the  Function I”/ “The Agency of the Letter in the Unconscious”
3. Jung

General Readings on Psychoanalysis and Feminist theory and application based examples literature

Apply Psychoanalysis to a text prescribed in the British or American Literature Syllabi (Salinger’s Catcher in the Rye)

1. Frederic Jameson: Excerpts from “The Political Unconscious: Narrative as a

Socially Symbolic Act”

2. Jean Baudrillard – key ideas regarding hyperreal, hypercommodity,

hypermarkets, simulacra etc.

3. Jean Francois Lyotard – “Answering the Question: What is Postmodernity?”
4. JurgenHaebermas – “Modernity vs Postmodernity”
5. General readings on postmodernism and application based examples in literature

One short story which can be interpreted from the Marxist / psychoanalytic/ Feminist and poststructuralist perspectives.

1. Husserl, Heidegger, Jean Paul Sartre, Paul Ricoeur, Gadamer. – Key Ideas
2. Gilles Deleuze and Felix Guattari: Excerpts from “The Desiring-Machines”
3. Linda Hutcheon: key ideas from The Canadian Postmodern

1. Belsey, Catherine.  Poststructuralism: A Very Short Introduction. Oxford: Oxford UP,

2002.

Deleuze, Gilles and Felix Guattari: Excerpts from “The Desiring-Machines”

2. Habib, M.  A.  R.  A  History of Literary Criticism and Theory:  From Plato to the

Present. Malden: Blackwell Publishing, 2005.

3. Hawthorne, Jeremy. A Glossary of Literary Theory.  London: Arnold Publishers, 2003.
4. Husserl, Heidegger, Jean Paul Sartre, Paul Ricoeur, Gadamer. – Key Ideas
5. Hutcheon, Linda. Key ideas from The Canadian Postmodern
6. Jaware, Aniket. Simplifications
7. Keesey, Donald.  Contexts for Criticism.  London:  Mayfield Publishing Company,

1998.

8. Leitch, Vincent B., ed.  The Norton Anthology of Theory and Criticism.  New York:

W.W. Norton Company, 2001.

9. Rice, Phillip, and Patricia Waugh.   Modern Literary Theory. London: Hodder Arnold,

1989.

10. Wolfreys, Julian. Derrida: A Guide for the Perplexed. London: Continuum, 2008. 

Syllabus 2013 24

11. Zima,  Peter.  V.  The  Philosophy  of  Modern  Literary  Theory.  London:  The  Athlone

Press, 1999.

CIA I (20 marks) – A paper on the shift in Western thought system in the twentieth century based on their understanding of structuralism and poststructuralism

CIA II (Mid-sem) (50 Marks) – Written test

One Section – 5 questions out of 7 – 10 marks each

CIA III (20 Marks) – The research paper should be on texts-oral, print, digital-related to your language and/or place, preferably from your local language other than English using the theoretical tools discussed in class.

End semester: A written exam of 100 marks

One Section: 5 questions out of 8 carrying 20 marks each.

The objective of the paper is to discuss issues of race, class, and gender in the context of American literary and cultural studies.

Level of Knowledge: Basic

This module explores the  multiple perspectives on race , gender and social struggles in 20^th Century America. The novels are both significant in terms of a nation’s growing pangs and the construction of  an identity.

Novel

Catcher In the Rye- J D Salinger                                                                           

The Bluest Eye- Toni Morrison

This module studies the diverse forms of theatres that flourished in 20^th Century America and how they addressed socio political issues.                                                                                                               

A Raisin In The Sun-Lorraine Hansberry

Death of A Salesman-Arthur Miller

Experimentation with form and style are one of the hallmarks of  20^th Century America. This era also saw the emergence of a Black aesthetic and poetic voice best reflected in the Harlem Renaissance and the struggle for Civil rights.The following poets are a sample of these concerns.

William Carlos Williams/ Tract, Danse Russe, This is Just To Say, Red Wheelbarrow                                                                           

E E Cummings/ In Just Spring,Cambridge Ladies, My Sweet Etcetera, 

Hart Crane/ from Brooklyn Bridge

Paul Dunbar/Soliloquy of A Turkey, Harriet Beecher Stowe

Langston Hughes/ The Negro Speaks of Rivers/ Ku klux klan/ Peace

Gwendolyn Brooks/Kitchenette Building / Mother

Don. L. Lee/ Back Again home/ the Primitive

American short stories are a curious blend of brevity and a sense of  unhurried story telling. The following stories capture the mystery, terseness and humour of  this popular form of fiction.                                                                                                       

 Hemingway- Cat in The Rain

 Faulkner- Rose For Emily

 The Foolish And the Wise- Leila Amos Pendleton

1. The Norton Anthology of African American Literature; Ed. Henry Louis Gates Jr and Nellie Y. Mckay; Second Edition
2. ContemporaryAmericanPoetry; Ed by Howard Nemerov, Forum1979
3. Black  Poets, Bantam Books, 1972

1. Ed Burt Kimmelman.20^th- Century American Poetry; Checkmark Books, 2005
2. eds Peter H Schuck and James Q Wilson.Understanding America : The Anatomy of anexceptional Nation/, Public Affairs Books, 2008
3. Ed by James A Henretta et al.America’s History : Vol 2 Since 1865, Bedford /St Martin’s, 2000

Mid-semester:

CIA I- WrittenAssessment

CIA II -Exam 50 marks

CIA III – Group Presentation

End Semester: 100Marks: 5 essay type questions out of 8 carrying 20 marks each.

The purpose of this course is to introduce the concepts of language teaching and learning within classroom spaces and beyond, help students understand how pedagogic spaces are constructed and what their social implications are. The course also intends to explore issues related to assessment in formal as well as semi-formal settings.

Introductory sessions on conceptualising classrooms, pedagogies and language teaching

1. Tracing historical developments in Language Teaching: Grammar translation, direct method, audio-lingual method, situational language teaching, total physical response, the natural approach, the communicative approach, the silent way, suggestopedia, community language learning, task based language teaching.
2. Understanding notions of classrooms as pedagogic spaces
3. Understanding notions of equity and equality in education, studying educational policies such the t RTE in the current context (introductory level)
4. Introduction to alternative education and home schooling

1. Global issues in language teaching
2. Contextualising english language education in the Indian context
3. Social identities in pedagogic spaces- challenges and concerns (Key text: Pedagogy of the Oppressed)
4. Service Learning- Educational Equity

Receptive Skills: (reading and listening materials): reasons and strategies for reading; reading speed; intensive and extensive reading and listening; reading development; reasons and strategies for listening; listening practice materials and listening development.

Productive Skills: (speaking and writing): skimming, scanning, taking notes from lectures and from books; reasons and opportunities for speaking; development of speaking skills; information-gap activities; simulation and role-play; dramatization; mime-based activity; relaying instructions; written and oral communicative activities.

Vocabulary: choice of words and other lexical items; active and passive vocabulary; word formation; denotative, connotative meanings.

Grammar: teaching of word classes; morphemes and word formation; noun(s); prepositional and adjective phrases; verb phrases; form and function in the English tenses; semantics and communication.

Lesson Planning: instructional objectives and the teaching-learning process; writing a lesson plan; the class, the plan, stages and preparation; teacher-student activities; writing concept questions; teacher-student talking time; classroom language; class management and organization.

Peer Teaching: Teaching skill oriented lessons as a part of peer teaching in the class. This could also be considered as CIA I

Service Learning: Students studying this course would mandatorily take classes on a regular basis (Saturdays 2-4pm) for learners from the underprivileged sections of the society as part of the SRUJANA, an extension activity initiative of the MA In English with Communication Studies programme of  department of English in association with the CSA –Centre for Social Action. Self- observation and Analysis

Syllabus, curriculum design

1. Understanding curriculum and syllabus
2. Processes in syllabus and curriculum design

Testing and Assessment

1. Understanding Evaluation, Assessment and Testing, Content-based and Skill-based Testing
2. Validity, reliability, standardised testing
3. Alternative teaching and assessment practices

Bailey, Richard W. Images of English. A Cultural History of the Language. Cambridge:

CUP 1991.

Bayer, Jennifer. Language and social identity. In: Multilingualism in India. Clevedon: Multilingual Matters Ltd: 101-111. 1990.

Durairajan, G. (2015). Assessing Learners. A Pedagogic Resource. India: Cambridge University Press.

Ellis, R. Understanding Second Language Acquisition. Oxford:OUP. 1991.

Freire, P. (2014). Pedagogy of hope: Reliving pedagogy of the oppressed. Bloomsbury Publishing.

Richards Jack C.Curriculum Development in Language Teaching. India: Cambridge UniversityPress. 2001.

Richards Jack C. and Rodgers Theodore S. Approaches and Methods in Language

Teaching. Cambridge University Press.1986.

Widdowson, H G. Teaching Language as Communication. Oxford University Press.1978.

Ur, P. 1996. A Course in Language Teaching: Practice and Theory. Cambridge: Cambridge

University Press.

CIA 1: Research based CIA based on 1st and 2nd units

Mid-semester Exams

CIA 2: Designing a textbook.

End Semester Exam

The objective of the paper is to provide an advanced understanding of the workings of Mass Communication systems to be able to analyse trends and changes in the field of Mass Communication and Journalism and relate the same in the context of society.

An analytical understanding of Mass Communication and its impact on social scenario through New Media.

Level of Knowledge: Conceptual

• Communication and the Indian Society
• Models of Mass Communication- limitations
• New Media—Internet, Content Writing Blogs
• Variety in Mass Communication- Oral and Traditional mediums
• Communication and Development- Indicators of development and underdevelopment

Level of Knowledge: Analytic

         Media and Society- Trends and Transitions

• Tejaswini Niranjana: Gender and the Media: Problems for Cultural History
• Noam Chomsky Interview by Ajaz Ashraf and Anuradha Raman
• Sashi Kumar: Net Worth
• WikiRebels: The Documentary by Jesper Huor and Bosse Lindquist
• Bill Nichols: ‘Reality TV and Social Perversion
• Gideon Haigh: Fake IPL Player: True Lies
  

·       

·                     Practical Component- Magazine Production                                                          4 Hrs

• Design
• Task-based communication projects

1. Ashraf, Ajaz and Anuradha Raman. Interview with Noam Chomsky. Outlook (November 1, 2010): 18- 26. Print.
2. Budd, W. Richard and Ruben, D. Brent. Beyond Media: New Approaches to MassCommunication. New Brunswick, Transaction Publishers: 1991.
3. Downing, D. H. John et al. Radical Media: Rebellious Communication and Social Movements.California, Sage Publications:2001.
4. Haigh, Gideon. Sphere of Influence: Writings on Cricket and its Discontents. New Delhi, Simon & Schuster India: 2010.
5. Hazarika, Sanjoy. Mainland Discourse. Outlook (November 1, 2010): 18- 26. Print.
6. Kumar, Sashi. Net Worth. Frontline December 28, 2012: 126- 128. Print.
7. Marris, Paul and Thornham, Sue. (ed) Media Studies: A Reader. Edinburgh, Edinburgh University Press: 1996.
8. Poduval, Satish. Re-Figuring Culture: History, Theory and the Aesthetic in Contemporary India. New Delhi: Sahitya Akademi, 2005.
9. Rodman, George. Making Sense of Media. Boston, Allyn & Bacon: 2001.
10. Srinivasaraju, Sugata. Sourced Locally. The Caravan December 2012: 19-21. Print.
11. WikiRebels: The Documentary. Dir(s). Huor, Jesper, and Bosse Lindquist. Sveriges Television, 2010. Film

CIA I Designing cover and back page of a news magazine

CIA II Magazine Production-12 pages

CIA III Write-up on a prescribed text- 800 words

End Semester: Portfolio (Indian Folk Art) submission for 100 marks

The paper aims to

• Give a comprehensive overview of different literatures in India.
• Appreciate, analyse and problematize our literature.
• Introduce some of the pertinent issues of translation.

The paper is a serious approach to study and contemplate Indian literary heritage through a wide range of creative voices speaking in many tongues. The choices here problematize issues like: how social hierarchy privileged the upper castes and upper classes, the will to change behind each agonizing scene of suffering, the challenges offered by modernity and the inevitable negotiations.

Level of Knowledge : Basic / Conceptual                                                         

This module intends to probe into some basic issues in Indian literatures such as Translation, Social hierarchy in Indian society and concerns of post-colonial literature.

1)      The Narratives of Suffering, Caste and the Underprivileged   Sisir Kumar Das

2)      Is there an Indian way of thinking?                                         A. K. Ramanujan

3)      Post Colonial Literature; Globalizing Literature                     Purabi  Panwar

4)      Appropriating the Other:

      Some challenges of Translation and its Theories                  Keya Majumdar

5)      Why Translation Matters, (excerpts)                                      Grossman, E

Level of Knowledge: Analytical

A survey of modern Indian poetry from the time of Tagore to the twenty first century with its concerns of poverty, caste, gender, exploitation, etc.

1)  Songs from Gitanjali (I; XI; XXXV, LXXIV) –Tagore.

2) The Door, Knowing – Anamika

3) The Charming Earth of Awadh, My journey – Ali Sardar Jaffri

4) Madhushala – Harivansh Rai Bachan

5) Mother – Lankesh

6) Lines to our own Insecurity – Avtar Paash

7) With you, Known to be a Neurotic – Salma.

Level of Knowledge: Conceptual

This module represents major Gender, Dalit, Caste and Political issues in short stories as seen in Bhasha literatures.

1)      Draupadi- Mahaswetha Devi

2)      Dalit Brahmin- Sarankumar Limbale

3)      Salvation- Prathibha Ray

4)      Sweat-Marks- Sara Joseph

5)      Still bleeding from the wound- Ashok Mitran

Level of Knowledge: Conceptual

Representative pieces in this module are intended to bring in discussion encompassing    major cultural and socio-political discussions of the nation from past to present.

1)      OV Vijayan- Legends of Khasak

2)      Mrichakadika- King Sudraka

3)      Girish Karnad- Tuglaq

4)      Indira Goswami- Moth Eaten Howda of the Tusker

1. Basu, Tapan, Ed..  Volume 2. Translating Caste: Studies in Culture and Translation, Katha, New Delhi.2002. Print.
2. Krishnaswami , Subasree, Ed.. Short fiction from South India, Oxford University Press.  2005. Print.
3. Ramakrishnan. E.V.Eds.. Indian Short Stories 1900-2000/ Sahithya Academy. 2000. Print.
4. Tiwari, Shubha.Ed.. Indian Fiction in English Translation.New Delhi, Atlantic, 2005. Print.
5. Mrchchhakarika, King Sudraka, Global Sanskrit Literature series in English.Global vision, NewDelhi.2004.Print.
6. Abhijnana Sakunthalam, Kalidasa, Global Sanskrit Literature series  in English. Global vision, NewDelhi.2004.Print.
7. A Chugtai Collection- Ismat Chungtai, Women Unlimited. 2004.Print.
8. University of Delhi. Indian Literatures: An Introduction.New Delhi, Pearson Longman. 2001. Print.
9. Nandy, Ashish. The Intimate Enemy: Loss and Recovery of Self under Colonialism. OUP, Delhi.1983. print.
10. The Little Magazine. Vol- VIII issues 1,2 &3 Sahitya Academy. New Delhi.2009. Print.
    
11. The Little Magazine. Vol- VIII issues 4 &5 Sahitya Academy. New Delhi. 2009. Print.
12. Ahmad, Aijaz.  In Theory: Nations, Classes, Literatures. London: Verso, 1992. Print.
    
13. Goswami, Indira. The Moth- eaten Howda of the Tusker.Rupa 2004.
14. Three Modern Indian Plays.OUP. 1989. Print.
    
15. Grassman, Edith. Ed..Why Translation Matters,Orient Blackswan.New Delhi.2011.Print

CIA II – Written Assignments on the problems of Translation

CIA I – Translation of Regional Language work into English

End –Semester written Exam for 100 marks.                                            

The paper

• Examines multiple modes of literary expressions and experimentations
• Acknowledges and engages with frictions and fabrications that emerge in the process of fictioning
• Shifts emphasis from strictly literary readings to interdisciplinary sense-making
• Enquires into crossings, collaborations and confrontations of varied identities and cultures at the local, national and global .

• To appreciate cross cultural texts and discern appropriation and assimilation.
• To gain insights into art forms and processes from across the world.
• To understand the role of the artist.

Level of Knowledge:Conceptual

This section aims to bring in debates that challenge Euro centric readings particularly of the novel form. The novels in this section are socio political in nature.                            

Novel:Orhan Pamuk  New Life

Chimamanda Ngozi Adichie Half of a Yellow Sun

Level of Knowledge: Conceptual

This section explores and shifts emphasis from strictly literary readings to interdisciplinary sense-making by including the form of  literary journalism                                                                                              

Non Fiction: Philip Gourevitch: We Wish to Inform You that Tomorrow We Will Be Killed With Our Families (Stories from Rwanda)

Level of Knowledge: Conceptual

This section is a study of revisiting as a mode of writing back. Negritude is studied in this context.

Drama: Aime Cesaire  Une Tempeste

The poetry in this module is an attempt to study form and structure

Poetry:

Pablo Neruda: "Triangles", "Walking Around", "Nothing but Death"

Anna Akhmatova: "Voronezh", "How Many Demands", "Requiem"

Farough Farookzad: "Return", "A Poem for You", "O Jewel-Studded Land"

Further Study:

Marc Chagall

Haiku of Basho, Buson, Issa and Shiki

level of knowledge:Conceptual

Haruku Murakami: Kafka on the Shore

1. Damrosch, David. How to Read  World Literature, John Wiley & Sons, 2009

CIA II -Mid Semester: 50 mark written exam.

CIA I and III: Assignments on World Art forms

End semester: Five questions out of eight to be answered.

Aesthetics is generally presented as one of the important concerns of English literature/studies programmes. This course discusses the historical and philosophical contexts of such thoughts and practices around it in the European, the colonial Indian, nationalist and the post-independent contexts and contemporary positions on it. 

• Familiarity with the historical perspectives on Aesthetics
• A critical understanding contemporary debates on aesthetics

Plato: Mimesis (Republic II, III, VIII)
Aristotle: “Poetics”
Kant: “Critique of Judgement”

Romanticism and Notions of Creativity
Hegelian and Marxist positions on aesthetics

Raymond Williams: “When was Modernism?”
Peter Burger: “On the Problem of Autonomy of Art in Bourgeois Society”
Hal Foster: “The ‘Primitive’ Unconscious of Modern Art”
Walter Benjamin: “Art in the Age of Mechanical Reproduction”

Indian concept of the beautiful

Evolution & Aspects

• “Bhava” “Rasa” “Dhwani”

Roger Fry: “An Essay in Aesthetics”

Aesthetic Movements in Literature, painting, cinema in Europe and India

(This module will be discussed through student presentations / submissions)

Notions of aesthetics in different media—theatre, literature, film, painting, music, Contemporary Social Practices and Aesthetics

Ossi Naukkarinen: “Contemporary Aesthetics: Perspectives on Time, Space, and Content”

• Aesthetics and cinema
• Dalit aesthetics
• Gender and aesthetics

Digital Aesthetics

• Course Pack Compiled by the Course Instructor involving reading prescribed in the syllabus.

1. Bennet, Tony and John Frow, eds. The Sage Handbook of Cultural Analysis. London: Sage Publications, 2008.
2. Coomaraswamy, Rama P. The Essential Ananda Coomaraswamy. Indiana: World Wisdom, 2004.
3. Habib, M. A. R. A History of Literary Criticism and Theory: From Plato to the Present. Malden: Blackwell Publishing, 2005.
4. Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. New York: W.W. Norton Company, 2001.
5. Mitter, Partha. Indian Art. England: OUP, 2001. Print.
6. Zima, Peter. V. The Philosophy of Modern Literary Theory. London: The Athlone Press, 1999.
   

CIA I An Introductory paper on an understanding on the Unit III. (750 words) or student presentation of essays in any form.

CIA I Written Exam: 50 marks. 5 questions out of 7 for10 marks each.

CIA III A research paper on any theoretical area of interest within the framework of the course. One could choose any cultural text and apply the theories that you have learnt.

End Semester Exam

Written Exam: 100 marks.

5 questions out of 7 for 20 marks each.

Objectives:

·         To introduce the postcolonial situation ideologically

·         To engage with the contemporary imperial practices under the rubric of globalisation

·         To enable students to do close reading of texts with focus to understand economic, linguistic, political, social, religious resistance     

Learning outcome

·         More nuanced understanding of global and local cultures affected by colonisation

This module introduces the concept of postcolonialism as a literary theory, ideology with the help of an essay and interviews with contemporary authors. Interviews establish relationship between postcolonial as an ideology and a literary response as writers express their views on choice of language, nation building, understanding history.

·         ‘Postcolonialism’, Elleke Boehmer from An Oxford Guide to Literary Theory and criticism, Patricia Waugh

·         Interviews with Wole Soyinka, Zadie Smith, Michael Ondaaje – selection from Interviews from Writing Across worlds: Contemporary Writers Talk, Ed: Susheila Nasta 

The selected poems highlight effects of American colonisation on its ‘melting pot’ culture. Latino responses and native American responses take on a different resonance when read within the rubric of postcolonialism instead of as American Literatures.  

·         Martin Espada – Coca – Cola and Coco Frio

·         Wendy Rose – I expected my skin and my blood to ripen

·         Judith Ortiz Cofer – Latin Women Pray

Novel helped to narrate resistance on a big canvas to build nation. And novels also helped writers to create a sense of pride about their own ‘native’ culture, past, traditions. The borrowed form did not remain ‘western’ in the hands of postcolonial writers. This module introduces the issues of the nation narrated through the novel, culture recuperated to create a sense of pride and the language used to ‘tell’ the tale. 

(faculty teaching the paper can select one of the novels for discussion in class on the dynamics of the class)

·         Raja Rao – Kanthapura

·         Margaret Atwood – Surfacing

·         Tsitsi Dangarembga's Nervous Conditions

Engaging with Asian Diaspora is a significant part of postcolonial context. Asian community has encountered double migration, has been prompted to establish homes at different historical junctures in critical circumstances. They have responded to the political, social situation with resilience and has raised significant questions about migration resulted by political tyranny.         

 (faculty can consider one of the movies to be discussed in class. Visual text would be tested for Mid Semester exam. Students can choose the issues to write their long essay and submit. Faculty will help the students to chose the topics and focus for the essay.)

o   The Kite Runner – Dir: Mark Forster, 2007

o   Mississippi Masala – Dir: Mira Nair, 1991 

Achebe, Chinua. Hopes and Impediments. London: Doubleday, 1988.

Adam, Ian, and Helen Tifflin, eds. Past the Last Post: Theorizing Post-Colonialism and Post-Modernism. New York: Harvester Wheatsheaf, 1991.

Ahluwalia, D.P.S. Politics and Post-Colonial Theory: African Inflections. London: Routledge, 2000.

Ahmad, Aijaz. In Theory: Classes, Nations, Literatures. London: Verso, 1992.

Appiah, Kwame Anthony. In My Father's House: Africa in the Philosophy of Culture. London: Methuen, 1992.

_____. "Is the Post- in Postmodernism the Post- in Postcolonial." Critical Inquiry 17.2 (1991): 336-57.

Ashcroft, William D., Gareth Griffith, and Helen Tiffin, eds. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. London: Routledge, 1989.

_____. Key Concepts in Post-Colonial Studies. London: Routledge, 1998.

_____. The Post-Colonial Studies Reader. London: Routledge, 1995.

Bhabha, Homi K. Locations of Culture: Discussing Post-Colonial Culture. London: Routledge, 1996.

_____. Nation and Narration. New York: Routledge, 1990.

_____. "Of Mimicry and Man: The Ambivalence of Colonial Discourse." October 28 (1984): 125-33.

Brydon, Diana. "The Myths That Write Us: Decolonising the Mind." Commonwealth 10.1 (1987): 1-14.

_____. "Re-writing The Tempest." World Literature Written in English. 23.1 (1984): 75-88.

Brydon, Diana, and Helen Tiffin, eds. Decolonising Fictions. Sydney, Austral.: Dangaroo P, 1993.

Chambers, Lain, and Lidia Curti, eds. The Post-Colonial Question: Common Skies, Divided Horizons. London: Routledge, 1996.

Clifford, James, ed. Writing Culture: the Poetics and Politics of Ethnography. Berkeley, CA: U of California P, 1986.

Dhareshwar, Vivek. "Detours: Theory, Narrative and the Inventions of Post-Colonial Identity." Diss. U of California at Santa Clara, 1989. Ann Arbor: UMI, 1990.

_____. "Postcolonial in the Postmodern -- Or, The Political After Modernity." Economy and Politics 30 (1995): 104-12.

Fanon, Frantz. Black Skin, White Masks. New York: Grove P, 1967

_____. Studies in Dying Colonialism. New York: Grove P, 1965.

_____. The Wretched of the Earth. New York: Grove P, 1961.

Gandhi, Leela. Postcolonial Theory: A Critical Introduction. New York: Columbia UP, 1998.

Hutcheon, Linda. "Colonialism and the Postcolonial Condition." Spec. issue of PMLA. 110.1 (1995): 1-184.

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington, IN: Indiana UP, 1992.

_____. "Third World Literature in the Era of Multinational Capitalism." Social Text 15 (1986): 65-88.

Lamming, George. The Pleasures of Exile. London: Allison and Busby, 1984.

Lawson, Alan. Post-Colonial Literatures in English: General, Theoretical, and Comparative, 1970-1993. New York: Prentice-Hall, 1997.

Levi-Strauss, Claude. The Savage Mind. London: Weidenfeld and Nicolson, 1972.

Mishra, Vijay. "The Diasporic Imaginary: Theorizing the Indian Diaspora." Textual Practice 10 (1996): 421-27.

_____. "(B)ordering Naipaul: Indenture History and Diasporic Poetics." Diaspora 5:2 (1996): 189-237.

Mishra, Vijay, and Bob Hodge. "What is Post Colonialism?" Textual Practice 5.3 (1991): 399-414

Ngugi wa Thiongo. Decolonising the Mind: the Politics of Language. London: James Currey, 1989.

_____. Homecoming: Essays. London: Heinemann, 1972.

_____. Moving the Centre: the Struggle for Cultural Freedom. London: James Currey, 1993.

_____. Penpoints, Gunpoints, and Dreams: Towards a Critical Theory of the Arts and the State in Africa. New York: Oxford UP, 1998.

_____. "Postcolonial Politics and Culture." Southern Review: Literary and Interdisciplinary Essays 24.1 (1991): 5-11.

_____. Writing Against Neocolonialism. Wembley, UK: Vita Books, 1986.

Prakash, Gyan. "The Modern Nation's Return in the Archaic." Critical Inquiry 23.3 (1997): 536-556.

_____. "Postcolonial Criticism and Indian Historiography." Social Text 10.31-32 (1992): 8-19.

Rajan, Gita, and Radhika Mohanram. Postcolonial Discourse and Changing Cultural Contexts: Theory and Criticism. Westport, CT: Greenwood, 1995.

Said, Edward. Beginnings: Intention and Method. New York: Basic Books, 1975

_____. Culture and Imperialism. New York: Vintage Books, 1994.

_____. Nationalism, Colonialism and Literature. Derry, Ireland: Field Day, 1988.

_____. Orientalism. New York: Pantheon Books, 1978.

_____. "Representing the Colonized: Anthropology's Interlocutors." Critical Inquiry 15.2 (1989): 205-25

_____. Representations of the Intellectual. New York: Vintage Books, 1996.

_____. The World, the Text, and the Critic. London: Faber and Faber, 1984.

Viswanathan, Gauri. Masks of Conquest: Literary Study and British Rule in India. New York: Columbia UP, 1989

CIA I - test on issues/book review - 20 marks

CIA II – Mid Semester Exam: analysis of the movie – 50 marks

CIA III – paraphrasing select articles/excerpts – 20 mark

End semester: Five questions out of minimum out of 8 to be answered.

The course introduces theatre as a complex network of varied skills and arts

Brings in least academically-engaged theatrical forms and explores complexities and possibilities in such experimentations

1. To re-examine ideas of playwright, script, stage, audience and their interrelationships
2. To ensure performance as an experiential mode of learning
3. To encourage theatrical creation, experimentation
4. To empower students as decision-makers in the learning process

Level of Knowledge: The course demands basic linguistic, literary and theatrical exposure and competence from the learner.

The learner is likely to

·         Handle the stage with a lot more ease and confidence

·         Realize the potential of street theatre in socio-cultural contexts

·         Pick up team management, time management and crisis management skills

·         Understand the complexities of proscenium theatre from an insider's perspective

·         Understand the artistic potential of theatre and its possibilities of application in different contexts.

A three-day theatre workshop in collaboration with professionals will provide an overview of major theatre concepts and practice methodologies. The sessions will orient the participants to become active practitioners with the basic performance skills and aptitude. Through games, improvisations and exercises these sessions will focus on the individuals and their communicative tools like: body, voice and mind to play different roles. (Select number of these activities will be followed up in the practicum sessions of the following units too).

This workshop should initiate the ideas like:

Theatre is a Literary Art: The Play,

Theatre is a Performing Art: The Production, and

Theatre is a Major Form of Entertainment:

 Concept: This part focuses on theatre as an instrument of education and used as a weapon of social / political change, this will be dealt with an overview of select number of practitioners' life and works.

Practicum (Practice methodologies): Improvisations, Chorus work, Movement and Mime etc

Project: Street Theatre (The class will be divided into two or three smaller teams and will be encouraged to arrive at a theme of social relevance to perform as team)

Concept: Students will be introduced to different acting styles and concepts, Getting in to the Roles, Representative or Quintessential characters,

Practicum (Practice methodologies): Oral Interpretation,Monologue work, Character Analysis, Role Play and Physicalisation of the Individual work,

Project: Character Sketches (Each student has to script a character-building monologue for 5-10 minutes and perform)

Concept:  Theatre as entertainment / art, Stage/Space usage, Elements of Design and Direction

Practicum: Play Reading, Audition, Casting, Blocking, Rehearsal Process, Technical Theatre, Group work                                                                                        

Project: Proscenium Theatre                                                                                              

During the second month of the semester, the students will be divided into two/three teams by the course facilitator on a random basis and the teams will be asked to identify a three-act play of their choice*, based on the themes suggested by the facilitator.

* While the students may choose the play, the facilitator along with the HOD and Course Coordinator  will make the final decision on the basis of stageability, relevance and institutional norms.

Oscar Brockett's the Essential Theatre and History of Theatre.

Kenneth Cameron and Patti Gillespie, The Enjoyment of Theatre, 3rd edition, (Macmillan, 1992).

Oscar Brockett and Robert Findlay, Century of Innovation, 2nd edition (Boston: Allyn and Bacon, 1991).

Kambar, Chandrasekhar. The Shadow of the Tiger and Other Plays, Seagull Books Pvt. Ltd.

Karnad, Girish. Collected Plays (Volume One), New Delhi: Oxford University Press, 2005. ISBN: 019567311-5

Banegal, Som. A Panorama of Theatre in India. Bombay: Popular Prakashan, 1968.

Robert Cohen, Acting Power (London: Mayfield, 1978) and Theatre, 4th edition (London: Mayfield, 1997).

Huberman, Pope, and Ludwig, the Theatrical Imagination (N.Y.: Harcourt, 1993).

Gerald Bordman, the American Musical: A Chronicle. (N.Y.: Oxford, 1978).

Garff Wilson, Three Hundred Years of American Theatre and Drama (Englewood Cliffs, N.J.: Prentice-Hall, 1982).

Millie Barranger, Theatre: A Way of seeing, 3rd edition (Belmont, CA: Wadsworth, 1991).

Dennis J. Spore, the Art of Theatre (Prentice-Hall, 1993).

Marsh Cassady, Theatre: An Introduction (Lincolnwood, Il.: NTC Publishing: 1997).

Edwin Wilson, The Theatre Experience (7th edition (McGraw-Hill, 1998).

Spolin Viola. Improvisation for the Theatre, Evanston, Ill.: Northwestern University press, 1963

Banham, Martin, ed. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press.

Elam, K. The Semiotics of Theatre and Drama, London: Zed Books, 1980.

Esslin, Martin. An Anatomy of Drama. New York: Hill & Wang, 1976.

Oscar Brockett's the Essential Theatre and History of Theatre.

Kenneth Cameron and Patti Gillespie, The Enjoyment of Theatre, 3rd edition, (Macmillan, 1992).

Oscar Brockett and Robert Findlay, Century of Innovation, 2nd edition (Boston: Allyn and Bacon, 1991).

Kambar, Chandrasekhar. The Shadow of the Tiger and Other Plays, Seagull Books Pvt. Ltd.

Karnad, Girish. Collected Plays (Volume One), New Delhi: Oxford University Press, 2005. ISBN: 019567311-5

Banegal, Som. A Panorama of Theatre in India. Bombay: Popular Prakashan, 1968.

Robert Cohen, Acting Power (London: Mayfield, 1978) and Theatre, 4th edition (London: Mayfield, 1997).

Huberman, Pope, and Ludwig, the Theatrical Imagination (N.Y.: Harcourt, 1993).

Gerald Bordman, the American Musical: A Chronicle. (N.Y.: Oxford, 1978).

Garff Wilson, Three Hundred Years of American Theatre and Drama (Englewood Cliffs, N.J.: Prentice-Hall, 1982).

Millie Barranger, Theatre: A Way of seeing, 3rd edition (Belmont, CA: Wadsworth, 1991).

Dennis J. Spore, the Art of Theatre (Prentice-Hall, 1993).

Marsh Cassady, Theatre: An Introduction (Lincolnwood, Il.: NTC Publishing: 1997).

Edwin Wilson, The Theatre Experience (7th edition (McGraw-Hill, 1998).

Spolin Viola. Improvisation for the Theatre, Evanston, Ill.: Northwestern University press, 1963

Banham, Martin, ed. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press.

Elam, K. The Semiotics of Theatre and Drama, London: Zed Books, 1980.

Esslin, Martin. An Anatomy of Drama. New York: Hill & Wang, 1976.

CIA I: Street Theatre Performance

Teams will be judged on the basis of

·         the effective use of street theatre techniques (5 marks)

·         impact on the audience (5 marks)

·         relevance to the theme (5 marks)

The remaining 5 marks will be worked out on an individual basis. The parameters for marking the individual will be

·         regularity

·         effort and commitment towards the team's cause

The marking of the individual will be done by the directors of each team.

Total = 20 marks.

CIA II The students will watch two professional proscenium performances staged outside the institution and come out with a detailed report on the following: Publicity; script; acting; stage management; make up and costume, sound and lighting; direction; audience engagement; innovation, etc. The report should contain the student's critique of the performances as well.

This is to help the students visualise how they could later put up their own proscenium performances.

Parameters of evaluation:

1. Proof of attendance – tickets (5 marks)
2. Understanding of the medium (10 Marks)
3. Detailing of their closeness of observation (10 marks)
4. And their critique of the performance (25 marks).

Total = 50 marks.

CIA III: Character Sketches

Parameters of evaluation:

5. Stage presence:     5 marks
6. Script:                   5 Marks
7. Effort:                   5 marks
8. Impact:                 5 marks

Total: 20 marks

End Semester: Proscenium Performance*

 * Students will be expected to play a definite role in ensuring performance. Each student’s contribution scripts could be in any one or two of these forms - acting, stage setting, directing, writing, attending to sound and light demands etc. Theatre professionals will be invited to judge and mark the individual contribution of each student.

Parameters of evaluation:

Team Performance (75 marks):

9. Direction and Acting                         15 marks
10. Props and Stage management                      10 marks        
11. Sound and lighting                            10 marks
12. Costume& Make up                           10 marks
13. Publicity                                              10 marks
14. Overall Impact                                   20 marks

            Individual marking (25 marks):

15. Students have to submit a detailed report on the home work they did, their contribution to the team's performance, and their learning through the process.

• To expose students to the field of their professional interest
• To give an opportunity to get a practical experience of the field of their interest
• To strengthen the curriculum based on internship-feedback where relevant
• To help student choose their career through practical experience

MA English students have to undertake an internship of not less than 30 working days at any of the following: reputed research centers: recognized educational institutions; print, television, radio organizations; HR, PR firms; theatre groups/organizations; or any other approved by the programme coordinator.

The internship is to be undertaken during the second semester break. The internship is a mandatory requirement for the completion of the MA programme. However the Report and Viva will be conducted during Semester III and the marks will appear in the mark sheet of Semester III.

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, email, telephone and mobile numbers of the person in the organization with whom Christ University could communicate matters related to internship. Typed proposals will have to be given at least a month before the end of the second semester.

The coordinator of the programme in consultation with the HOD will assign faculty members from the department as guides at least two weeks before the end of the second semester.

The students will have to be in touch with the guides during the internship period either through person 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 1500 words. The report should be submitted within first 10 days of reopening of the university for the III semester.

Apart from a photocopy of the letter from the organization stating the sucessful completing of internship, the report shall have the following parts.

Introduction to the place of internship

Reasons for the choice of the place and kind of internship

Nature of internship

Objectives of the internship

Tasks undertaken

Learning outcome

Suggestions, if any

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, Garamond or Agaramond 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. 

Within 20 days from the day of reopening, the department must hold a presentation by the students. During the presentation the guide or a nominee of the guide should be present and be one of the evaluators. Students should preferably be encouraged to make a PowerPoint presentation of their report. A minimum of 10 minutes should be given for each of the presenter. The maximum limit it left to the discretion of the evaluation committee. The presentation should be made to the entire class. If the first year students are present they could also be made the audience.

The evaluation criteria may be as follows:

The report: 75 (Job done and learning outcome: 40, regularity: 15; language: 10, adherence to the format: 10)

The presentation: 25 (clarity: 10, effectiveness: 10, impression: 5)

A survey  course of the Contemporary Indian Writing ( in English) a largely urbane literature which has come into its own, evident in the various genres that have emerged, this paper seeks to explore the various narrative modes, isues and debates that  surround writing in English.

To discuss and debate the title concerns of contemporary writing in English

Level of Knowledge: Conceptual/Analytic

Understanding the evolution and significance of the Novel in Contemporary Indian writing. Studying the urbane sentiments that the novelist caters to. Considering revisiting and cultures in conflict as a shaping device for the Indian Novel

Note: Titles in Bold are for in depth study.

• House of Blue Mangoes- David Davidhar
• River Sutra- Gita Mehta
• Red Earth & Pouring Rain- Vikram Chandra
• A Fine Balance- Rohinton Mistry
  
• Inheritance of Loss- Kiran Desai
• The God Of Small Things- Arundhati Roy

Level of Knowledge: Conceptual/Analytic

Understanding the elements of performance and contexts  in the following plays.

Bravely Fought The Queen- Mahesh Dattani

Lights Out – Manjula Padmanabhan

 Level of Knowledge: Analytic

This sample of poetry is a cross section  of Indian poets in recent years. They reflect socio political and cultural divergences and  convergence.

Anjum Hassan

Eunice D’souza

Adil Jussawalla

Nissim Ezekial

Kamala Das

Vikram Seth

Jeet Thayil

Gieve Patel

Imtiaz Dharkar

Arun Kolatkar

Jayanta Mahapatra

1. Bhargava, Rajul. Indian Writing in English: The Last Decade, (Ed) Jaipur, Rawat Publications, 2002
2. Mahesh Dattani, Contemporary Indian Writers in English, New Delhi, Foundation Books, 2005
3. Contemporary Indian Literature, Sahitya Academy, New Delhi, 1989
4. Krishna, Arvind. Ed.  A Concise History of Indian Literature in English, Mehrotra, Ranikhet, Permanent Black, 2008
5. K.R Srinivas Iyengar, Indian Writing in English, New Delhi, Sterling, 1985
6. K.V. Surendran, Indian Writing in English, New Delhi, Sarupa and Sons, 2000
7. History of Indian English Literature, Bangalore, Sahitya Academy, 1999
8. 60 Indian Poets. Ed Jeet Thayil. Penguin, 2008

1. Bhargava, Rajul. Indian Writing in English: The Last Decade, (Ed) Jaipur, Rawat Publications, 2002
2. Mahesh Dattani, Contemporary Indian Writers in English, New Delhi, Foundation Books, 2005
3. Contemporary Indian Literature, Sahitya Academy, New Delhi, 1989
4. Krishna, Arvind. Ed.A Concise History of Indian Literature in English, Mehrotra, Ranikhet, Permanent Black, 2008
5. K.R Srinivas Iyengar, Indian Writing in English, New Delhi, Sterling, 1985
6. K.V. Surendran, Indian Writing in English, New Delhi, Sarupa and Sons, 2000
7. History of Indian English Literature, Bangalore, Sahitya Academy, 1999
8. 60 Indian Poets. Ed Jeet Thayil. Penguin, 2008

CIA I: Written assessment

CIA II: Analysis of a Text or Study a form and reproduce it.

CIAIII: Workshop/ Panel Discussion with author/critics/publishers

End semester: 100 marks.Five questions out of minimum out of 8 to be answered.

The course attempts to introduce the students to the domain of  Cultural Studies and problematise some of the discourses and practices connected with English and English Studies; Experience, Subjectivity and Representation; and Dominance and Dissent. It will look into the various debates, movements and issues within this field.

Objective:

1.       To introduce students to the interdisciplinary field of ‘culture’

2.       To open up the field of ‘culture’ as an academic and empowering area

3.       To initiate dialogue with various papers like Gender Studies, Popular Culture Studies etc.

4.       To equip students with the cognitive skills to engage with the debates, issues, texts and theories from a cultural studies perspective

5.       To familiarize the readers with the domains that intersect and influence everyday life

The learner will

1. see the nexus between knowledge and power
2. realise the importance of dissent in a democracy
3. gain a nuanced sense of cultural debates

Stuart Hall: “Cultural Studies and its Theoretical Legacies”

Ratheesh Radhakrishnan: Cultural Studies in India: A Preliminary Report on Institutionalisation

Satish Poduval: Re-Figuring Culture: Introduction

Stuart Hall: “Cultural Studies and its Theoretical Legacies”

Ratheesh Radhakrishnan: Cultural Studies in India: A Preliminary Report on Institutionalisation

Satish Poduval: Re-Figuring Culture: Introduction

·  

• Gauri Vishwanathan's “The Beginning of English Literary Study”
• Rekha Pappu's “English Studies in India: The Critical Moments”

·  

• Gauri Vishwanathan's “The Beginning of English Literary Study”
• Rekha Pappu's “English Studies in India: The Critical Moments”

Victoria Tauli-Corpuz's “The Right to be Different and Distinct”

Ashis Nandy's Debates on Experience, Subjectivity and Representation

·         Extracts from Gopal Guru and Sundar Sarukkai's The Cracked Mirror: An Indian Debate on Experience and Theory

·         Veena Das' “The Act of Witnessing: Violence, Poisonous Knowledge and Subjectivity”

·          “Shamans, Savages and the Wilderness: On the Audibility of Dissent and the Failure of Civilizations”

·         Vandana Shiva's “Reductionist Science as Epistemological Violence”

·         Ambedkar-Gandhi Debate (excerpts)

·         Victoria Tauli-Corpuz's “The Right to be Different and Distinct”

Ashis Nandy's Debates on Experience, Subjectivity and Representation

·         Extracts from Gopal Guru and Sundar Sarukkai's The Cracked Mirror: An Indian Debate on Experience and Theory

·         Veena Das' “The Act of Witnessing: Violence, Poisonous Knowledge and Subjectivity”

·          “Shamans, Savages and the Wilderness: On the Audibility of Dissent and the Failure of Civilizations”

·         Vandana Shiva's “Reductionist Science as Epistemological Violence”

·         Ambedkar-Gandhi Debate (excerpts)

Victoria Tauli-Corpuz's “The Right to be Different and Distinct”

Ashis Nandy's Debates on Experience, Subjectivity and Representation

·         Extracts from Gopal Guru and Sundar Sarukkai's The Cracked Mirror: An Indian Debate on Experience and Theory

·         Veena Das' “The Act of Witnessing: Violence, Poisonous Knowledge and Subjectivity”

·          “Shamans, Savages and the Wilderness: On the Audibility of Dissent and the Failure of Civilizations”

·         Vandana Shiva's “Reductionist Science as Epistemological Violence”

·         Ambedkar-Gandhi Debate (excerpts)

·         Victoria Tauli-Corpuz's “The Right to be Different and Distinct”

Ashis Nandy's Debates on Experience, Subjectivity and Representation

·         Extracts from Gopal Guru and Sundar Sarukkai's The Cracked Mirror: An Indian Debate on Experience and Theory

·         Veena Das' “The Act of Witnessing: Violence, Poisonous Knowledge and Subjectivity”

·          “Shamans, Savages and the Wilderness: On the Audibility of Dissent and the Failure of Civilizations”

·         Vandana Shiva's “Reductionist Science as Epistemological Violence”

·         Ambedkar-Gandhi Debate (excerpts)

·         The class will be divided into groups .Each group to bring one cultural debate for the classroom engagement, with the approval of the facilitator. The debates could be drawn from literature or media or any other realm, catering to rich academic critiquing.

·         The class will be divided into groups .Each group to bring one cultural debate for the classroom engagement, with the approval of the facilitator. The debates could be drawn from literature or media or any other realm, catering to rich academic critiquing.

Ansari MT, and Deeptha Achar, eds. Discourse Democracy and Difference: Perspectives on Community, Politics and Culture. New Delhi: Sahitya Akademi, 2010.

Baker, Chris. The Sage Dictionary Of Cultural Studies. London: Sage Publications, 2004.

Bennet, Tony, and John Frow, eds. The Sage Handbook of Cultural Analysis. London: Sage Publications, 2008.

Brooker, Peter. A Glossary of Cultural Theory. London: Arnold Publishing, 2003

During, Simon, ed. The Cultural Studies Reader. 3^rd ed. London: Routledge, 1993. `

Edwards, Tim. Cultural Theory: Classical & Contemporary Positions. London: Sage Publications, 2007.

Poduval, Satish. Re-Figuring Culture: History, Theory and the Aesthetic in Contemporary India. New Delhi: Sahitya Akademi, 2005.

Viswanathan, Gauri. Masks of Conquest: Literary Study and British Rule in India. New York: Columbia University Press, 1989.

Hall, Gary, and Claire Birchall. New Cultural Studies: Adventures in Theory. Edinburgh: Edinburgh UP, 2006.

Milner, Andrew, and Jeff Browitt. Contemporary Cultural Theory. 3^rd ed. Jaipur: Rawat Publications, 2003.

Munns, Jessica, and Gita Rajan, eds. A Cultural Studies Reader: History, Theory and Practice. London: Longman, 1995.

Nayar, Pramod K. Introduction to Cultural Studies.  Viva Books, 2008.

Payne, Michael, ed. A Dictionary of Cultural and Critical Theory. Malden: Blackwell Publishing, 1997.

Smith, Phillip, and Alexander Riley. Cultural Theory: An Introduction. Malden: Blackwell Publishing, 2009.  

CIA I: Presentation on key terms in Cultural Studies for 10 marks. And presenting key arguments in select essays from Simon During / Jeffrey Nealon / Duncombe, S. (ed.). Cultural Resistance Reader.

CIA II: A written test of 50 marks. Need to answer 5 out of 7 questions, with each fetching a maximum of 10 marks.

CIA III:   based on Unit V.

End semester: 50 marks for a term paper on a contemporary issue. 50 marks for written exam – answer 2 out of 5.

Introduction to Film Studies attempts to provide a general background to cinema. It will help to introduce critical concepts, influential theories and debates and particular forms and practices - film history and development in contemporary film studies.

Learning Outcome:

This paper aims:

• To draw students’ attention to the diversity and the range of opinions within the subject
• To encourage questioning and engagement with debates and thinking in the area of film studies
• To appreciate film as an art form, technical medium and a multi-faceted industry

Unit 1 will help to introduce the medium of cinema, the aesthetic and technical implications of the art form. The Indian perspective will also be highlighted with regard to the theorization of films and its difference from other art forms.

Unit 2 will introduce film theory and its functions. The intention is to give a different perspective of film theory, by bringing film theory and film history together to give a comprehensive view of the different stages of development and their subsequent resonance on screen in the form of diverse representations.

Film History &Film Theory:

• Early Cinema and Hollywood

• German Expressionism
• Arnheim
• Kracauer

• French Impressionism and Surrealism
• Soviet Montage
• Eisenstein
• Italian New Wave
• French New Wave
• Andre Bazin

Unit 3 intends to give the framework, which will enable to undertake both film appreciation and film criticism with reference to perspectives from diverse disciplines. This will enable to highlight the inter-disciplinarity of the medium and the tools which enable the audience to get an informed perspective of the films they watch.

Critical Concepts:

•  Language

 “Film Language/ Specificity: Introduction” - Robert Stam

• Representation

 “Visual Pleasure and Narrative Cinema” - Laura Mulvey

•  Ideology

 “Cinema/ldeology/Criticism” - Jean-Luc Comolli & Paul Narboni

•  Auteur – Reference to “La Politique des Auteur” - Truffaut
•  Genre – Reference to  “Questions of Genre” - Neale

Narrative - Reference to Bordwell

Module 4 attempts to foreground Indian cinema in the context of growing importance of Indian cinema and its evolving concerns. The film industry, one of the major industries to be reckoned with is at the threshold of change. Developments in the processes of production, distribution and consumption of Indian films have contributed to the understanding of the dynamic nature of Indian cinema.

 “Indian Cinema: Pleasures and Popularity” – Rosie Thomas

“The Contemporary Film Industry – I: The Meanings of ‘Bollywood’” – Ravi Vasudevan

“The Contemporary Film Industry – II: Textual Form, Genre Diversity, and Industrial Strategies” – Ravi Vasudevan

“Beyond ‘Bollywood’: Interpreting Indian Regional Cinema” – M.K. Raghavendra

1. 
   Monaco, James. How to Read Film. Oxford: Oxford University Press, 2009.
2. Miller, Toby and Robert Stam, (Eds).  A Companion to Film Theory. Oxford: Blackwell Publishing, 2004.
3. Colin McCabe.  Introduction to Film Studies
4. Person, Per. Understanding Cinema: A Psychological Theory of Moving Imagery. Cambridge: Cambridge University Press, 2003.
5. Ray, Satyajit. Our Films and their Films. Orient Blackswan, 2007.
6. Roberge, Gaston. The Subject of Cinema. Seagull Books, 2005.
7. Hayward, Susan. Cinema Studies: The Key Concepts.   Routledge, 1996.
8. Bywater, Tim, and ThomasSobchack.  Introduction to Film Criticism: Major Critical Approaches to Narrative Film.  Pearson Education, 2009.

CIA I: An introductory paper / infographics on cinema and history/key concepts in cinema.

CIA II – Mid Semester Exam: 2 Hrs. written paper/50 marks

CIA III: A research paper on adaptation theory / Indian cinema and key issues and ideas of the different decades

End Semester Examination: 5 questions out of 8 each carrying 20 marks.

Translation has emerged as an important area of interest and concern both due to the postcolonial negotiations in the Indian nation-state and market-needs of globalisation. This paper is designed to simultaneously address this phenomenon.

• Familiarity  with the discourses of translation and translation theories in the European tradition and the contemporary Indian
• Hands-on experience of translating different genres of writing
• Familiarity with approaches to methods of research in translation studies
• Understanding of book history
• Experience of self-publishing
• Ability to engage with the debates, issues, texts and theories within the scope of translation studies.

Level of Knowledge: Working knowledge of English and fairly good command over one more language

Kirsten Malmkjar: From Writing on Translation to Translation Studies

Kirsten Malmkjar: Mapping and Approaching Translation Studies

Roman Jakobson: On the Linguistic Aspects of Translation

Eugene Nida: Principles of Correspondence

Itamar Even-Zohar: The Position of Translated Literature within the Literary Polysystem

Susan Bassnett and Harish Trivedi: Of Colonies, Cannibals and Vernacular

Rainier Grutman: Self-translation

Level of Knowledge: Working knowledge of English and fairly good command over one more language

Ramesh Krishnamurthy: Indian Translation

Ayyappa Paniker: Towards an Indian Theory of Literary Translation

G N Devy: Translation Theory and Indian Perspective

M Asaduddin: Translation and Indian Literature: Some Reflections

Gayatri Chakravorty Spivak: The Politics of Translation

Tejaswini  Niranjana: Introduction: History in Translation

Tharu, Susie and K Lalitha: Empire, Nation, and Literary Text.

Rita Kothari: Introduction. Translating India

Vanamala Viswanatha: Preface, Breaking Ties

Level of Knowledge: Working knowledge of English and fairly good command over one more language

Sundar Sarukkai: Literature, Translation and Science

Sundar Sarukkai: Philosophy, Translation and Science

Level of Knowledge: Working knowledge of English and fairly good command over one more language

Approaches to research in translation studies

Research methods in translation studies

Book History: Anatomy of a book; production and distribution processes of book; epublishing—production and distribution; copyright laws; open access publishing; creative commons; plagiarism; legal issues in translation

Course Pack Compiled by the Course Instructor involving reading prescribed in the syllabus.

1. Baker, Mona, and Gabriela Saldanha. Routledge Encyclopedia of Translation Studies.2nd ed. New York: Routledge, 2009. Print.
2. Bassnett, Susan, and Harish Trivedi, eds. Post-colonial Translation: Theory and Practice. London: Routledge, 1999. Print.
3. Bassnett, Susan. Translation Studies. Rev. ed. 1991. London: Routledge, 1998. Print.
4. Gentzler, Edwin. Contemporary Translation Theories. Rev. 2nd ed. 2001. New Delhi: Viva, 2010. Print.
5. Kothari, Rita. Translating India. Rev. ed. New Delhi: Foundation Books, 2006. Print.
6. Malmkjær, Kirsten. Linguistics and the Language of Translation. Edinburgh: Edinburgh UP, 2005. Print.
7. Mukherjee, Sujit. Translation as Recovery. New Delhi: Pencraft, 2004. Print.
8. Mukherjee, Tutun, ed. Translation: From Periphery to Centrestage. New Delhi: Prestige, 1998. 39-46. Print.
9. Munday, Jeremy. Introducing Translation Studies: Theories and Applications. London/NewYork: Routledge, 2001. Print.
10. Nair, Rukmini Bhaya. Translation: Text and Theory—The Paradigm of India. New Delhi: Sage, 2002. Print.
11. Nida, Eugene A. The Theory and Practice of Translation. Leiden: E.J. Brill, 1982. Print.
12. Nida, Eugene A. Toward a Science of Translating. Leiden: E.J. Brill, 1964. Print.
13. Nirajana, Tejaswini. Siting Translation: History, Post-structuralism, and the Colonial Context. 1992. Hyderabad: Orient Longman, 1995. P
14. Pym, Anthony. Exploring Translation Theories. London/New York: Routledge, 2010. Print.
15. Rubel, Paula G., and Abraham Rosman, ed. Translating Cultures: Perspectives on Translation and Anthropology. Oxford/New York: Berg, 2003. Print.
16. Steiner, George. After Babel. 3rd ed. London: OUP, 1998. Print.
17. Venuti, Lawrence, ed. The Translation Studies Reader. 2nd ed. New York: Routledge, 2004. Print.

CIA I:  Translating a critical essay from English to mother tongue/another language the student is familiar with and an extract from a novel from mother tongue to English. The novel should have been a celebrated novel which has not been translated to English.

CIA II: A written test of 50 marks. 3 questions (15+15+20). Questions should be based on learners translating or analyzing responses on translation and reflecting on them based on their reading and classroom discussion.

CIA III: Translation of a poem, a short story, and a social science essay. All these pieces should be well-known but not translated yet. The translated texts should be submitted in the form of a book.

End Semester Exam: 100 marks. A written exam: 4 questions of 25marks each. Questions should be application or reflection-based

Deconstructing the Medium – its elements, its aesthetic uniqueness and principles – in  fictional and non-fictional modes

Visual assist: The Birth of a Nation, Man with a Movie Camera, Night and Fog, Rules of the Game

To distinguish the form and function of a cinematic narrative from literary or theatrical narrative

Visual assist:  Un Chien Andelou,Children are Watching Us, with Ray’s Pickoo, Dweepa

To establish the basic principles of screenplay (for fiction films) and proposal/treatment (for non-fiction films)

Visual assist: Woman Next Door, A short story about love and Before Sunrise

To enable the students with necessary language, vocabulary, style and tools to write a fiction and non-fiction film

To make students competent in basic production practices in digital medium

Technicalities of Digital Video Camera

To expose students to newer forms of cinema in digital age like video art, essay film, home videos etc. and develop a way to write/conceive films in these forms

 The learner is likely to

·         Identify and define key elements of cinema Construction

·         Understand how screenplays are conceived, written and formatted

·         Understand the pre-production stage and the significance of script (proposal and treatment) in non fiction films

·         Write their own screenplays for fiction films and proposal and treatment for documentary films

Learning Outcome

Students will be able to break down the language of cinema to its constituent elements and their relations so that they are better equipped to initiate their practice in writing for cinema with an understanding of its language and construction.

Elements of Cinema

-          Visuals (misc-en-scene, composition, movement within the shot)

-          Rhythm/Sequence (montage, pace, editing, movement between shots and scenes)

-          Sound (ambient sound, background music, soundtrack, silence)

-          Story (plot/found story), Screenplay (action), Dialogue (speech/verbal elements)

Differentiating the Genres

-          Fictions, Non-Fictions and Docu-Drama

Introduction to Documentary Films

-          History and Development

Learning Outcomes: Students will get hands on training in writing screenplay for fiction films using case studies, regular practical writing exercises and training in script formats and styles.

Narrative in Cinema, Theatre and Literature

-          Similarities and Differences, Narrative Styles

-           Linear, Non-linear, Episodic, Hyperlinked, Epic, Framing etc.

Elements of Fictional Narrative in Cinema

-          Character, Plot and Action

Writing a Screenplay

-          One line        Synopsis         Screenplay (with scenes and dialogues)

-          Difference between Screenplay (writer’s script)
and Shooting Script (developed  by director and cinematographer)

-          Script Formats

-          Scriptwriting Software – Celtx, MS Word Templates

Learning Outcomes

 Students will get a comprehensive practical exposure to the pre-production and elementary documentary production skills that will enable them to put several theoretical concepts in practice.

Nature and Types of Documentaries

-          Exploratory, Descriptive, Illustrative, Argumentative, Propaganda etc

Conceiving a Documentary

-          Proposal as a Script

Elements of Documentary Proposal (Script)

-          Concept Note/One line

-          Synopsis (Expected)

-          Treatment

Formats for Documentary Proposals and Treatments

Basics of Documentary Production (Digital Video)

Learning Outcomes: Students will understand the difference between writing for traditional film media and writing for films that will be part of digital platforms. They will get introductory exposure to upcoming trends styles and possibilities in the context of moving image media in digital age.

Between Documentary and Fiction

New Forms – Essay Film, Video Art, Found Footage, Home Video Films etc

Final Project: Production of a Fiction and Non-Fiction of Duration 12 Mins each.

Reference Material

Films

1.      Battelship Potemkin. Dir. Sergei Eisenstein. 1925. Film.

2.      Mane. Dir. Girish Kasaravalli. 1990. Film.

3.      Mouni,Dir. Lingadevaru. 2003. Film.

4.      Jukti Takko Aur Gappo. Dir. Ritwik Ghatak.1960. Film.

5.      Charulatha. Dir. Satyajit Ray.1955. Film.

Non-Fiction

1.      Something Like a War. Deepa Dhanraj. 1991. Film

2.      Kutti Japan. Dir. Chalam Bennurkar. Film

3.      Lighting Testimonies. Dir. Amar Kanwar. Film

4.      Final Solution. Dir. Rakesh Sharma.2004.Film.

5.      Father, Son and a Holy War. Dir. Anand Patwardhan. 1992. Film.

6.      City of Photos. Dir. Nishtha Jain. 2005. Film.

7.      Lakshmi and Me. Dir. Nishtha Jain. 2007. Film

8.      Tracing Bylanes. Dir. Surabhi Sharma.2011. Film

9.      Red Ant Dream. Dir. Sanjay Kak. 2013. Film

10.  Narmada Diary. Dir. Sanjay Kak. Film

11.  India Untouched. Stalin.2009. Film

12.  In God’s Land. Dir. Pankaj Rishi Kumar. 2012. Film

13.  Our Metropolis. Dir. Gautam Sonti and Usha Rao. 2013. Film

14.  The Act of Killing. Dir. Christine Cynn and Joshua Oppenheimer. 2011.Film

15.  Stories We Tell. Dir. Sarah Polley. 2012. Film

1.      Eisenstein, Sergei. Film Form: Essays in Film Theory. Harcourt, 1969. Print.

2.      Ghatak, Ritwik. Cinema and I. Ritwik Memorial Trust, 1987. Print.

3.      Monaco, James. How To Read A Film, Movies, Media, And Beyond : Art, Technology, Language, History, Theory. Oxford University Press, USA, 2009. print.

4.      Ray, Satyajit. Our Films Their Films. Orient BlackSwan, 1976. Print.

5.      Television Production. Gerald Millerson.

6.      Mckee, Robert. Story: Style, Structure, Substance and Principles of Screenwriting. It Books, 1997. Print.

7.      Field, Syd. Screenplay: The Foundations of Screenwriting.RHUS, 2005. Print.

CIA 1 Deconstructing a film scene

CIA 2Writing a Screenplay

CIA 3 Proposal for End Semester Submission

End Semester – Making a short film (documentary or fiction)

This is a course designed to equip the students to academically engage with a genre of academics that is fast gaining academic recognition as a serious field of study. The course will cover various theoretical postulations on popular culture studies. It will look into popular culture studies as a subculture, and introduce students to the theoretical implications of the ‘popular’ and popular culture as a domain of academic engagement. It will attempt to equip the students with various avenues and means to engage with various popular fiction texts, be it visual or otherwise in their everyday lives.

• explore  theories/theoretical postulations on popular culture studies
• study the politics of popular culture and deal with popular genre based criticism
• help students engage with and critically examine popular texts of Science fiction, Children’s Literature, Romances, Mall culture and such
  
• Awareness of the workings and politics of popular culture in everyday live. Will equip them to engage with everyday life in a more aware and critical manner.

General introduction to the Course

General Introduction to Popular Culture

1. Marcel Danesi: “What is Pop culture?”
2. John Fiske: “Understanding Popular Culture”
3. Dick Hebdige: “Subculture: The Meaning of Style”
4. Guy Debord: “The Commodity as Spectacle”
5. Theodor Adorno: “Art, Autonomy and Mass culture”
6. Stuart Hall: “Cultural Representations and Signifying Practices”
7. Terry Eagleton: “The Politics of Amnesia”

Level of knowledge: Interest in cultural studies, knowledge of cultural theories and interest in the ‘popular’.

1. Vinay Lal and Ashis Nandy: Introduction: popular cinema and the culture of Indian Politics
2. Ashis Nandy: “Indian Popular Cinema as a Slum's Eye View of Politics”
3. M. K Raghavendra: “Structure and Form in Indian Popular Film Narrative”
4. Gayatri Gopinath: “Bombay, UK, Yuba City: Bhangra Music and the Engemdering of Diaspora”

Level of knowledge: Interest in cultural studies, knowledge of cultural theories and interest in the ‘popular’

1. Roland Barthes: “The World of Wrestling”; “Soap Powders and Detergents”;“Toys”; “Ornamental Cookery”
2. Salman Rushdie: “”Rock Music”/ “U 2”
3. Henry Jenkins: Star Trek Rerun, Rewritten: Fan Writing as Textual Poaching”
4. John Fiske: “Shopping for Pleasure”
5. John Fiske: “Reading the Beach”

Level of knowledge: Interest in cultural studies, knowledge of cultural theories and interest in the ‘popular’.

1. Christopher Pawling: “Introduction: Popular Fiction: Ideology or Utopia”
2. Jerry Palmer: “Thrillers”
3. Darko Suvin:  “On the Poetics of the Science Fiction Genre”
4. Bridget Fowler: “True to Me Always: An Analysis of Women’s Magazine Fiction”
5. Nandini Chandra: “The Serious Comics”;
6. -----“Uncle Pai and Vaishnav Historiography”
7. Paul Lopez: “Popular Culture and the Case of Comic Books”

Text: Robert Ludlum: The Bourne Identity

Text: Women’s Era any 2 issues

Marjane Satrapi: Persepolis or Sarnath Banerjee: Corridors

Required Reading (Self-study module that will go alongside the allotted hours) 

1. Stuart Hall: “Notes on Deconstructing ‘the Popular’”
2. John Storey: Cultural Studies and the Study of Popular Culture. 2^nd ed.
3. Roland Barthes: Mythologies.

1. Barthes, Roland. Mythologies. London: Vintage, 1993. Print.
2. Chandra, Nandini. The Classic Popular: Amar Chitra Katha, 1967-2007. New Delhi: Yodha Press, 2008. Print.
3. Fiske, John. Reading the Popular. 1989. London and New York: Routledge, 2011. Print.
4. Freccero, Carla. Popular Culture: An Introduction. New York and London: New York UP, 1999. Print.
5. Guins, Raiford and Omayra Zaragoza Cruz, eds. Popular Cutlure: A Reader. 2005. Los Angeles: Sage Publications, 2008. Print.
6. Hunt, Peter, ed. Children’s Literature: Critical Concepts in Literary and Cultural Studies. Vols. I-IV. London: Routledge, 2006. Print.
7. Lal, Vinay and Ashis Nandy. Eds. Fingerprinting Popular Culture: The Mythic and Iconic in Indian Cinema.New Delhi: Oxford UP, 2006. Print.
8. Martin, Fran, ed. Interpreting Everyday Culture. London: Arnold Publishers, 2003.
9. McGuigan, Jim. Cultural Populism. London: Routledge, 1992. Print.
10. Mirzoeff, Nicholas.  An Introduction to Visual Culture. London: Routledge, 1999. Print.
11. Rampley, Matthew, ed. Exploring Visual Culture: Definitions, Concepts, Contexts. Edinburgh: Edinburgh UP, 2005. Print.
12. Schirato, Tony. Understanding Sports Culture. Los Angeles: Sage Publications, 2007. Print.
13. Storey, John. Cultural Studies and the Study of Popular Culture. 2^nd ed. Edinburgh: Edinburgh University Press, 2003. Print.
14. Whiteley, Sheila, ed. Christmas, Ideology and Popular Culture. Edinburgh: Edinburgh UP, 2008. Print.
    

CIA I: A written class test of 50 marks. 5 questions out 7. 10 marks each. 

CIA II: A short paper on Popular Culture as a domain of study and critical presentation of a popular subculture 

CIA III:  A term paper/project on any particular popular culture area with respect to Unit 2 and a presentation on 2 popular culture artefacts with the help of a critical framework.

End Semester Exam:

Written Exam: 100 marks.

Section A: 5 questions out of 7. 20 marks each.

• To attempt a cultural critique of the discipline
• To provide students with the opportunity to devpelop 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

Gauri Viswanathan: 'Introduction’, Masks of Conquest

Susie tharu and k. Lalita. ‘Empire, Nation and the Literary Text 

Culture and History                                                               

Dipesh Chakrabarty: 'Postcoloniality and the Artifice of History'

Sumit Sarkar, “The Many Worlds of Indian History” 

Culture and Economics                                                           

Lakshmi Subramanian: 'Banias and the British: The Role of Indigenous Credit in the Process of Imperial Expansion in Western India in the Second Half of the Eighteenth Century'

Rajat Kanta Ray: 'Asian Capital in the Age of European Domination: The Rise of the Bazaar, 1800-1914'