GenericElective(AnyfourforHonsstudentsandanytwoforB.A/B.Com programme)

Listofpapers

1.AcademicWritingandComposition -

2.MediaandCommunicationSkills -

3.TextandPerformance:IndianPerformanceTheoriesandPractices(Revised) -

4.LanguageandLinguistics -

5.ReadingsonIndianDiversitiesandLiteraryMovements

6.ContemporaryIndia:WomenandEmpowerment(Revised) -

7.Language,LiteratureandCulture(Revised) -

8.Graphicnarratives -

9.Cinematicadaptationsofliterarytexts

10.IndianEnglishliterature

11.Popularfiction

12.CultureandTheory

13.MarginalitiesinIndianLiterature

14.TheIndividualandSociety

15.Textandperformance:WesternPerformanceTheoriesandPractices

16.Literatureandthecontemporaryworld

Papers1-7arepaperscurrentlybeingoffered.Someofthem havebeenrevised.

Papers8-16arenewlydevisedpapers.

Paper1:AcademicWritingandComposition

Coursestatement:

Thiscourse isdesigned to help undergraduate studentsdevelop the research,composition,

argumentandwritingskillsthatwillenablethem toimprovetheirwrittenabilitiesforhigherstudies

andacademicendeavours.

1.IntroductiontotheWritingProcess

2.IntroductiontotheConventionsofAcademicWriting

3.Writinginone’sownwords:SummarizingandParaphrasing

4.CriticalThinking:Syntheses,Analyses,andEvaluation

5.StructuringanArgument:Introduction,Interjection,andConclusion

6.CitingResources;Editing,BookandMediaReview

SuggestedReadings

1.LizHamp-LyonsandBenHeasley,Studywriting:A CourseinWritingSkillsforAcademicPurposes(Cambridge:CUP,2006).

2.RenuGupta,ACourseinAcademicWriting(NewDelhi:OrientBlackSwan,2010).

3.IlonaLeki,AcademicWriting:ExploringProcessesandStrategies(NewYork:CUP,2ndedn,1998).

4.GeraldGraffandCathyBirkenstein,TheySay/ISay:TheMovesThatMatterinAcademicWriting(NewYork:Norton,2009).

5.AnjanaNeiraDev,AcademicWritingandComposition,NewDelhi:Pinnacle,2015.

Paper2:MediaandCommunicationSkills

Courseobjectives:

Thisisanintroductorycourseintheroleofmediatoday–Indiaandglobally.Itwillequipstudents

withthebasictheoriesonvariousaspectsofmedia,andimparttraininginbasicwritingskills

requiredintheprofession.

1.IntroductiontoMassCommunication

a)MassCommunicationandGlobalization

b)FormsofMassCommunication

TopicsforStudentPresentations:

a.CasestudiesoncurrentissuesIndianjournalism

b.Performingstreetplays

c.Writingpamphletsandposters,etc.

2.Advertisement

a)Typesofadvertisements

b)Advertisingethics

c)Howtocreateadvertisements/storyboards

TopicsforStudentPresentations:

a.Creatinganadvertisement/visualization

b.Enactinganadvertisementinagroup

c.Creatingjinglesandtaglines

3.MediaWriting

a)ScriptwritingforTVandRadio

b)WritingNewsReportsandEditorials

c)EditingforPrintandOnlineMedia

TopicsforStudentPresentations:

a.ScriptwritingforaTVnews/paneldiscussion/radioprogramme/hostingradioprogrammeson

communityradio

b.Writingnewsreports/bookreviews/film reviews/TVprogram reviews/interviews

c.Editingarticles

d.Writinganeditorialonatopicalsubject

4.IntroductiontoCyberMediaandSocialMedia

a)TypesofSocialMedia

b)TheImpactofSocialMedia

c)IntroductiontoCyberMedia

Suggestedreadings:

MediaandMassCommunication:

1.MVKamath:ProfessionalJournalism.NewDelhi:VikasPublishingHouse,1980.

2.DenisMacquail:MassCommunication.NewDelhi:Om Books,2000.

3.AmbrishSaxena:FundamentalsofReportingandEditing.NewDelhi:KanishkaPublishers,2007.

4.MKJoseph:OutlineofEditing.NewDelhi:AnmolPublications,2002.

5.TJSGeorge:Editing–AHandbookforJournalists(IIMC)

6.HaroldEvans:EssentialEnglishforJournalists,EditorsandWriters.UK:Random House,2000.

7.RajivBatra,John G Myers,David A Aaker:Advertising Management(New Delhi,Pearson

Education,2007.

8.Em Griffin.Communication–AFirstLookatCommunicationTheory.EditionVIII,McGrawHill,

2011.

9.UmaNarula.HandbookofCommunicationModels,Perspectives,Strategies.NewDelhi:Atlantic

Publishers,2006.

10.JanServaes,ed.CommunicationforDevelopmentandSocialChange.2003.NewDelhi:Sage

India,2007.

11.LarryBarker.Communication.EditionVIII.Boston:McGrawHill,2002;rpt.2009.

12.BrentD.RubenandLeaP.Stewart.CommunicationandHumanBehaviour.EditionVPearson,

2005.

TelevisionJournalism:

AndrewBoyd.BroadcastJournalism:TechniquesofRadioandTelevisionNews.2000.Burlington:

FocalPress;6edition,2009.

RobertThompson,CindyMalone.TheBroadcastJournalism Handbook:ATelevisionNewsSurvivalGuide.Maryland:Rowman&LittlefieldPublishers,2004.

MarkW.Hall.BroadcastJournalism:AnIntroductiontoNewsWriting.HastingsHouse,1978.

StephenCushion.TelevisionJournalism.SagePublications,2012.

TonyFeldman.AnIntroductiontoDigitalMedia.Taylor&Francis,2004.

BrianCarroll.WritingforDigitalMedia.Taylor&Francis,2010.

Paul Messaris and Lee Humphreys, eds. Digital Media: Transformations in HumanCommunications.NewYork:PeterLangPublishing,2006.

MeganA.Winget,William Aspray.DigitalMedia:TechnologicalandSocialChallengesoftheInteractiveWorld.Lanham:ScarecrowPress,2011.

Paper3:TextandPerformance:IndianPerformanceTheoriesandPractices

CourseObjectives:ThiscourseonTextandPerformancecombinesIndiantheoriesofdramaturgyalongwithapracticalunderstandingofthestage.Theserangefrom theclassicaltheoriesofRasatothemoremodernonesthatemergedinthetwentiethcentury.Itwillacquaintthestudentswiththeriseofmoderntheatreinthepreandpost-independenceperiodinIndiawhilealsofamiliarisingthem withfolktheatricaltraditions.

Unit1.Introduction

IntroductiontotheoriesofPerformanceinIndia:ClassicaltoContemporary;Colonialto

Resistant;EndorsementofexistingstructurestoRadicalisingourworld

HistoricaloverviewofIndiantheatrefrom theancienttothemodern

TopicsforStudentPresentations: 

a.Perspectivesontheatreandperformance 

b.Historicaldevelopmentoftheatricalforms 

c.Folktraditions 

d.IPTA

e.Post-independenceradicalIndiantheatre

2.PopularTheatricalFormsandPractices 

Nautanki,Jatra,Tamasha,BhramyamaanTheatre,StreetTheatre,CampusTheatre

TopicsforStudentPresentations: 

a.Onthedifferenttypesofperformativespaceinpractice 

b.Poetryreading,elocution,expressivegestures,andchoreographedmovement 

3.TheoriesofDrama

Bharata

TopicsforStudentPresentations:

a.Actingshortsolo/groupperformancesfollowedbydiscussionandanalysiswithapplication

oftheoreticalperspectives

b.Rasatheory

4.TheatricalProduction

Direction,production,stageprops,costume,lighting,backstagesupport.

TopicsforStudentPresentations:

a.Allaspectsofproductionandperformance;recording,archiving,interviewingperformers

anddatacollection.

CourseOutcomes

Aperformanceofminimum thirtyminutesusinganyoneform ofdramastudiedinthis

course

InterviewatleastonetheatrepractitionerwhohasworkedwithIndiantheatricalforms

CourseCo-ordinators

SanjayKumar(HansrajCollege)

PayalNagpal(JankiDeviMemorialCollege)

Paper4:LanguageandLinguistics

Courseobjectives:Tointroduceandfamiliarizestudentswiththebasicconceptsoflanguageand

linguistictheories.

1.Language:languageandcommunication;languagevarieties:standardandnon-standard

language;languagechange.

Mesthrie,RajendandRakeshM Bhatt.2008.WorldEnglishes:Thestudyofnew linguisticvarieties.Cambridge:CambridgeUniversityPress.

2.Structuralism:De Saussure,Ferdinand.1966.Course in generallinguistics.New York:

McGrawHillIntroduction:Chapter3

3.PhonologyandMorphology:Akmajian,A.,R.A.DemersandR,M.Harnish,Linguistics:AnIntroductiontoLanguageandCommunication,2nded.

Fromkin,V.,andR.Rodman,AnIntroductiontoLanguage,2nded.(NewYork:Holt,Rinehart

andWinston,1974)Chapters3,6and7

4.Syntax and semantics: categories and constituents phrase structure;maxims of

conversation.

Akmajian,A.,R.A.DemersandR,M Harnish,Linguistics:AnIntroductiontoLanguageand

Communication,2nded.(Cambridge,Mass,:MITPress,1984;Indianedition,PrenticeHall,

1991)Chapter5and6.

Paper5:ReadingsonIndianDiversitiesandLiteraryMovements

Courseobjectives:Thiscourseseekstoequipstudentswithanoverview ofthedevelopmentof

literaturesinIndiaanditswidelinguisticdiversity.Studentswillstudyauthorsandmovements

from differentregionsandtimeperiods.

SukritaPaulKumar,et.al.,eds.,CulturalDiversity,LinguisticPluralityandLiteraryTraditionsinIndia.

NewDelhi:Macmillan,2005.EditorialBoard:DepartmentofEnglish,UniversityofDelhi

Unit1iscompulsory.Any6ofremaining7unitstobecoveredintheclassroom.

Unit1:Overview

Unit2:LinguisticPluralitywithinSufiandBhaktiTradition

Unit3:LanguagePolitics:HindiandUrdu

Unit4:TribalVerse

Unit5:DalitVoices

Unit6:WritinginEnglish

Unit7:Womanspeak:Examplesfrom KannadaandBangla

Unit8:LiteraryCultures:GujaratiandSindhi

Paper6:ContemporaryIndia:WomenandEmpowerment

Coursestatement:Thiscoursewillhelpstudentstoengagewithcontemporaryrepresentationsof

women,femininities,gender-parityandpower.Thecourseaimstohelpstudentsfrom non-English

Literaturebackgroundsdeveloparobustunderstandingofhowdiscoursesofgenderunderlieand

shapeourverylives,experiences,emotionsandchoices.Thecoursewillexposestudentstoa

broadrangeofliteraryandtextualmaterialsfrom varioushistoricalperiodsandcontextssothat

theyareabletoexaminethesocially-constructednatureofgendering.Throughanalysingliterary

texts,humanitiesandsocialsciencesscholarship,studentswilldevelopanuancedunderstanding

ofhowtoperceive,read,understand,interpretandinterveneethicallyindebatesonthesubject.

Courseobjectives:

Thecoursewillhelpstudents:

1.Read,understandandexaminecloselynarrativesthatseektorepresentwomen,femininities

andbyextension,genderingitself.

2.Understandhow gendernormsintersectwithothernormssuchasthoseofcaste,race,

religiousandcommunitytocreatefurtherspecificformsofprivilegeandoppression.

3.Identifyhowgenderedpracticesinfluenceandshapeknowledgeproductionandcirculation

ofsuchknowledges,includinglegal,sociologicalandscientificdiscourses.

4.Participateinchallenginggenderedpracticesthatreinforcediscrimination.

5.Createaportfolioofanalyticalwork(interpretationsandreadingsofliteraryandsocial-

sciences texts)and analyses offictionaland non-fictionalnarratives thatstudents

encounterintheirlivedworlds.

UnitOne:Concepts

SexandGender;socialconstructionofgender;socialisationintogender

Femininitiesandmasculinities;normativegenderprivilege;heteronormativity

Patriarchy:historyoftheterm;effortstoundoit;feminism

Readings

RassundariDevi.From AmarJiban.WomenWritinginIndia:600B.C.totheearlytwentiethcentury.

Eds.SusieTharuandK.Lalitha.Delhi:OUP,1997.Pp190—202.

RokeyaShekhawatHossain.“Sultana’sDream”.WomenWritinginIndia:600B.C.totheearlytwentiethcentury.Eds.SusieTharuandK.Lalitha.Delhi:OUP,1997.Pp340-351.

BabyKamble.“OurWretchedLives.”WomenWritinginIndia:Thetwentiethcentury.Eds.Susie

TharuandK.Lalitha.Delhi:OUP,1997.Pp307-11.

VGeetha.Patriarchy.TheorizingGenderSeries.Kolkata:Stree,2007.Pp3—61.

UnitTwo:Intersections

Womenandcaste,religion,class,sexualities,race,disability

Womenandenvironment,technology,development

Womenandaccesstoresources:employment,health,nutrition,education

Women and reproductive work:singleness,marriage,motherhood (symbolical,biological,

surrogacyandART),parenting;abortionandotherrightsoverownbody

Readings:

MahawetaDevi.“Bayen.”FivePlays.Trans.SamikBandyopadhyaya.Calcutta:Seagull,2009.

MaryJohn.“Feminism,PovertyandtheEmergentSocialOrder”inHandbookofGender,ed.Raka

Ray,Delhi:OxfordUniversityPress,2012

LeelaKasturi.“ReportoftheSub-Committee,Women’sRoleinPlannedEconomy,NationalPlanning

Committee(1947)inMaitrayeeChaudhuried.Feminism inIndia.Delhi:Zed,2005.pp.136-155.

VandanaShiva.StayingAlive:Women,EcologyandDevelopment.Chapters2&4.Delhi:Kalifor

Women,1989.

M.M Vinodini.“The Parable ofthe LostDaughter”in The Exercise ofFreedom,Eds.K.

SatyanarayanaandSusieTharu.Delhi:Navayana,2013.Pp.164-77.

UnitThree:Histories

Thewomen’squestionpre-Independence:Sati-reform;widow remarriage;debatesaroundageof

consent

WomenintheIndependenceMovement;Partition

Post-Independencecampaignsagainstsexualharassmentand rape;dowryviolence;debates

aroundUniform CivilCode

Publicsphereparticipationofwomen:inpolitics;intheworkplace;intheeconomy;creating

educationalinclusion

Readings:

RadhaKumar.AHistoryofDoing:AnIllustratedAccountofMovementsforWomen'sRightsandFeminism inIndia.1800—1990.Chapters2,3,7,8,11.Delhi,Zubaan,1993.

Kumkum Sangari.“Politics ofDiversity:Religious Communities and Multiple Patriarchies”.

EconomicandPoliticalWeekly30.52(1995).

TanikaSarkar.“RhetoricagainstAgeofConsent-ResistingColonialReasonandDeathofaChild-

Wife”.EconomicandPoliticalWeekly28.36(1993April).

UrvashiButalia.Chapter2,“Blood”.TheOtherSideofSilence:Voicesfrom thePartitionofIndia.Delhi:PenguinBooks,1998.

UrmilaPawarandMeenakshi.Moon,Wealsomadehistory:WomenintheAmbedkariteMovement.Chs1,5,6.Delhi:Zubaan:2008.

UnitFour:Women,theLaw,theState

Constitutionalremedies and rights againstgender-based violence:history ofconstitutional

protectionsforwomen(HinduCodeBill,righttoproperty;personallaws);stateinterventionsand

feministengagementwiththelaw;IPCsectionsrelevanttorape;protectionof“modesty”ofwomen;

obscenity;theconceptof“woman”intheseframeworks

Readings:

JanakiNair.(“The Foundations ofModern LegalStructures in India”)and Flavia Agnes,

(“Conjugality,Property,MoralityandMaintenance”)inHandbookofGender,Ed.RakaRay.Delhi:

OUP,2012.

Workshop:Studentstoexaminethebaretextof4laws(assetoutintheGazetteofIndia)followed

bydiscussionandanalysis:lawsagainstdowry(TheDowryProhibitionAct,1961);againstsex

determination(Pre-Conception& Pre-NatalDiagnosticsAct,1994);againstdomesticviolence

(ProtectionofWomenfrom DomesticViolenceAct,2005);againstsexualharassmentatthe

workplace(TheSexualHarassmentofWomenatWorkplacePrevention,Prohibition,andRedressal

Act2013)

RevisionCommittee

Dr.AneetaRajendran(GargiCollege)

Dr.BratiBiswas(DyalSinghEveningCollege)

Ms.MuditaMohile(GargiCollege)

Paper7:Language,LiteratureandCulture

Courseobjectives:Thiscourseisdesignedtointroducethestudentswiththebasicconceptsof

language,itscharacteristics,itsstructure,and how itfunctions.Thecoursefurtheraimsto

familiarise the students how language is influenced by the socio-political-economic-cultural

realitiesofthesociety.Italsowantstoacquaintthestudentsabouttherelationbetweenlanguage

andliterature.

1 .                     Language

A         LanguageandCommunication

a.       WhatisLanguage?

b.      TheDefinitionofLanguage

c.       TheCharacteristicsofHumanlanguage

d.      WhyLanguageMatters?

 

B.      HowLanguageFunctions?

a.       Speaker–Listener–Message

b.      Phonology,Morphology,SyntaxandSemantics

(onlytermsanddefinitionswillbeasked)

-          Phonemes,PhoneticTranscriptionandphonology

-          Morphemes,FreeandBoundMorphemes

-          Simple,complex,compoundwords

-          Inflectional/derivationalmorphology

-          Theprocessofwordformation

-          BasicNotionsofSyntacticConstituentsandPhraseStructure

-          ClausesandSentences

 

C   LanguageandSociety

a.LanguageandClass,LanguageandGender,LanguageandEthnicity,Languageand

Identity

b.LanguageVariation

i.        Dialect,Idiolect,Slang,Pidgin,Creole,Jargon

ii.      StandardandNon-StandardLanguage

iii.    Bilingualism,Multilingulism,Code-mixing,Code-switching

Bibliography

1.      Fowler,Roger(ed). EssayonStyleandLanguage.London:RoutledgeandKeganPaul

Ltd.,1966.

2.      Fowler,Roger. TheLinguisticsofLiterature.London:RoutledgeandKeganPaulLtd.,

1971.

3.      Widdowson,H.G. StylisticsandtheTeachingofLiterature. London:Longman,1979.

4.      Bailey,R.W.,andJ.L.Robinson,eds. Varietiesofpresent-dayEnglish. New York:

Macmillan,1973.

5.      Fishman, J. A. Sociolinguistics: A Brief Introduction. Mass: Newbury

House           Rowley,1971.

6.      Gupta, R. S. and K. S. Agarwal. Studies in Indian Sociolinguistics. New

Delhi:       CreativeBooks,1996.

7.      Hudson,R.A. Sociolinguistics.Cambridge:CambridgeUniversityPress,1980.

8.       Leech,GeoffreyandMichaelShort.StyleinFiction.London:Longman,1981.

II.IndianLiterature

ThissectionofthecoursewillinvolveastudyofsignificantthemesandformsofIndianliterature

throughtheageswiththehelpofprescribedtexts.

i.            DifferentPhasesofIndianliteratures:Ancient,MedievalandModern

PrescribedText:

Chapter1:VedaVyasa:The Mahabharata:TheEkalavyaEpisode

Chapter2:Sudraka: Mrichchhakatika:TheMakingofaBreach

Chapter3:IlankoAtikal: Cilappatikaram:TheBookofMathurai

Chapter4:Mirabai:IKnowOnlyKrsna

Chapter5:AmirAbulHasanKhusrau:Separation

Chapter6:AsadullahKhan‘Ghalib’:DesiresComebytheThousands

Chapter7:FaizAhmadFaiz:DoNotAsk

Chapter8:SubramaniaBharati:ThePallaSong

Chapter9:RabindranathTagore:TheCabuliwallah

Chapter10:ShrilalShukla:RaagDarbari

Chapter11:IsmatChugtai:Touch-Me-Not

Chapter12:AmritaPritam:ToWarisShah

Chapter13:MastiVenkateshaIyengar:Venkatashami’sLoveAffair

Chapter14:IndiraGoswami:TheJourney

Chapter15:OmprakashValmiki:Joothan

Chapter16.ShrikantMahapatra:FolkSongs

 

FurtherReading:

SisirKumarDas,ed. AHistoryofIndianLiterature.NewDelhi:SahityaAkademi,1995.

III.CultureandSocietyinContemporaryIndia

(i)TheIdeaofCulture

(ii)CultureandtheMedia

 

(i)                 ‘Notes on the Historyofthe Studyofthe Indian Societyand Culture’

in StructureandChangeinIndianSociety ed.MiltonSingerandBernardSCohn(Chicago:

AldinePress,1968)

(ii)               ‘Towards a Definition ofCulture’in India and World Culture.(New Delhi:

SahityaAcademy,1986

(iii)             ‘CultureandIdeology’in Culture,IdeologyandHegemony:IntellectualandSocialConsciousnessinColonialIndia (Practice.LondonandNewYork:Longman1995

(iv)             CommunicationsandCulture. ed.M.R.Dua.Delhi:GalgotiaPublishingCo.

1997.

(v)               Journalism:ChangingSociety,EmergingTrends. Delhi,Authorspeak.2003

 Coordinator:Dr.VandanaAgarwal–PGDAVcollege

Paper8:Graphicnarratives

Coursestatement:

Thegraphicnarrativeinlongform istodayaprominentandpopularmodeinvisualcultures,its

accessibilitymakingitoftenthefirstentrypointtotheworldofliteratureformanyyoungpeople.

Asaform,ithasbeenomnivorousinprovidingrepresentationtobothdominant,hegemonicvalues

aswellassubversiveones.Thebestexamplesoftheform workthroughtheinterconnectionofart

andtext,theintersectionofdrawing,colouredandblankspaces,proportionandpithydialogue.

Thiscourseaimstointroducethegraphicnarrativetostudentsofnon-literarystudiesbackgrounds,

toprovideatoolkitforthem toacquirevisualliteracyandthustoequipthem tobetterunderstand

popularpubliccultures.

CourseObjectives:

Thiscourseaimsto:

1.Examinehowmajorgraphicnarrativecommentoncontemporaryculture,historyandmythology.

2.Providevisualliteracytoolsthroughexaminingvisualartsasextending,translatingandproviding

anewtextualvocabularytonarrative,includingfictionalandnon-fictionalnarrative.

3.Provideexposuretomajorgenreswithinthefieldsuchasthatofthemass-circulation"comic"

book;thefictionalizedautobiography/memoir;biographicaltexts,andthatoffiction.

4.Providetoolsfortheexplorationofform andgenrethataresensitivetonuancesofrace,gender,

caste,ethnicity,ableism andsexuality.

5.Enablestudentsfrom backgroundsinsubjectsotherthanEnglishliterarystudiestobroaden

theirskill-setsintextualinterpretation,readingandwritingabouttexts.

Syllabus

1.GeorgeRemi.TheAdventuresofTintin:RedRackham'sTreasure.UK:Egmont,2013(1943);and

Goscinny,ReneandUderzo,Albert.AsterixandCleopatra.Delhi:Hachette,2015(1963).

2.MarjaneSatrapi.Persepolis.London:Vintage,2008(2003).

3AmrutaPatil,Kari.Delhi:HarperCollins,2008.

4.SrividyaNatarajanandAparajitaNinan.AGardenerintheWasteland.Delhi:Navayana,2016.

Committee:

AneetaRajendran,GargiCollege(Coordinator);

GorvikaRao,MirandaHouse;

ShraddhaAdityavirSingh,ZakirHusainCollege;

Sanam Khanna,KamlaNehruCollege;

MukulChaturvedi,ZakirHusainCollege;

RinaRamdev,SriVenkateswaraCollege;

AmritaSingh,KamlaNehruCollege;

ShwetaSachdevaJha,MirandaHouse.

Paper9:CinematicAdaptationsofLiteraryTexts

Coursestatement:

Thispaperwillequipstudentsfrom non-Englishstudiesbackgroundstoexplorethelanguageof

cinemathroughtheirstudyofacanonicalliterarytext.Thestudyofglobalfilm adaptationsof

Shakespeare's Othello will focalize this paper's examination of theories of adaptation,

transformationandtransposition. 

CourseObjectives:

1.Students willengagewiththerelationshipbetweentextandfilm,andexaminethecontextsof

film productioninglobalfilm industries,includingHollywoodandBollywood.

2.AsanelectiveEnglishstudiespaper,thecorefocusistextualstudyand interpretativework

whereinthestudentgainsskillsinstudyingShakespeareasmuchasthelanguageoffilm via

appreciationofitsspecificfeaturesasamedium.

3.Focusonreceptionandcriticalworkandhistorythroughthecomparativeframeworktoexamine

thedifferentcontextsofproductionoftheplayandthefilms.

Syllabus

1:TheLanguageofCinema

JamesMonaco,‘Thelanguageoffilm:signsandsyntax’,inHow ToReadaFilm:TheWorldof

Movies,Media&Multimedia(NewYork:OUP,2009)chap.3,pp.170–249. 

Stam,Robert(2000)"BeyondFidelity:TheDialoguesofAdaptation"inJamesNaremore(Ed.)Film

Adaptation,pp.54-76.NewBrunswick,NJ:RutgersUniversityPress.

2:Othello(Text:William Shakespeare)

3:Othello(Movie1965,dir.StuartBurge)

4:Othello(Movie1995,dir.OliverParker)

5:Omkara(Movie2006,dir.VishalBhardwaj)

Suggestedfilms:

Pinjar(2003,dir.ChandraPrakashDwivedi)-Hindi

GhareBaire(1984,dir.SatyajitRay)-Bangla

Kaliyattam (1997,dir.Jayaraaj)-Malayalam

 Suggestedreadings:

a) "Adaptation,OrTheCinemaasDigest"byAndreBazininFilm andLiterature:AnIntroduction

andReader.Ed.TimothyCorrigan.Pp.57-64.

b)Hutcheon,Linda."OntheArtofAdaptation",DaedalusVol.133(2004)

CourseCommittee

1.MithuraajDhusiya,HansrajCollege(Coordinator)

2.KrishnanUnni.P,DeshbandhuCollege

3.NamitaPaul,KamlaNehruCollege

4.ShwetaSachdevaJha,MirandaHouse

5.SachinN.,DyalSinghCollege

6.DhananjayKapse,KirorimalCollege

7.GorvikaRao,MirandaHouse

8.AneetaRajendran,GargiCollege

9.PayalAgarwal,HansrajCollege

10.JennyRowena,MirandaHouse

11.NidhiBhandari,KamlaNehruCollege

12.SakshiDogra,HansrajCollege

13. Kavita,KamlaNehruCollege

14.BratiBiswas,DyalSinghEvening

Paper10:IndianEnglishLiteratures

CourseStatement

Overthepasttwocenturies,especiallyafterthe1980s,IndianWritinginEnglishhasemergedasa

majorcontributiontoIndianaswellasgloballiteraryproduction.Acloseanalysisofsomeofthe

majorworksofIndianWritinginEnglishiscrucialinanyexplorationofmodernIndiansubjectivities,

historiesandpolitics.

CourseObjectives

ThepaperintendstointroducestudentstoIndianEnglishLiteratureanditsoeuvrethroughthe

selectedliterarytextsacrossgenres.

Itfurtheraimstoenablethestudentstoplacethesetextswithinthediscourseofpostcoloniality

andunderstandIndianliteraryproductionsinEnglishinrelationtothehegemonicprocessesof

colonialism,neo-colonialism,nationalism,andglobalisation.

Thepaperalsohopestoallowthestudentstosituatethiscorpuswithinitsvarioushistoricaland

ideologicalcontextsandapproachthestudyofIndianWritinginEnglishfrom theperspectivesof

multipleIndiansubjectivities.

1. R.K.NarayanSwamiandFriends

2. FirdausKanga.TryingtoGrow

3. MaheshDattani.Tara

4. ShashiDeshpande.“TheIntrusion”

SalmanRushdie.“TheCourter”

RohintonMistry.“SwimmingLessons”

Vikram Chandra.“Dharma”

5. KamalaDas.“AnIntroduction”,“MyGrandmother’sHouse”

Nissim Ezekiel.“NightofScorpion”,“GoodbyePartyforMissPushpaT.S.”

ArunKolatkar.“TheBus”“ALowTemple”

Vikram Seth.“TheCrocodileandtheMonkey”

MamangDai“TheSorrowofWomen”

MembersofCommittee(InAlphabeticalOrderfollowingCoordinator)

1. Dr.SomeshwarSati,KirorimalCollege(Coordinator)

2. Mr.DhananjayKapse,KirorimalCollege

3. Ms.KarunaRajeev,LadyShriRam CollegeforWomen

4. Dr.RohithP.,DeenDayalUpadhyayaCollege

5. Mr.VirajKafle,DyalSinghCollege(Morning)

Paper11:PopularFiction

CourseStatement

Thepaperencouragesstudentstoengagewithissuessurroundingthecategorytermed“popularliterature”.Questionsabouttherolesofreadership,bestsellersandtheroleofmassmarketpublicationwillbeexplored.Variousgenres,suchaswritingforchildrenandyoungadults,detectivefiction,andmodernmythology,whichareconsideredpopular,areincludedhere.Thepaperaimsatpromotinganunderstandingofpopularliteratureasasociallyrelevantandpleasurableform ofwritingwhichengageswithcontemporaryissues.

 CourseObjectives

·         Throughthispaper,studentswillbebroughttoquestionthecategoriesof“high”and“low”literature,andissuesconcerning‘popularculture’.

·         Studentswillexplorethesocialandculturalrelevanceofpopulartextsandbestsellers,asproductsoftheirtimeandage,whichmirrortheaspirationsandanxietiesofthesocietyandclassoftheirreadership.

1.RuskinBond TheBlueUmbrella

2.Amish TheImmortalsofMeluha

3.AlexanderMcCallSmith: TheNo1LadiesDetectiveAgency

4.JohnGreen- PaperTowns

Membersofthecommittee:

Sanam Khanna(Coordinator)(KNC)

ShraddhaAdityavirSingh(ZHDC)

ShwetaSachdevaJha(MH)

Amrita(KNC)

Paper12:CultureandTheory

CourseObjectives:Thiscoursepresentskeytheoriesseminaltothedevelopmentofcultureinthetwentiethcentury.Itcombinesatheoreticalbasewithitspracticalapplicationtoliterature.Thiswillhelpthestudentsunderstandtheconstructionofcultureinsocietyanditsapplicationtothesimplestaspectsoflife.Theliterarytextshavebeen selected carefullyto comprehend theconnectionsbetweenculture,literatureandlife.

1. AntonioGramsci:‘TheFormationoftheIntellectuals’and‘Hegemony(CivilSociety)and

SeparationofPowers’,inSelectionsfrom thePrisonNotebooks,ed.andtr.QuentinHoareand

GeoffreyNovellSmith(London:LawrenceandWishart,1971)pp.5,245–6.

ShortStory:AntonChekhov“TheBride,”SelectedWorks.Moscow:ProgressP,1973.

2.RolandBarthes:Culture(London:Vintage,2009).“NovelsandChildren”,“Toys”,“Plastic”

Short Story:Thomas Mann “Gladius Dei,” in Little Herr Friedmann and Other stories.

Harmondsworth:Penguin,1961.

3.EdwardSaid:‘TheScopeofOrientalism’inOrientalism (Harmondsworth:Penguin,1977)pp.31-

73

ShortStory:LuXun“MyOldHome,”SelectedWorksVol.1Bejing:ForeignLanguagesPress,1980.

4.SimonedeBeauvoir:TheSecondSex(London:Vintage,1997).Introductionpp.13-29.

ShortStory:JeanPaulSartre“Intimacy,”TheWalltrans.AlexanderLloyd,Wisconsin:HalLeonard

Corp,1995.

5.MichelFoucault:“WhatisanAuthor?”ModernCriticism andTheory:AReader,ed.DavidLodge

withNigelWood(NewDelhi:Pearson,2007)pp.192-205.

ShortStory:KatherineMansfield“TheVoyage”inChristopherDolley,Ed. ThePenguinBookofShortStories.Harmondsworth:Penguin,Rpt.1970.

SuggestedReadings

LouisAlthusser.“IdeologyandIdeologicalStateApparatuses,”inLeninandPhilosophyandOther

Essays(NewDelhi:AakarBooks,2006)pp.85–126.

RolandBarthes.“DeathoftheAuthor,”ModernCriticism andTheory:AReader,ed.DavidLodge

withNigelWood(NewDelhi:Pearson,2007)pp.164-168.

KateMillett.SexualPolitics(London:RupertHart-Davis,1971).̀“InstancesofSex”pp.3-22and

TheoryofSexualPoliticspp.23-58

MichelFoucault.“TruthandPower,”PowerandKnowledge,tr.AlessandroFontanaandPasquale

Pasquino(NewYork:Pantheon,1977)pp.109–33.

Namesofmembers:

PayalNagpal

RudrashishChakraborty

Paper13:MarginalisationsinIndianWriting

CourseStatement:

Sincethetwentiethcenturyliterarytextsfrom variedcontextsinIndiahaveopenedupnew

discursivespacesfrom withinwhichtheideaofthenormativeisproblematised.Positionsof

marginalitywhethergeographical,caste,gender,disabilityandtribaloffertheneedtointerrogate

theideaofthenormativeaswellasconstitutionsofthecanon.Thoughthisengagementhasbeen

partofliteraryacademicanalysis,ithasjustbegunmakingitsforayintothesyllabusofEnglish

DepartmentsofIndianUniversities.Thispaperhopestointroducetheundergraduatestudentsto

perspectiveswithinIndianWritingthatacquaintthem withbothexperiencesofmarginalisation

alongsideexaminingmodesofliterarystylisticsthatofferavariationfrom conventionalpractice.

CourseObjectives:

Tomaketheundergraduatestudentsapproachliteraturethroughthelensofvariedidentity

positionsandevolveinthem afreshcriticalperspectiveforreadingliteraryrepresentations.

Toenablethem toexplorevariousformsofliteraryrepresentationsofmarginalisationas

wellaswritingfrom outsidewhatisthegenerallyfamiliarterrainofIndianWritinginschools.

Tomakethem awareofthedifferentwaysinwhichliterarynarrativesareshaped.

Especiallysincesomeofthetextsdrawontraditionsoftheoral,mythic,folkandtheform of

life-narrativeasstylistics.

Tomakethem understandhowliteratureisusedalsotonegotiateandinterrogatethis

hegemonyandevolveanalternativeconceptionofcorporealandsubjectivedifference.

1. Caste

B.R.Ambedkar.AnnihilationofCaste:TheAnnotatedCriticalEditionChap.4(233-236),6(241-

244),and14(259-263).NewDelhi:NavayanaPublications,2015.Print.

Bama.“Ch.1”.Sangati(Trans.LakshmiHolmstrom).NewDelhi:OxfordUniversityPress,2005.

3-14.Print

AjayNavaria.“YesSir”(Trans.LauraBrueck).UnclaimedTerrain.NewDelhi:Navayana,2013.45

-64Print.

ArunaGogulamanda,“ADalitwomanintheLandofGoddesses”inFirstPoston13August

2017.

2. Disability

Rabindranath Tagore.“Subha”(Trans.Mohammad A.Quayum)Rabindranath Tagore:TheRuinedNestandOtherStories.KualaLumpur:Silverfish,2014.43-50.Print.

MaliniChib.“WhyDoYouWanttoDoBA”.OneLittleFinger.NewDelhi:Sage,2011.49-82.Print

RaghuvirSahay."The HandicappedCaughtinaCamera"(Trans.Harish Trivedi) ChicagoReview.

38:1/2.1992. 146-7. 

GirishKarnad.BrokenImages.CollectedPlays:VolumeII.NewDelhi:OxfordUniversityPress,

2005.261-284.Print.

3. Tribe

WaharuSonawane.“LiteratureandAdivasiCulture.”LokayanaBulletinSpecialIssueonTribal

identity.10:5/6.(March-June1994):11-20.

JanilKumarBrahma.“Orge.”ModernBodoShortStories.Trans.JoykantaSarma.Delhi:Sahitya

Akademi,2003.1-9.

D.K.Sangma.“SongonInaugurationofahouse”(Trans.CarolineMarak.)GaroliteratureDelhi:

SahityaAkademi,2002.72-73.

RandhirKhare.“RajaPantha.”TheSingingBow:PoemsoftheBhil.Delhi:HarperCollins,2001.1

-2.

4. Gender

LivingSmileVidya."Acceptme!"in IAm Vidya:ATransgender'sJourney. NewDelhi:Rupa,2013.

69-79.

RashidJahan.“Woh”(Trans.M.T.Kahn)inSusieTharuandK.Lalita,eds.WomenWritinginIndia600BCtothePresent,Vol.2(NewYork:TheFeministPress,1993)pp.119-22.Print

IsmatChugtai.“Lihaf”(Trans.M Assadudin)ManushiVol.110pp.36-40.Print

HoshangMerchant.“PoemsforVivan”inRuthVanitaandSaleem Kidwai,eds.SameSexLoveinIndia:Readingsfrom LiteratureandHistory.NewYork:Palgrave,2001.349-351.Print.

5. North-East

MamangDai.“MythsofCreation”Arunachal:AHiddenLand.NewDelhi:Penguin.37-50.Print.

CherrieLChhangte.“WhatdoesanIndianLooklike”TilottomaMisra,ed.TheOxfordAnthologyofWritingsfrom North-East India:PoetryandEssays.NewDelhi:OxfordUP, 2011.49.Print.

K.S.Nongkynrih.“Ren”.K.S.Nongkynrih&R.S.Ngangom (Eds.),AnthologyofContemporaryPoetryfrom theNortheast.Shillong,India:NEHUPublications,2003.158-159.Print.

IndiraGoswami."TheOffspring" (Trans.IndiraGoswami)UrvashiButalia,Ed. InnerLine:TheZubaanBookof StoriesbyIndianWomen.NewDelhi:Zubaan,2006.104-120.Print.

MembersofCommittee(InAlphabeticalOrderfollowingCoordinator)

6. Dr.SomeshwarSati,KirorimalCollege(Coordinator)

7. Dr.B.Mangalam,AryabhattaCollege

8. Ms.KarunaRajeev,LadyShriRam CollegeforWomen

9. Dr.MukulChaturvedi,ZakirHusainCollege(Morning)

10. Dr.RohithP.,DeenDayalUpadhyayaCollege

11. Mr.SachinN.,DyalSinghCollege(Morning)

12. Mr.VirajKafle,DyalSinghCollege(Morning)

Paper14:TheIndividualandSociety

Courseobjective:Thisanthologyintroducesstudentstothevariousissuesthatfacesocietytoday

–Caste,class,race,gender,violenceandglobalization.Itservesasaneffectiveentrypointtoan

understandingoftheseareasthatstudentswillencounterintheirhigherstudiesanddailylivesand

aimstoprovidethem withaholisticunderstandingoftheseissuesandtheircomplexities.

Unit1:CasteandClass:Chapters1,2,3,4,5,6

Unit2:Gender:Chapters8,9,10,12,13,15

Unit3:Race:Chapters16,17,18,19

Unit4:ViolenceandWar:Chapters22,23,25,26

Unit5:LivingInaglobalizedWorld:Chapters29,31,32,34

Paper15:WesternPerformanceTheoriesandPractices

CourseObjectives:ThiscoursecombinesmodernWesterntheatricalconceptsalongwiththepraxisofperformance.Itwillfamiliarisethestudentswith theseminalWestern theoriesofperformanceinthetwentiethcenturyandtheirvisualisationonstage.Thecoursewillfocusonahistoricalunderstandingofthedifferenttypesoftheatricalspacesalongwiththeirbearingonperformance.Apracticebasedcourse,itwillfocusontechniquessuchasvoicemodulationandbodymovement.Adesignatedunittowardsproductionwillhelpstudentsunderstandthedifferentaspectsinvolvedintheatricalproduction.

1.Introduction 

IntroductiontoWesterntheoriesofPerformance:ClassicaltoContemporary;Endorsement

ofexistingstructurestoRadicalisingourworld 

HistoricaloverviewofWesterntheatre 

TopicsforStudentPresentations: 

a.Perspectivesontheatreandperformance 

b.Historicaldevelopmentoftheatricalforms 

c.Populartraditions 

2.TheatricalFormsandPractices 

Performativespaces:e.g.proscenium,‘intheround’,amphitheatre,open-airandthruststage.

Theirimpactonmeaningsofperformance.

Performancecomponents:Voicemodulationandbodymovement

TopicsforStudentPresentations: 

a.Onthedifferenttypesofperformativespaceinpractice 

b.Poetryreading,elocution,expressivegestures,andchoreographedmovement 

3.TheoriesofDrama

Theoriesanddemonstrationsofacting:Stanislavsky,Brecht,Boal

TopicsforStudentPresentations:

a.Actingshortsolo/groupperformancesfollowedbydiscussionandanalysiswithapplicationof

theoreticalperspectives

4.TheatricalProduction

Direction,production,stageprops,costume,lighting,backstagesupport.

Recording/archivingperformance/casestudyofproduction/performance/impactofmedia

onperformanceprocesses.

TopicsforStudentPresentations:

a.Allaspectsofproductionandperformance;recording,archiving,interviewingperformersand

datacollection.

CourseOutcomes

Aperformanceofminimum thirtyminutesusinganyoneform ofdramastudiedinthis

course

InterviewatleastonetheatrepractitionerwhohasworkedwithWesterntheatricalforms

CourseCoordinators

SanjayKumar(HansrajCollege)

PayalNagpal(JankiDeviMemorialCollege)

Paper16:LiteratureandtheContemporaryWorld

Courseobjectives:

Thiscourseseekstointroducestudentstovariousgenresofcontemporaryliteraturethrough

worksthatarefamiliarandhaveestablishedthemselvesinthepopularparlance.Thesetextswill

bestudiedfrom variousprisms–class,caste,gender,raceetc.andwillequipstudentswithan

understandingofthelinkagesbetweenliterature,historyandsocietyinourtimes.

1. IsabelAllende.TheHouseoftheSpirits.Everyman’sLibrary,2005.

2. KhaledHossaini,TheKiteRunner.Bloomsbury,2013.

3. WoleSoyinkaADanceoftheForests.ThreeCrowns,1963.

4. Shortstories:

JulioCortaza.“TheSkyWideOpen”.TheOxfordBookofLatinAmerica,ed.By.Roberto

GonzalezEchevarria,OUP,1997

ChimamandaNgoziAdichie.“TheAmericanEmbassy”.TheThingAroundYourNeck.Harper

Collins,2009.

TenzinTsundue,‘Kora’from Kora:StoriesandPoems.NewDelhi:2002

Poems:

Nazim Hikmet.“NinthAnniversary”.PoemsofNazim Hikmet,translatedby,RandyBlasing

andMutluKonuk.PerseaBooks,NewYork,2002.

MayaAngelou.“OnthePulseofMorning”.TheCompleteCollectedpoemsofMayaAngelou

/Edition1.Random HousePublishingGroup,1994.

YasmineGooneratne.“BigMatch,1983.”ed.JohnThieme.TheArnoldAnthologyofPost-

ColonialLiteraturesinEnglish.USA:OxfordUniversityPress,2000.

Namesofmembers:

MuditaMohile

BratiBiswas