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SYLLABUS AND CURRICULUM DOCUMENT

M.A. English

Master of Arts in English

PROGRAMME STRUCTURE AND SYLLABUS IN AFFILIATED COLLEGES

2019-20 ADMISSIONS ONWARDS

(UNDER MAHATMA GANDHI UNIVERSITY PG-CSS REGULATIONS 2019)

BOARD OF STUDIES IN ENGLISH (PG)

MAHATMA GANDHI UNIVERSITY

2019

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THE BOARD OF STUDIES IN ENGLISH (PG)

Chairperson: Dr. Asok A.R,Associate. Prof., SVR NSS College, Vazhoor.

Members:
1. Dr. Mini John, Associate Prof. , Alphonsa College, Pala
2. Dr. Amstrong Sebastian, Associate Prof., Nirmala College, Muvattupuzha.
3. Dr. Siby James, Associate Prof., St. Thomas College, Pala
4. Dr. Anjana Sankar, Associate Prof., Sree Sankara College, Kalady
5. Dr. Muralikrishnan, Associate Prof., MES Asmabi College, Kodungaloor.
6. Dr. Jyothimol P. , Associate Prof., Baselius College, Kottayam
7. Cheri Jacob K., Assistant Prof.,Union Christian College, Aluva
8. Febu George Mathai Kurichiyath, Assistant Prof., St. Thomas College, Kozhenchery
9. Manju V.S, NSS Hindu College,Assistant Prof., Changanacherry
10. Anna George, Assistant Prof., Catholicate College, Pathanamthitta

Convenor & Member Syndicate in charge of : Shri V.S. Praveen Kumar, Asst.
PG CSS Syllabus Revision, MG University Professor, SAS SNDP Yogam
College, Konni.

Member Syndicate in charge of the Syllabus : Dr. K.M. Krishnan, Director, School
Revision of M.A. English & Subject Expertof Letters, MG University.

Subject Expert of M.A. English Syllabus : Dr. P.P. Raveendran, Former

Revision 2019. Director, School of Letters.

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Table of Contents

I.Factual Details of the Programme:Page 6

II.The Programme Structure: Page 7

III.Guidelines for Research Methodology and Project Writing: Page 9

IV.Norms and Guidelines for Paper Presentation:Page 10

V.Semester-wise Details of the Syllabus: Page 11

VI.Model Question Papers

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M.A. English Degree Programme

(Mahatma Gandhi University Regulations PGCSS2019 from 2019-20 Academic Year)

1. Aim of the Programme: The programme aims to develop students’ competence with
reference to Literatures/Narratives in English, and also an awareness regarding both the
historicity and contemporaneity of ‘language/communication’ and its interdisciplinary and
global cultural aftermaths. The programme prepares students to reflect on the social and
ethical dimensions of research and for careers in secondary and higher education, content
development, creative visualizations, publishing, and translation.

2. Eligibility for Admissions: Graduation in English under (Model I/II/III) or graduation inother
faculties of language and literature, social science, science, oriental studies are eligible for applying
for MA programme in English provided they satisfy the eligibility criteria as detailed below.
I. For CBCCS 2013 pattern - CCCPA of 4.5 out of 10.00 in the Core Group (core + open +
complementary courses or if the CCPA scored by the graduate for common course is greater than the
CCPA scored for core course and is 5.0 or above.
II. For CBCSS 2009 pattern – CGPA of 1.80 out of 4 or if the CGPA for common course if greater
and is 2 or above. III. For Other patterns – 45% marks in core + subsidiary under part III or if the
marks for Part I English is greater than the marks in Part III and is 50% or above.

3. Medium of Instruction and Assessment: The medium of instruction will be English and
Evaluation of core &elective components and the project will be done in two parts, that is, through
continuous internal assessment and end semester external examination.The marks of the paper
presentation will be accorded by the externals of the project evaluationbased on the
documents verified.

4. Faculty under which the Degree is Awarded: Faculty of Language & Literature(MGU-
CSS).

5. Specializations offered, if any: Electives offered in the IV semester are specialized courses.
A college can select a cluster of three courses for specialization.

6. Note on compliance with the UGC Minimum Standards for the conduct and award of
Post Graduate Degrees: The programme is strictly in compliance with the UGC Minimum
Standards for the conduct and award of Post Graduate Degrees.

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7. THE PROGRAMME STRUCTURE

Course Title of the Course Type of the Hours Credits

Code Course per
week
FIRST SEMESTER
EN010101 Up Until Chaucer: Early CORE 5 4
Literatures in English
EN010102 Literatures of the English CORE 5 4
Renaissance
EN010103 Literatures of the English CORE 5 4
Revolution/ Enlightenment
EN010104 19th Century English Literatures CORE 5 4

EN010105 Literary Criticism CORE 5 4

SECOND SEMESTER
EN010201 Modernity and Modernisms CORE 5 4
EN010202 Postmodernism and Beyond CORE 5 4
EN010203 American Literatures CORE 5 4
EN010204 English Language History and CORE 5 4
Contemporary Linguistics
EN010205 Thinking Theory CORE 5 4
THIRD SEMESTER
EN010301 Reading India CORE 5 4
EN010302 Post Colonial Fiction CORE 5 4
EN010303 Body, Text and Performance CORE 5 4
EN010304 Literature and Gender CORE 5 3
EN010305 Ethics in/as Literature CORE 5 3

FOURTH SEMESTER
EN010401 Cultural Studies CORE 5 4
EN010402 Post Colonial Poetry CORE 5 3

<Elective> ELECTIVE 5 3
<Elective> ELECTIVE 5 3
<Elective> ELECTIVE 5 3
Project 3
Viva 2
National/ International Seminar (Presented in any one of the semesters) 1

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ELECTIVES

+3 Electives [Choose Onefrom theFourClustersgiven below]:

Cluster 1 Cluster 2 Cluster 3 Cluster 4

18. Post Colonial 21. Trauma 24. Modern 27. English

Theatres - Narratives and European Fiction Language Teaching
[EN800401] Memory [EN820401] (ELT)
[EN810401] [EN830401]

19. Shakespeare 25. Modern

Across Cultures 22. The Island in
European Drama 28. Translation
[EN800402] Literature
[EN810402] [EN820402] Studies [EN830402]

20. Public Domain

Writings
26. Indian 29. Dalit Studies
[EN800403] 23. Literature
Poetics: Theories [EN830403]
and Film
and Texts
[EN810403]
[EN820403]

Special Note:
Quite a few of the papers whose syllabi are given below have a special interim
section titled ‘Specific Additional Readings’ that comes before the final ‘Texts
for Consultation’ lists. The teachers/facilitators and the learners/students are
hereby entreated to seriously treat this section as a ‘resource-pool/tool-kit’ that is
specifically oriented towards the texts included within the ambit of the respective
papers.

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Research Methodology and Project Writing

Students need to expose themselves to the theory & mechanics of project writing. They need to
familiarize with the basic aspects of research and get well-versed with the technicalities of
writing a PG project. Formulate a topic and write the project observing the conventions of
writing. A familiarity with the basic parameters will also chisel originality of thought and
conception, nurturing an attitude and aptitude for Research in Postgraduate Students. Before
writing a project students need to be familiar with the following:

- Definition and Scope of Research: Kinds of Research, Formulation of Research

Problems, Key Concepts, Investigation, Exploration, Examination, Analysis

- Research in Language and Literature: 1.Methods in Language Research, 2.Trends and

Approaches in Literary Research, 3. Selection of Topic:(i)Area of Research: Genre,
Period, Region, Author, Texts, Approach, (ii)Intra-disciplinary/Interdisciplinary,
(iii)Background Study, (iv)Studies of Literatures, (v)Framing of Topic-statement.

- Research Mechanics: 1. Tools, Language and Plagiarism:

Primary and Secondary Sources(i)Print: Books, Journals etc., (ii)Audio-visual
resources(iii)Interviewing(iv)Field Studies(v)Web resources 2.Research Language
(Clarity, Correctness, Coherence) 3.Research Ethics

- Different Style Sheets: MLA, APA (latest editions) etc.; Documentation, in text,
Parentheticals, footnotes, endnotes, citation, references, bibliography, Use of Quotations

- Writing: Framing of Topic-statement, Abstract, and Keywords for Research Paper, A

Brief Literature Review/ Review of Scholarships in the area, Paper margin, Spacing
Drafting, Revising, Heading, Pagination, Proof-Reading.

References:

Joseph Gibaldi. MLA Handbook for Writers of Research Papers. 8thed. New York: MLA
Publications, 2004.

C. R. Kothari. Research Methodology-Methods and Techniques. New Age International, 1985

The Art of Literary Research, 4thed. New York: Norton, 1993

B. Allison. The Students’ Guide to Preparing Dissertations and Theses. London: Kogan Page,
1997.

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National/ International Seminar (Presented in any Semester) – Norms and Guidelines

1. A paper has to be presented in any of the four semesters at a National or International Seminar
organised by English Departments anywhere in the world, before the date fixed for the project
viva in the final semester.

2. The marks of the same will be added to the whole only in the last semester.

3. One credit is alloted for the seminar presentation.

4. The topic should be related to English/Cultural Studies, and can be the topic of any of the
seminars conducted by Departments of English across the world.

5. The norms of preparing the paper for the seminar will be the norms prescribed by the
respective National/International seminars organised.

6. The supervising teacher for project should also supervise the seminar paper. The list of
Supervising Teachers forProjects and Seminar Papers have to be decided at the start of the
course of a batch of students.

7. The students will bear the sole responsibility of preparing, submitting, travelling, attending
and presenting the abstracts/full papers at the National/International Seminars.

8. The attendance of students for the days of the Seminar should be provided by the
department/college concerned.

9. The student will have to submit a signed copy of the abstract and the full paper bearing name
and register number, the brochure and a copy of the Certificate of Presentation from relevant
authorities to the Head of the Department, and all the documents have to be produced to the
external examiners conducting project viva in the fourth semester for verification.

10. The marks of the paper presentation will be accorded by the externals based on the
documents verified, and the externals and the Head of the Department have to sign the mark list
before submitting to the University.

11. Those who fail to produce the relevant documents prescribed in 9 will be marked ‘AB’
(Absent) or ‘F’ (Failed) in the mark list.

12. The department concerned should keep the documents safe for a period of three years at
least, for further verification if necessary.

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FIRST SEMESTER CORE COURSES

EN010101 Up Until Chaucer: Early Literatures in English 1

EN010102 Literatures of the English Renaissance 2
EN010103 Literatures of the English Revolution/ Enlightenment 3
EN010104 19th Century English Literatures 4

EN010105 Literary Criticism 5

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Semester 1 - Core Course 1:

[EN010101] - Up Until Chaucer: Early Literatures in English
Total Credits: 4

Total Hours: 25

Weightage:
Objectives:
At the end of this course, the student will be able to make senseof the major themes in
Ancientand Medieval English literature as an expression of Anglo-Saxon culture and society as it
emerges into a Britain-consciousness; also, the student will be equipped to access and understand
the personal experiences of people living in a society very different from our own.

Course Description:
What was English Literature like before Shakespeare? Before Chaucer? And from our current
vantage point what was Chaucer and his peers doing? Through 5 modules, this paper offers a
two-fold bird’s eye-view: first, the literature of the Anglo-Saxons written over a thousand years
ago and then, the standardising creative consolidation initiated by Chaucer and his peers; a
paradigm shift that made possible the emergence of English literature with a purpose and identity
of its own.

Module I is a sampling of early poetry.

Module 2 offers a selection of early Prose and Drama.
Module 3 wades through extracts from the first epic Beowulf and the iconic Romance Le Morte
D’arthur along with a choice sequence of the early English Lyric.
Module 4 is exclusively designated to familiarise the student with the varied oeuvre of Geoffrey
Chaucer.
Module 5 gives a feel of Chaucer’s peers, JohnGower, Thomas Hoccleve and William Langland.

Crucial Note: The texts/readings slotted for seminars are not to be elaborated upon. The onus is
on the teacher to be a judicious facilitator who will initially provide a purview of the texts’ crux
and then proactively generate topics/themes, which the students can develop and share with their
peers. The thrust should be upon illuminating how these texts/readings proactively link up with
the other texts/readings in the module. Also, it should be kept in mind that this paper is, in a very
specific sense, a ‘translation course’ – we are dealing with both the Anglo-Saxons and the
medieval writers in ‘Modern English’ versions of the text.

Module I [Early Poetry]:

1.1 Exeter Book Riddle 11, ‘Wine’ [21 lines]; cf Riddle 25, ‘Onion’ & Riddle 45, ‘Dough’.
1.2‘The Dream of the Rood’ [156 lines]
1.3‘Deor’s Lament’ [42 lines]
1.4 ‘The Husband’s Message’ [53 lines]

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Seminar:
1.5 ‘The Wanderer’ [113 lines]
1.6 ‘The Seafarer’ [124 lines]
1.7 ‘The Wife’s Lament’ [53 lines]

Module 2 [Early Prose and Drama]:

2.1 Bede: On Caedmon [including Caedmon’s hymn...]
2.2 Julian of Norwich: Revelations of Divine Love [Chapter LX - “The Kind, Loving, Mother”]
2.3“Noah’s Flood” from the Chester Mystery Cycle
2.4 “The York Play of the Crucifixion”
Seminar:
2.5King Alfred: Preface to Pastoral Care
2.6 The Robin Hood Play-fragments

Module 3 [Epic, Romance and Lyric]:

3.1Selection from Beowulf [Part 11 to 18 – Grendel’s Battle With Beowulf]
3.2 Sir Thomas Malory: Le Morte D’arthur [Book 5 – King Arthur defeats Roman Emperor
Lucius]
Seminar:
3.3Sir Orfeo
3.4‘The Cuckoo Song,’ ‘Sunset on Calvary,’ ‘I Sing of a Maiden,’ ‘Maiden in the mor lay’ [short
Middle English lyrics from the Norton Anthology]

Module 4 [Geoffrey Chaucer]:

4.1 General Prologue to Canterbury Tales: Introduction
4.2 General Prologue to Canterbury Tales: Wife of Bath [Thumbnail Profile]
4.3 From The Canterbury Tales: ‘The Wife of Bath Prologue and Tale.’
Seminar:
4.4‘Troilus and Criseyde’

Module 5 [Chaucer’s Peers]:

5.1JohnGower: Confessio Amantis – The Tale of Narcissus: Book 1. Lines 2275-2380
5.2 Thomas Hoccleve: ‘Lament for Chaucer’
Seminar:
5.3William Langland’s Piers Plowman – Prologue

Specific Additional Readings:

1. W.W. Norton and Company’s The Norton Anthology of English Literature: “Introduction to
The Middle Ages”
2. Regia Anglorum Publication’s “A Brief History of Anglo-Saxon England.”
3. The ORB: Online Reference Book for Medieval Studies: Steven Muhlberger’s Medieval
England: “The Age of Bede”; Catholic Encyclopedia’s “The Venerable Bede”; Excerpt from

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Bede’s Conversion of England)

4.Blend of Oral-Formulaic Verse and Christian Values in “Caedmon’s Hymn”
5. Bede’s Ecclesiastical History of the English Nation, Book IV: “Chapter XXIV”
6. F.W. Garforth’s “Bede’s Account of the Poet Caedmon”
7.Excerpts from Dr. Jonathan A. Glenn’s Translations of “The Seafarer” and “The Wanderer”
9.W.W. Norton and Company’s The Norton Anthology of English Literature: “The Linguistic
and Literary Contexts of Beowulf”
10.The Norton Anthology of English Literature’s version of “Seamus Heaney on Beowulf”
11. Dream-vision/Dream Poetry, Apocalypse, and Pagan-Christian Hybridity in “The Dream of
the Rood”
12. Jeannette C. Brock’s “‘The Dream of the Rood’ and the Image of Christ in the Early Middle
Ages”
13. William Langland’s “Piers Plowman” and the Social and Religious Issues of the Day
14.Everyman and Thematic and Generic Conventions of Middle English Drama

Texts for Consultation:

1. Bruce Mitchell and Fred C. Robinson: A Guide to Old English, Wily Blackwell, 8th ed. (2012)
2. R. M. Liuzza: Old English Poetry: An Anthology, Broadview Press. (2014)
3. Malcolm Godden and Michael Lapidge (eds): The Cambridge Companion to Old English
Literature, Cambridge University Press. (1986)
4.R. D. Fulk: A History of Old English Literature. Blackwell. (2003)
5. Phillip Pulsiano and Elaine Treharne (eds): A Companion to Anglo-Saxon Literature,
Blackwell. (2001)
6. Richard North and Joe Allard (eds): Beowulf and Other Stories, Pearson. (2007)
7.M. H. Abrams, Stephen Greenblatt, et al (eds): The Norton Anthology of English Literature, 9th
ed, [Vol. 1], (2012) - Introductions to the specific Texts/Pieces.
8. Corinne Saunders (ed): A Concise Companion to Chaucer, Blackwell. (2006)
9. Laurel Amtower and Jacqueline Vanhoutte (eds): A Companion to Chaucer and His
Contemporaries: Texts and Contexts, Broadview Press. (2009)
10. Andrew Sanders:The Short Oxford History of English Literature. 2nd ed. OUP. (2000)
______________________________________________________________________________

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Semester 1 - Core Course 2:

[EN010102] -Literatures of the English Renaissance

Total Credits: 4
Total Hours: 25
Weightage:

Objectives:The course is designed to familiarise the students with the literature, thought and
culture of the Renaissance period in England, a historical watershed marking the transition from
the medieval to the modern. It is also designed as a theoretical/critical reading of the era and the
texts in the light of recent theoretical interventions like New Historicism and Cultural
Materialism which had a special interest in Renaissance texts. Representative works of the period
have been selected with a view to instilling in the students a capacity to appreciate Renaissance
writings bearing the stamp of radical changes in the outlook and ways of life.

Course Description:The course comprising major genres like Drama, Poetry and Prose provides
an introduction to the literature of the English Renaissance studied in a variety of historical
contexts and discusses how the confluence of social, political and economic forces culminated in
conditions conducive to the creation of an impressive volume of literature. It highlights how
literary luminaries like William Shakespeare and Christopher Marlowe emerged and influenced
each other leaving their mark on their own time and the time to come. The completion of the
course has to enable the students to imbibe the true spirit of Renaissance and Humanism making
them capable of identifying the relationship between Renaissance writings and its socio-political
context.

Module I:
1.1 Wilson Knight: “The Shakespearean Metaphysic” Chapter 13 ofThe Wheel of Fire.
1.2 Jonathan Dollimore and Allan Sinfield:“ Culture and Textuality: Debating Cultural
Materialism”Textual Practice, vol 4, 1990
1.3 Stephen Greenblatt: “Improvisation of Power”, Chapter 6 ofRenaissance Self Fashioning.

Module 2:
2.1 William Shakespeare: Hamlet
2.2 “Hamlet and His Problems” Essay by T.S. Eliot

Seminar:
2.3William Shakespeare: The Tempest

Module 3:
3.1 William Shakespeare: Hamlet
3.2“A Psycho-analytic Study of Hamlet” Essay by Ernest Jones

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Seminar:
3.3 William Shakespeare: King Henry IV Part I

Module 4:
4.1Christopher Marlowe: Doctor Faustus
4.2Ben Jonson: The Alchemist

Seminar:
4.3Thomas Kyd: The Spanish Tragedy

Module 5:
5.1 William Shakespeare: Sonnets - 18, 73, 98, 129
5.2 Edmund Spenser: Prothalamion
5.3 John Donne: Canonization
5.4 Andrew Marvell: To his Coy Mistress
5.5 Francis Bacon: Of Studies, Of Marriage and Single Life

Seminar:
5.6Thomas More: Utopia

Texts for Consultation

1. J.R. Brown: Discovering Shakespeare

2. EMW Tillyard: Shakespeare’s Last Plays
3. A C Bradley: Shakespearean Tragedy
4. Harold Bloom: Elizabethan Drama

5. John Dover Wilson: What Happens in Hamlet

6. G. Wilson Knight: The Imperial Theme
7. Caroline Spurgeon: Shakespearean Imagery
8. Jocelyn Hunt: The Renaissance
9. Graham Holderness: Nine Lives of Shakespeare
10. Terry Eagleton: Shakespeare and His Age

11. Ania Loomba: Race, Gender and Renaissance Drama

12. C. Marydass. Shakespearean Aesthetics for University Wits
13. John Fuller: The Sonnet
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Semester 1 - Core Course 3:

[EN010103] -Literatures of the English Revolution/ Enlightenment
Total Credits: 4
Total Hours: 25
Weightage:

Objectives: This course familiarizes the learner with the English literary texts which reflect the
austere Puritan ideals of the late seventeenth century, the neoclassical vigour of the eighteenth
century considerably influenced by the philosophy of the Enlightenment and the perspectival
shift manifested in the transitional literature towards the end of this era.

Course Description: Module 1 offers a comprehensive account of the late seventeenth and the
eighteenth century literary scenario drawing upon the significant social and the political
developments of the times. How such events fostered the rise of new genres like the novel is
unravelled. Further, the learners are familiarised with Ian Watt’s perspective on the inception of
this new genre in England. This module also introduces the learners to an in-depth critique of the
philosophy of the Enlightenment.
Module 2 acquaints the learners with the poetry of John Milton the epic poet of the late
seventeenth century, the neoclassical satirists such as John Dryden and Alexander Pope, Aphra
Behn the first professional woman writer of England, and Thomas Gray, the transitional poet.
Module 3 dwells on the drama written during this span of time.
Module 4 presents the acclaimed fiction of the aforementioned period.
Module 5 accommodates the ground-breaking nonfictional works of the period.

Module 1:
1.1 Pramod Nayar: “Introduction” to English Poetry 1660-1780 Ed. Pramod Nayar
1.2 Ian Watt: “Realism and the Novel Form” (Chapter I fromRise of the Novel)
1.3 Michel Foucault: “What is Enlightenment?” from The Foucault Reader, 1984 (pp. 32-50)

Module 2:
2.1 John Milton : The Fall of Man (Lines 850-1055) from Paradise Lost: Book IX
2.2 John Dryden : The Portrait of Achitophel (150-174) from Absalom and Achitophel
2.3 Alexander Pope: The Portrait of Atticus (193-214) from An Epistle to Dr.Arbuthnot
2.4 Aphra Behn : “To the Fair Clarinda”

Seminar:
2.5Thomas Gray: Elegy Written in a Country Churchyard

Module 3:
3.1 William Congreve: Way of the World
3.2 Oliver Goldsmith: She Stoops to Conquer

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Seminar:
3.3Richard Brinsley Sheridan: The Rivals

Module 4:
4.1 Daniel Defoe: Robinson Crusoe
4.2 Samuel Richardson: Pamela
4.3 Henry Fielding: Tom Jones

Seminar:
4.4John Bunyan: Pilgrim’s Progress

Module 5:
5.1 Mary Wollstonecraft: A Vindication of the Rights of Woman
5.2 Samuel Johnson: Preface to Shakespeare

Seminar:
5.3John Locke: An Essay Concerning Human Understanding

Specific Additional Readings:

1. Immanuel Kant: “An Answer to the Question: What is Enlightenment?”(Trans. from Part I of
Eighteenth Century Answers and Twentieth Century Questions by James Schmidt (Ed.)
pp. 58-64)
2. Ernst Cassirer: Philosophy of Enlightenment
3. T W Adorno: Dialectic of Enlightenment

Texts for Consultation:

1. Martin Evans: John Milton: Twentieth Century Perspectives
2. Kaufman, U. Milo. The Pilgrim’s Progress and Traditions in Puritan Meditations
3. Janet Todd: Aphra Behn: A Secret Life
4. John Sitter: The Cambridge Companion to Eighteenth Century Poetry
5. Ronald W. Vince: Neoclassical Theatre: A Historiographical Handbook
6. J. A. J. Downie: The Oxford Handbook of the Eighteenth Century Novel (Part I)
7. N. Hudson: Samuel Johnson and Eighteenth-Century Thought

__________________________________________________________________________

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Semester 1 - Core Course 4:

[EN010104] -Nineteenth Century English Literatures

Total Credits: 4
Total Hours: 25
Weightage:

Objectives:
The course aims to familiarize students with the fundamental premises of the Romantic
Movement and Victorian literature, their theoretical and ideological frameworks, and the major
trends and offshoots across various genres. A rough time span of one and a half centurywhich
witnessed an initial flowering of Romanticism, followed by the rapid growth of industrialization,
scientific thinking and materialism all of which find expression in the texts chosen for study.

Course Description:
The first module introduces the theoretical premises of the British Romantic Movement as well
as the Victorian Age that chronologically follows the Romantic Era. The second module throws
light on the historical significance of the Ode as a poetic form best suited to examine the
subjective and individualistic imagination of the romantic poet which finds expression as most of
the poems in this section are odes. The Third Module marks the shift to the Victorian Sensibility
with increased attention being paid to the decline of the romantic sensibility, the growth of
reason, ascent of materialism etc. The fourth module deals with the best novels in the English
language while the last one focuses on prose and Drama

Module 1:
1.1C.M. Bowra: The Romantic Imagination
2.2Raymond Williams: “The Romantic Artist” Culture and Soicety, 1780-1950
3.3Isobel Armstrong: “Introduction: Rereading Victorian Poetry” Victorian Poetry: Poetry,
Poetic, politics, London, 1993

Module 2:
2.1Wordsworth: Immortality Ode
2.2Coleridge: Dejection: An Ode
2.3Shelley: Ode to the Skylark
2.4 John Keats: Ode on a Grecian Urn

Seminar:
2.5William Blake: “The Tyger”, “The Lamb”

Module 3:
3.1Lord Tennyson: The Lotos Eaters
3.2Robert Browning: Andrea Del Sarto

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3.3Matthew Arnold: The Scholar Gypsy

3.4D.G.Rossetti: The Blessed Damozel

Seminar:
3.5Elizabeth Barett Browning:
“If thou must love me”(Sonnet 14),
“When our two souls stand up erect and strong” (Sonnet 22)

Module 4:

4.1Jane Austen: Mansfield Park

4.2Charles Dickens: A Tale of Two Cities
4.3Emily Bronte: Wuthering Heights
4.4Thomas Hardy: Tess of the d’Urbervilles

Seminar:
4.5Charlotte Bronte: Jane Eyre

Module 5:
5.1Charles Lamb: Old China & “A Dissertation Upon A Roast Pig”
5.2William Hazlitt: On Reading Old Books
5.3 Lytton Strachey: Thomas Arnold (From Eminent Victorians)
5.4Oscar Wilde: The Importance of Being Earnest

Seminar:
5.6Carlyle: Hero as Poet

Texts for Consultation:

1. M.H.Abrahms:The Mirror and the Lamp
2. C.M.Bowra: The Romantic Imagination
3. Duncan (ed):A Companion to Romanticism, Blackwell, 1998
4. Walter Allen: The English Novel
5. Terry Eagleton:The English Novel: An Introduction
6. Hugh Walker:The English Essay and Essayists
7. Graham Hough:The Last Romantics
8. Boris Ford(ed): From Blake to Byron: The New Pelican Guide to English Literature (Vol 5)
9. M.H. Abrams(ed); English Romantic Poets: Modern Essays in Criticism. OUP London,1975
10. Harold Bloom:The Visionary Company, Cornell University Press, 1971
11. Patricia MeyerSpacks: The Female Imagination
12. Joseph Bristow (ed); The Cambridge Companion to Victorian Poetry, 2000
13. Dierdre David (ed):The Cambridge Companion toVictorian Novel, 2001

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Semester 1 – Core Course 5:

[EN010105] – Literary Criticism

Total Credits: 4
Total Hours: 25
Weightage:

Objectives:
To familiarize the students with the key concepts and texts of literary criticism ever since its
emergence, and to provide theoretical familiarity with the range, approaches, and mechanics of
critique.
Course Description:
The course should help the student to recognize the historical, political and aesthetic dimensions
of the growth of literary criticism. Issues like canon formation, evolution of the genres, methods
of literary analysis will all be discussed in the different modules. Concepts being discussed
include classical western criticism from Plato, Aristotle Horace and Longinus, English
Renaissance and neoclassical criticism, the 18th century trends, the romantic revolt, the
Victorian tradition, the new critics, Eliot’s critical positions, Psychoanalysis, myth/archetypal
criticism, Russian Formalism, and Reader response theories.
Module 1:
1.1Andrea Nightingale: “Mimesis: Ancient Greek Literary Theory”

1.2 Andrew Bennet: “The Romantic Theory of Authorship”

(Both from Patricia Waugh. Ed. Literary Theory and Criticism. (OUP), Ch.1 and 2. PP 38-58)

1.3 David Ayers: “The New Criticism and Beyond.” (Ch.2 of Literary Theory: A Reintroduction.
PP. 28-54)

Module 2:

2.1 Plato: The Republic (Excerpt). (From William Harmon. Ed. Classic Writings on Poetry.
PP.1-30)

2.2 Aristotle: Poetics

2.3 Longinus: On the Sublime

Seminar:

2.4Horace: Ars Poetica

Module 3:

3.1 Philip Sidney: An Apology for Poetry

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3.2 Arnold: The Function of Criticism at the Present Time

3.3 T. S. Eliot: Tradition and the Individual Talent

Seminar:

3.4Coleridge: Biographia Literaria Ch. XIV

Module 4:

4.1 Cleanth Brooks: The Language of Paradox

4.2 Northrop Frye: The Archetypes of Criticism

4.3 Frank Kermode: The Classic

Seminar:

4.4I.A. Richards: The Metaphor

Module 5:

5.1 Viktor Shklovsky: Art as Technique

5.2 Eric Auerbach: Odysseus’ Scar
5.3 Stanley Fish: Is There a Text in the Class?

Seminar:

5.4Jerome McGann: Interpretation

Texts for Consultation:

1. D. A. Russell and Winterbottom (eds.): Classical Literary Criticism. [OUP]

2. Enright and Chickera (eds.): English Critical Texts. [OUP]
3. David Lodge (ed.): Twentieth Century Literary Criticism: A Reader [Longman]

4. V.S. Seturaman (ed.): Contemporary Criticism: An Anthology [Macmillan]

5. K. Pomorska and R. Rudy (eds.): Language and Literature. [HUP]
6. Harry Blamires: A History of Literary Criticism
7. Wimsatt and Brooks: Literary Criticism: A Short History
8. David G. Nichols (Ed): Introduction to Scholarship in Modern languages and Literatures,
MLA, 2007.

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SECOND SEMESTER CORE COURSES

EN010201 Modernity and Modernisms 6

EN010202 Postmodernismand Beyond7
EN010203 American Literatures 8
EN010204 English Language History and Contemporary Linguistics9
EN010205 Thinking Theory 10

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Semester 2 – Core Course 6:

[EN010201] – Modernity and Modernisms

Total Credits: 4
Total Hours: 25
Weightage:
Objectives:
To familiarize the students with the literary trends of the early twentieth century in the context of
the sensibility of literary modernism in the wake of the World War.

Course description:
The course includes an introduction to the changed literary perspectives in the twentieth century,
along with the social, economic and political background. Imperial expansion which had reached
a boiling point, the onset of the World War I coupled with the attempts at creating a new world
order remained some of the key issues. The impact of the Soviet experiment at the global level
that needs to be read against the backdrop of the spread and influence of Marxism on a global
scale calls for a radical review of world politics. This was followed by the rise of Fascism and
Nazism, followed curiously by the shadow of doubt cast over communism. In the literary field
reaction against Romanticism and Victorianism led to experimentation in writing in all genres.
Starting from the poetry of World War I the movement traverses a wide range of concerns topics
and forms of writing. The discussion also includes movements like the Avant Garde, the Pink
Decade and so forth.

Module I:

1.1Georg Lukacs: “The Ideology of Modernism”

1.2Malcolm Bradbury and James McFarlane: “The Name and Nature of Modernism” (Ch. 1 of
Modernism: A Guide to European Literature1890-1930)

1.3David Harvey: “Modernity and Modernism” [in David Harvey: The Condition of
Postmodernity – An Enquiry into the Origins of Cultural Change(Blackwell); also
available in Tim Middleton (ed.): Modernism – Critical Concepts in Literary and Cultural
Studies (Routledge)]

Module 2:
2.1 G.M.Hopkins :The Windhover

2.2Wilfred Owen :Strange Meeting

2.3W.B.Yeats :Easter 1916

2.4W.H.Auden :In Memory of W.B. Yeats

2.5Dylan Thomas :Poem in October

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2.6Philip Larkin : Next, Please

Seminar:

2.7Ted Hughes :Thrushes

Module 3:

2.1T.S.Eliot :The Waste Land

Seminar:

2.2Robert Graves :Ulysses

Module 4:

4.1Bernard Shaw :The Apple Cart

4.2 Samuel Beckett :Waiting for Godot

Seminar:

4.3J.M.Synge :Riders to the Sea

Module 5:

5.1Virginia Woolf :Mrs. Dalloway

5.2James Joyce :A Portrait of the Artist as Young Man

5.3 D.H.Lawrence : Rainbow

Seminar:
5.4Joseph Conrad :Heart of Darkness

Texts for Consultation:

1. James Frazer:The Golden Bough
2. Frank Kermode: The Sense of an Ending: Studies in the Theory of Fiction

3. Malcolm Bradbury and James McFarlane: Modernism 1890-1930

4. D. H. Lawrence: Selected Literary Criticism
5. G M Hopkins:The Wreck of the Deutschland
6. George Orwell: 1984
7. Louis MacNiece: Snow
8. Tim Middleton (ed.): Modernism – Critical Concepts in Literary and Cultural Studies
Vols.1- 5 (Routledge)]

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Semester 2– Core Course 7:

[EN010202] –Postmodernism and Beyond

Total Credits: 4
Total Hours: 25
Weightage:

Objectives: This course aims to acquaint the learners with the postmodern works of literature
which defy categorisation and prove to be experimental in nature, subverting what is
conventionally revered as the norm. The learners are to be familiarised with the eclectic
dimensions of postmodern thought as reflected in these literary works in which the boundaries
that demarcate the different genres are often blurred. Such literature eludes fitting into the rigid
frames of nomenclature and rejects the concepts of objectivity, absolute truth and the notion of
the stratification into the high and the low culture. Further, it is keenly perceptive and critical of
the underlying ideologies that nurture oppressive institutions. The emphasis is on acknowledging
the heterogeneity of thought and articulation.

Course Description: Module I familiarises the learners with the theoretical concepts of
postmodernism drawing upon Jean Francois Lyotard’s notions. Barry Lewis’s essay dwells on
the stylistic aspects of postmodern literature. Jeffrey T. Nealon’s “Preface” considers the concept
of post-postmodernism and briefly explores the current scenario. The second module offers a
compilation of the diverse postmodern poetry by Frank O’Hara, John Ashberry, Tony Harrison,
Michael Palmer, Allen Ginsberg, Carol AnnDuffy and Adrienne Rich. The third and the fourth
modules present novels by writers from Kurt Vonnegut to William Gibson, which facilitate the
learners to trace the evolution of postmodern fiction over the decades with its culmination in the
cyberpunk. The fifth module presents postmodern playsby Edward Bond, Sam Shepard and Tom
Stoppard, which employ significant themes and novel techniques.

Module 1:

1.1Jean Francois Lyotard: “Answering the Question: What is Postmodernism?” from The
Postmodern Condition: A Report on Knowledge. Trans. Regis Durand (pp.71-82)
1.2Barry Lewis: “Postmodernism and Literature (or: Word Salad Days, 1960-1990)” from
The Routledge Companion to Postmodernism. Ed. Stuart Sim (pp. 121-133)
1.3Jeffrey T. Nealon: “Why Post-Postmodernism?”Preface toPost-Postmodernism:Or, The
Cultural Logic of Just-in-Time Capitalism (ix-xii)

Module 2:

2.1 Frank O’Hara : “The Day Lady Died”

2.2 John Ashberry : “But What Is the Reader to Make of This”

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2.3 Tony Harrison : “National Trust”

2.4 Michael Palmer : “Sun”

Seminar:
2.5 Allen Ginsberg : “Homework”
2.6 Carol Ann Duffy : “Anne Hathaway”
2.7 Adrienne Rich : “Diving into the Wreck”

Module 3:

3.1 Kurt Vonnegut: Slaughterhouse- Five

3.2 John Fowles : The French Lieutenant’s Woman

Seminar:
3.3Milan Kundera: The Joke

Module 4:

4.1 Angela Carter: Nights at the Circus

4.2 Ishmael Reed: Mumbo Jumbo

Seminar:
4.3William Gibson: Neuromancer

Module 5:

5.1 Edward Bond: Lear

5.2 Sam Shepard: The God of Hell

Seminar:
5.3Tom Stoppard: Arcadia

______________________________________________________________________
Specific Background Reading:

1. Jonathan Holden: “Postmodern Poetic Form: A Theory” from New England Review and BL
Quarterly Vol.6, No.1 (Autumn 1983), pp.1-22
2. Keith Booker: “Technology, History and the Postmodern Imagination: The Cyberpunk Fiction
of William Gibson” from Arizona Quarterly Vol.50, No.4 (Winter 1994), pp.63-87
3. Bran Nicol: The Cambridge Introduction to Postmodern Fiction
4. Stephen Watt: Postmodern/Drama: Reading the Contemporary Stage

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Texts for Consultation:

1. Fredric Jameson: Postmodernism or the Cultural logic of Late Capitalism

2. Linda Hutcheon: “Postmodernism” from The Routledge Companion to Critical Theory edited
by Simon Malpas and Paul Wake (pp.115-126)and “Historiographic Metafiction: The Pastime of
Past Time” (Part II, Chapter7) from A Poetics of Postmodernism: History, Theory, Fiction
3. Michael W. Messmer: “Making Sense of/with Postmodernism” (from Postmodernism –
Critical Concepts: Volume III)
4. Ihab Hassan: “Toward a Concept of Postmodernism” (from The Postmodern Turn)
___________________________________________________________________________

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Semester 2 – Core Course 8:

[EN010203] -American Literatures

Total Credits: 4
Total Hours: 25
Weightage:

Course Objectives:
This course seeks to introduce the students to the most important branch of English literature
belonging to the non- British tradition, The course attempts to provide detailed information to the
student regarding the processes and texts chiefly responsible for the evolution of American
Literature as a separate branch possessing characteristic features which sets it apart from others

Course Description:
To acquaint the students with some of the major conflicts, struggles and movements that are
closely connected with the experiences of a group of people struggling to establish themselves as
a nation

Module One:
1.1 Robert E. Spiller: “Architects of Culture: Edwards, Franklin, Jefferson” (Chapter 1 of
The Cycle of American Literature)
1.2 Leslie Fiedler: Love and Death in American Fiction (Chapter I)
1.3 John Paul Pritchard: ‘The Early Nineteenth Century Cultural Scene’, chapter I of Criticism in
America (3-13)

Module Two:
2.1 Edgar Allen Poe: “Raven”
2.2 Walt Whitman: “Out of the Cradle Endlessly Rocking”
2.3 Emily Dickinson:
‘‘The Soul Selects Her Own Society”
“Success is Counted Sweetest”
“Safe in Their Alabaster Chambers”
“A Narrow Fellow in the Grass”
2.4 Robert Frost: “Birches”
2.5 Wallace Stevens: “The Emperor of Ice-cream”
2.6 Marge Tindal: “Cherooke Rose”
2.7 e. e. cummings : “Anybody Lived in a Pretty How Town”
2.8 Gloria Anzaluda: “To live in the Borderlands”

Seminar:
2.9 Edgar Allen Poe: “Philosophy of Competition”

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Module Three:
3.1 Arthur Miller: Death of a Salesman
3.2 Eugene O’Neill: Emperor Jones

Seminar:
3.3 Amiri Baraka: Dutchman

Module Four:
4.1 Herman Melville : “Bartleby the Scrivener”
4.2 Nathaniel Hawthorne: “Young Goodman Brown”
4.3 Ernest Hemingway: “The Snows of Kilimanjaro”
4.4 Mark Twain: Adventures of Huckleberry Finn
4.5 Saul Bellow: Herzog

Seminar:
4.6 Susan Abulhawa: Mornings in Jenin

Module Five:
5.1 Ralph Waldo Emerson : “Self-Reliance”
5.2 Martin Luther King: “I Have A Dream”
5.3 Henry David Thoreau: Walden (Chapter 1 &2)

Seminar:
5.4 Ralph Ellison: Invisible Man

Texts for Consultation:

1. George Parker Anderson: American Modernism

2. Daniel Hoffman: The Harvard Guide to Contemporary American Writing
3. Linda Tinh Morser: Contemporary Literature: 1970 to the Present
4. Jennifer Ashton: From Modernism to Postmodernism
5. Alan Bilton: An Introduction to Contemporary American Fiction
6. Robert .E. Spiller: The Cycle of American Literature
7. F.O. Matthiessen: The American Renaissance
8. Marcus Cunliffe: The Literature of the United States
9. Ihab Hassan: Radical Innocence
10. Paul .C. Conkins: Puritans and Pragmatists
11. C. W. Bigsby: Modern American Drama 1945- 2000
12. Leslie. A. Fiedler: Love and Death in the American Novel
________________________________________________________________

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Semester 2 – Core Course 9:

[EN010204] -English Language History and Contemporary Linguistics

Total Credits: 4
Total Hours: 25
Weightage:

Objectives:

To inculcate in the students awareness about the basic concepts of linguistics, the scientific study
of language after initiating them into the history of English language.

Course Description:

The course, divided into five modules covers the important areas in linguistics and updates the
pupil on the most recent advances in the theory of language study. The course has also taken into
consideration the necessity to introduce the historical perspective of English language though not
in detail. This should ideally prepare the student at one level with modern notions and concerns
in the field of linguistics.

Module 1 Linguistics: Tradition and History with Reference to English

1.1The Indo-European language family

1.2 Old English, Middle English, Modern English: Comparative linguistic features and
evolution.

1.3A descriptive and a prescriptive view on linguistic phenomena- emphasis on scientific study
and analysis of language.

1.4 Basic Introduction to major sub disciplines of linguistics: Phonetics and phonology,
Morphology, Semantics, Syntax, Pragmatics.

Module 2 Phonetics and Phonology:

2.1General Phonetics, Cardinal Vowels, Consonants, Phonetic Transcription in practice

2.2The phonemic theory: Phoneme, allophones, contrastive and complementary distribution,

free variation, phonetic similarity, pattern congruency

2.3Plurals & past tense in English as examples for phonologically conditioned alternation,

2.4Rules and rule ordering in phonology (some examples)

2.5Syllable, onset nucleus and coda, foot, prosody, stress, stress rules, intonation, rhythm

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Seminar:

2.6 “Phonetics and phonology: understanding the sounds of speech”(Chapter 1, pages 1-30),
Robert Kirchner, Department of Linguistics, University of Alberta,
https://sites.ualberta.ca/~kirchner/Kirchner_on_Phonology.pdf

Module 3 Syntax

3.1Traditional grammar – fallacies – Saussure, system and structure, language as a system of

signs, Saussurean dichotomies: synchronic -diachronic, signifier- signified, syntagmatic –
paradigmatic, langue – parole, form – substance,

3.2Structuralism: Contributions of Bloomfield – IC Analysis – disambiguation using IC

analysis, limitations of IC analysis –

3.3PS grammar – PS rules: context free and context sensitive rules, optional and obligatory rules

3.4TG Grammar Components – transformational and generative – Standard Theory

Seminar:

3.5“Phrasal Structure and Verb Complementation”, Chapter 7, pages 163-190,The Structure of

Modern English:A linguistic introduction, Laurel J. Brinton University of British
Columbia.

Module 4 Morphology and Semantics

4.1The notion of a morpheme, allomporphy, zero morph, portmanteau morph

4.2Inflection and derivation, level I and Level II affixes in English, ordering between derivation
and inflection, + boundary (morpheme level) and # boundary (word level) in affixation,

4.3Word formation techniques: blending, clipping, back formation, acronyms, echo word
formation, abbreviation etc.

4.4Semantic relationsComponential analysis, prototypes,

4.5Implication, entailment, and presupposition

4.6Semantic theories: sense and reference, connotation and denotation, extension and intension,

4.7Truth Conditional semantics: propositions, truth values, determining the semantic value of a
proposition, compositional procedure, terms and predicates, predicate logic, possible
worlds semantics.

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Seminar:

4.8The Structure of a Semantic Theory, Jerrold J. Katz; Jerry A. Fodor, Language, Vol. 39, No.
2. (Apr. - Jun., 1963), pp. 170-210.http://links.jstor.org/

Module 5 Branches of Linguistics

5.1Psycholinguistics: Definition and scope - child language acquisition – Innateness hypothesis

– speech production, speech recognition – aphasia – slips – gaps

5.2Socio Linguistics: definition and scope – structural and functional approach – speech
community – speech situation – speech event – speech act – language planning –
bilingualism- multilingualism-diglossia - (Language and gender & Language and politics
- overview)- Pragmatics.

5.3Applied linguistics: Definition and scope – language teaching and learning – contrastive
analysis – error analysis –Translation-Computational linguistics.

5.4 Other Schools/ Approaches: Brief discussion about Case Grammar, Systemic Grammar,
Stratification Grammar, Tagmemics, Indian Contribution to Linguistics, Paninian
Phonology and the Karaka theory

Seminar:

5.5Of Minds and Language, Noam Chomsky,

http://www.ucd.ie/artspgs/meaningthree/mindslanguage.pdf

Texts for Consultation:

1. Charles Barber: The English Language: A Historical Introduction. Cambridge:Cambridge
University Press, 2000.
2. A. C. Baughand T. Cable: A History of the English Language. London:Routledge.
[fifthedition], 2002.
3. G. Cardona: Panini: His Work and its Tradition, vol. 1. MotilalBanarasidas, Delhi, 1988.
4. Gennaro Chierchia and Sally McConnell-Ginet: Meaning and Grammar: An Introduction to
Semantics. MIT Press, 1990.
5. Noam Chomsky: Knowledge of Language: Its Nature, Origin and Use. New York: Praeger,
1986
6. Noam Chomsky: Syntactic Structures, Berlin: Moutonde Gruyter, 1957/2002
7. Noam Chomsky: Aspects of the Theory of Syntax, Cambridge,Massachusetts: MIT Press,
1965.
8. Noam Chomsky: “Linguistics and Philosophy”, in Languageand Philosophy: A Symposium,
Sidney Hook, (ed.), New York:New York University Press, 1969, 51–94.
9. Noam Chomsky: Lectures on Government and Binding,Dordrecht: Foris, 1982.

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10. Noam Chomsky: The Science of Language, Cambridge:Cambridge University Press, 2012.
11. J. D. Fodor: Semantics: Theories of Meaning in Generative Grammar. Hassocks, Sussex:
Harvester Press, 1977.
12. D. Freeborn: From Old English to Standard English. A course book in languagevariation
across time. Houndsmill: Palgrave. [second edition], 1998
13. V. Fromkin et al: Linguistics: an introduction to linguistic theory. Oxford: Blackwell, 2000.
14. Geoffrey Leech: Semantics - The Study of Meaning. Second Edition. Penguin Books.
15. Liliane Haegeman: Introduction to Government and Binding theory. Oxford & Cambridge,
MA: Basil Blackwell, 1991.
16. Henry Widdowson: Explorations in Applied Linguistics. Oxford: Oxford University Press,
1984.
17. R. Jackendoff: Foundations of Language. Oxford University Press, 2002.
18. Andreas H.Jucker: History of English and English Historical Linguistics. Stuttgart:Klett,
2004
19. Krishnaswami, S.K.Verma, M. Naga Rajan: Modern Applied Linguistics: An Introduction.
Madras: MacMillan, 1992.
20. Leonard Bloomfield: Language. Great Britain, London and Aylesbury: Compton Printing
Ltd., 1967, (8th Reprint).
21. J. Lyons: Introduction to Theoretical Linguistics. Cambridge: CUP, 1977.
22. S. Pinker: The Language Instinct, New York, NY: Harper Perennial Modern Classics,
1994/2007.
23. E. Sapir: Language - An Introduction to the Study of Speech. New York Harcourt, Brace &
World, 1921
24. D. I. Slobin: Psycholinguistics. Glenview, IL Scott, Foresman and Company, 1974.

______________________________________________________________________________

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Semester 2 - Core Course 10:

[EN010205] -Thinking Theory

Total Credits: 4
Total Hours: 25
Weightage:
Objectives:
This course aims at introducing students to certain core aspects of what is currently designated as
‘literary theory’ and also provideexposure to select current developments in this domain.
Course Description:
Conceived as interfaces, the course has 5 modules; ideally to be taught in the order in which the
readings are listed.
Module 1puts forth 3 readings which will serve as signposts that mark the moments that
retrospectively are termed as turns to/within ‘theory’ – Jonathan Culler’s ‘over-view essay’ on
the emergence of ‘Theory’, Levis-Strauss’ application of Saussurean Theory, and Derrida’s
critique of Levis-Strauss.
Module 2situates the theoretical ruminations on Authorship and Discourse:Roland Barthes’ “The
Death of the Author” and Michel Foucault’s “What Is an Author?” problematises the hallowed
assumptions of Literary Criticism; Robert J. C. Young’s “Poems That Read Themselves” takes
the unsettling deconstructive project of Poststructuralism forward.
Module 3seeks to frame a reference wherein Psychoanalysis tackles issues pertaining to the
Unconscious and Cognition:Shoshana Felman’s “Beyond Oedipus: The Specimen Story of
Psychoanalysis” traces the shift from Freud to Lacan; “The Phantom of Hamlet or the Sixth Act:
Preceded by the Intermission of “Truth”” by Nicolas Abraham and Nicholas Rand is an interface
where Literary Creativity takes Theory per se as its content!; Julia Kristeva’s “Approaching
Abjection” throws light on how insights from psychoanalysis enrich our understandings of
contemporary [literary] cultures.
Module 4has three readings, which in tandem present a discussion platform that goes beyond the
normative heterosexual assumptions of Identity and even Feminism – in fact it Queers the
Gender dynamic: Judith Butler’s “Performativity, Precarity and Sexual Politics”, Judith
Halberstam’s “Queer Temporality and Postmodern Geographies” and Eve Sedgwick’s“Paranoid
Reading and Reparative Reading”,all are focused on the Liminality and Transitivity that are
often overlooked to shore up the normative Male-Female dynamic.
Module 5is in many ways a ‘Post-postcolonial Turn’: Critical Race/Ethnic
Studies.Inencounteringbell hooks’two short pieces, “Postmodern Blackness” & “Marginality as a
Site ofResistance.” along with Stuart Hall’s “Gramsci’s Relevance for the Study of Race and
Ethnicity” and Barbara Christian’s “The Race for Theory”, it is hoped that the student/reader will
be illumined as to the way the [dominant-normative] Self disavows its encounter with the
Othered-Marginal.

Module 1 [Change of Stance - ‘Criticism to Theory’]:

1.1 Jonathan Culler: ‘What is Theory?’ in Literary Theory: A Very Short Introduction
1.2Claude Levi-Strauss: “The Structural Study of Myth”
1.3Jacques Derrida:“Structure, Sign and Play…” in Margins of Philosophy

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Module 2 [Post-StructuralDeconstructions – ‘Authorship and Discourse’]:

2.1 Roland Barthes: “The Death of the Author”
2.2 Michel Foucault: “What Is an Author?”
Seminar:
2.3Robert J. C. Young: “Poems That Read Themselves.”

Module 3 [Psychoanalysis – ‘Unconscious and Cognition’]:

3.1 Shoshana Felman: “Beyond Oedipus: The Specimen Story of Psychoanalysis.”
3.2Nicolas Abraham and Nicholas Rand: “The Phantom of Hamlet or the Sixth Act: Preceded
by the Intermission of “Truth”” in Diacritics, Vol. 18, No. 4 (Winter, 1988)
Seminar:
3.3Julia Kristeva: “Approaching Abjection” in Powers of Horror: An Essay on Abjection

Module 4 [Queering Gender – ‘Liminality and Transitivity’]:

4.1 Judith Butler: “Performativity, Precarity and Sexual Politics” in Powers of Horror
4.2 Judith Halberstam: “Queer Temporality and Postmodern Geographies” in In a Queer Time
and Place: Transgender Bodies, Subcultural Lives
Seminar:
4.3Eve Kosofsky Sedgwick:“Paranoid Reading and Reparative Reading” from Touching
Feeling

Module 5 [Critical Race/Ethnic Studies – ‘Self and the Othered-Marginal’]:

5.1 bell hooks: “Postmodern Blackness” in Norton Anthology of Theory and Criticism, 1990 &
“Marginality as a Site of Resistance.” in Russell Ferguson, Martha Gever, Trinh T. Minh-
ha, Cornel West (eds) Out there: marginalization and contemporary cultures, MIT Press,
New York, 1990
5.2 Stuart Hall: “Gramsci’s Relevance for the Study of Race and Ethnicity,” in Journal of
Communication Inquiry (1986)
Seminar:
5.3Barbara Christian: “The Race for Theory”

Specific Additional Readings:

0.Frederic Jameson: “‘End of Art or ‘End of History’?” in The Cultural Turn.
1. Michel Foucault: “Nietzsche, Genealogy, History,” In Donald F. Bouchard (ed.), Language,
Counter-memory, Practice
2. Jacques Derrida:“Différance” in Margins of Philosophy
3. Kwame Anthony Appiah: “Is the Post- in Postmodernism the Post- in Postcolonial?”Critical
InquiryVol. 17, No. 2 (Winter, 1991), pp. 336-357
4. Edward Said: “Travelling Theory” in The Edward Said Reader
5.Terry Eagleton: “The Politics of Amnesia” in After Theory

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6.Andrzej Warminski: “The Future Past of Literary Theory” Canadian Review of Comparative
Literature, September-December, 2006
7. Dr. Vince Brewton:“Literary Theory” - University of Tennessee’s Internet Encyclopedia of
Philosophy
8. Louis Althusser: “Ideology and Ideological State Apparatuses”
9. Theodore Adorno: “Commitment”
10. Frantz Fanon:“Racism and Culture”. (African Philosophy: An Introduction AP: A1)
11. Paul Gilroy:“The Black Atlantic” (Rivkin & Ryan)
12. Cornel West:“Moral Reasoning vs Racial Reasoning” (AP: A1)
13. Toni Morrison:“Playing in the Dark” (Rivkin & Ryan)
14. bell hooks:“Racism and Feminism” (AP : A1)
15. Jotiba Phule:“Racism Exposed in India Under the Guise of Brahmanism”
16. Andrew Bennett and Nicholas Royle: “Uncanny” [pp 34 – 42] in An Introduction to
Literature, Criticism and Theory [Third edition]
17. Vince Brewton: ‘Literary Theory’.

Texts for Consultation:

1. Kwame Anthony Appiah: In My Father’s House: Africa in the Philosophy of Culture
2. Gregory Castle: The Blackwell Guide to Literary Theory, 2007
3. Andrew Bennett and Nicholas Royle: An Introduction to Literature, Criticism and Theory
[Third edition]
4. M. A. R. Habib: Literary Criticism from Plato to the Present: An Introduction
5. David Lodge ed.: Modern Criticism and Theory: A Reader
6. Terry Eagleton: Literary Theory: An Introduction
7. Hans Bertens: Literary Theory [The Basics series]
8. Catherine Belsey: Critical Practice
9. Peter Barry: Beginning Theory
10. Graham Allen: Roland Barthes
11. Sara Mills: Michel Foucault
12. Christopher Norris: Deconstruction: Theory and Practice
13. Gerald Graff: Professing Literature
14. Terence Hawkes: Structuralism and Semiotics
15. Kiernan Ryan: New Historicism and Cultural Materialism: A Reader
16. Raymond Williams: Marxism and Literature
17. Michael Payne & John Schad (eds): Life.after Theory
18. Robert Rogers: A Psychoanalytical Study of the Double in Literature
19. Lillian Feder: Madness in Literature
20. Phyllis Chesler: Women and Madness
21. Susan Sontag- Illness as Metaphor
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THIRD SEMESTER CORE COURSES

EN010301 Reading India 11

EN010302 Post Colonial Fiction 12
EN010303 Body, Text and Performance 13
EN010304 Literature and Gender 14
EN010305 Ethics in/as Literature 15

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Semester 3 - Core Course 11:

[EN010301] -Reading India

Total Credits: 4
Total Hours: 25
Weightage:
Objectives:
The course is intended to provide an insight to the historical, cultural and literary heritage of
India by acquainting the students with major movements and figures of Indian literature in
English. Questions of language, nation and aesthetics figure prominently among the objectives of
this course.
Course Description:
The course explores the origin and growth of Indian writing in English especially in the colonial
and post colonial context. Representative selections from all the four major genres of Poetry,
Prose, Novel and Drama which highlight the evolution of the coloniser’s language in the native
soil, the differences in the thematic and stylistic aspects between the pre independence and post
independence periods will be studied in detail. The problem of modernisation in Indian writing
in English, the Diaspora and the quest for identity also will be focussed. A close study of select
literary texts including translations of regional literatures is expected to acquaint the students
with the cultural diversity of the country as well as the Indian philosophy reflected in these
writings.

Module 1 [Essays]:
1.1 A.K. Ramanujan: “Is there an Indian Way of Thinking?”
1.2P.P Raveendran: “Genealogies of Indian Literature”. Economic and Political Weekly. Vol 41.
No. 25. June 24-26, 2006.Pp 2558-2563.
1.3 Meenakshi Mukherjee:“The Anxiety of Indianness’’ in The Perishable Empire. PP
166-185.

Module 2 [Poems]:
2.1Toru Dutt: Our Casuarina Tree
2.2Sarojini Naidu: An Indian Lovesong
2.3 Rabindranath Tagore: The Child, Gitanjali (section 35)
2.4 Nissim Ezekiel: Minority Poem
2.5K. Sachidanandan: How to go to the Tao Temple
2.6Jayanta Mahapatra: The Whorehouse in a Calcutta Street
2.7Kamala Das: The Old Playhouse
2.8Ranjit Hosekote: Madman
2.9C.P. Surendran: At the Family Court

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Seminar:
2.10Syed Amaruddin: Don’t Call Me Indo-Anglian
2.11Sujata Bhatt: Muliebrity

Module 3 [Plays]:
3.1Girish Karnad: The Fire and the Rain
3.2Mahesh Dattani: Tara

Seminar:
3.3G.P. Deshpande: A Man in Dark Times

Module 4 [Fiction]:
4.1R.K. Narayan: The Guide
4.2Salman Rushdie: Midnight’s Children
4.3Amitav Ghosh: The Shadow Lines
4.4Arundhati Roy: God of Small Things

Seminar:
4.5Living Smile Vidya: I am Vidya: A Transgender’s Journey

Module 5 [Regional Writings]:

5.1Bankim Chandra Chatterjee: Ananda Math
5.2U.R. Ananthamurthy: Samskara
5.3Anand: Vyasa and Vigneshwara
5.4Sharan Kumar Limbale: Akkarmashi

Seminar:
5.5K.R. Meera: Hangwoman

Texts for Consultation:

1. K.R Sreenivasan Iyengar :Indian writing in English
2. Salman Rushdie: Imaginary Homelands
3. Meenakshi Mukherjee:Twice Born Fiction : Indian Novel in English
4. Rajeswari Sunder Rajan: Lie of the Land
5. Susie Tharu: Subject to Change: Teaching Literature in the Nineties
6. Ashish Nandi: The Intimate Enemy
7. G N Devy: After Amnesia
8. Sujit Mukherjee: Translation as Discovery
9. R. Pardhasaradhy (ed.):Ten Twentieth Century Indian Poets
10. A K Mehrotra (ed.):An Illustrated History of Indian Literature in English
11. Eunice D’ Souza (ed.): Nine Indian Women Poets: an Anthology
12. M.K.Naik: Aspects of Indian Writing in English
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Semester 3 - Core Course 12:

[EN010302]-Postcolonial Fiction

Total Credits: 4
Total Hours: 25
Weightage:

Objectives:
To introduce the students to the discursive nature of colonialism, and the counter-discursive
impulses of postcolonial theory, narratives and texts.

Course Description:
The course attempts to cover through representative texts the writing, reading and critical-
theoretical practices based on the (post)colonial experience. While a segment of the course
addresses the consequences of European expansion and the creation and exploitation of the
‘other’ worlds, the course also addresses ‘internal colonisations’ of diverse kinds.
Module 1 is a conceptual orientation; it includes extracts from three of the ‘seminal’ writings on
what ‘postcoloniality’ is all about.
Module 2 is India-specific; it has a slight slant towards ‘hybridity’ ‘spectrality’ and ‘subalternity’
- as the texts by Gayatri Spivak, Homi Bhabha, Salman Rushdie, and C Ayyappan would amply
attest.
Module 3 is a choice take on West Asia; alongside the unavoidable Edward Said, this section
tries to tease out a familiarity with ‘Arabic’ literature as it engages itself in postcolonial
concerns.
Module 4 is on Africa. It might appear that this section is in a curious sense ‘patriarchal’!
However, the selection-choice has to do with the weight of cultural capital that these authors
bring, and also the understanding that non-male voices have adequate representation in other
courses within the same syllabus.
Module 5 is on South America/Carribean. Here the effort is to try and wrench this writing corpus
from the analytical frame that reduces it to the Magic Realist/Fabulist mode.

Module 1 [Conceptual]:
1.1 Bill Ashcroft, Gareth Griffiths & Helen Tiffin: “Cutting the Ground: Critical Models of Post-
Colonial Literatures” in The Empire Writes Back: Theory and Practice in Post- Colonial
Literatures. Routledge, 1989. (Chapter 1 PP.15-37)
2.2 Dipesh Chakrabarty: “Introduction: The Idea of Provincialising Europe” in Provincialising
Europe: Postcolonial Thought and Historical Difference
3.3 Ania Loomba: “Feminism, Nationalism and Postcolonialism” in
Colonialism/Postcolonialism

Module 2 [India]:
2.1 Homi K. Bhabha: “Of Mimicry and Man: The Ambivalence of Colonial Discourse” in Homi
K. Bhabha. Location of Culture. Routledge, 1994. (PP.85-92)
2.2 Gayatri Chakravorty Spivak: “The Burden of English” in Gregory Castle (ed) Postcolonial
Discourses: An Anthology

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Seminar:
2.3 Salman Rushdie: East, West [“The Prophet’s Hair” & “Yorick”]
2.4C Ayyappan: “Spectral Speech” & “Madness” [V. C. Harris translation…]

Module 3 [West Asia]:

3.1 Edward W. Said: “Narrative and Social Space” in Culture and Imperialism
3.2 Tayeb Salih: Season of Migration to the North
Seminar:
3.3Assia Djebar: Women of Algiers in Their Apartment [“Day of Ramadan”]
3.4 Najwa Qa‘war Farah: For Whom Does Spring Come [“The Worst of Two Choices or The
Forsaken Olive Trees”]
3.5 Khayriyah Ibrahim as-Saqqaf: “The Assassination of Light at the River’s Flow”

Module 4 [Africa]:
4.1 Frantz Fanon: “On National Culture” in The Wretched of the Earth.
4.2 Chinua Achebe: “An Image of Africa: Racism in Conrad’s Heart of Darkness” in Hopes and
Impediments.
Seminar:
4.3 Ngugi wa Thiong’o: Secret Lives and Other Stories [“Minutes of Glory”] & Hellen Nyana
[“Waiting”]
4.4 J.M. Coetzee: Waiting for the Barbarians

Module 5 [Americas/Carribean]:
5.1José Rabasa: Allegories of Atlas in The Postcolonial Studies Reader
5.2Juan Rulfo: Pedro Páramo
Seminar:
5.3Clarice Lispector (Brazil): “Looking for Some Dignity”& Maria Virgina Estenssoro
(Bolivia): “The Child That Never Was” in Celia Correas de Zapata (ed): Short Stories by
Latin American Women: The Magic and the Real
5.4 Jean Rhys: Wide Sargasso Sea.

Specific Additional Readings:

1. Waïl S. Hassan: “Postcolonial Theory and Modern Arabic Literature: Horizons of
Application”, Journal of Arabic Literature, Vol. 33, No. 1 (2002), pp. 45-64
2. Waïl S. Hassan: “Postcolonialism and Modern Arabic Literature: Twenty-First Century
Horizons” in Anna Ball, Karim Mattar (eds): The Edinburgh Companion to the Postcolonial
Middle East
3. Graham Holderness: “Arab Shakespeare: Sulayman Al-Bassam's TheAl-Hamlet Summit”,
Culture, Language and Representation, Vol IV, 2007, pp. 141-150
4. Graham Huggan: “Decolonizing the Map” in The Postcolonial Studies Reader
5. Gayatri Chakravorty Spivak: “A Literary Representation of the Subaltern” in In Other Worlds/
Subaltern Studies 5
6. Gayatri Chakravorty Spivak: “Can the Subaltern Speak?”

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7. George Lamming: “A Monster, a Child, a Slave” in Pleasures of Exile. Univ. of Michigan

Press, 1960. (PP. 95-117)
8. P. A. Aborisade: “National and Revolutionary Consciousness: Two Phases of Ngugi's Artistic
Praxis”, Ufahamu: A Journal of African Studies, 18(2) 1990
9. Udayakumar: "The Strange Homeliness of the Night: Spectral Speech and the Dalit Present in
C. Ayyappan's Writings," Studies in Humanities and Social Sciences, XVII: 1 and 2 (2010, pub.
2013) pp. 177-91.
10. Ngugi wa Thiong’o: ‘The Language of African Fiction’ in Decolonising the Mind

Texts for Consultation:

1. Bill Ashcroft, Gareth Griffiths, Helen Tiffin: Key Concepts in Post-Colonial Studies,
Routledge
2. Bill Ashcroft, Gareth Griffiths, Helen Tiffin (eds.): The Post-Colonial Studies Reader,
Routledge
3. Bill Ashcroft, Gareth Griffiths & Helen Tiffin: The Empire Writes Back: Theory and Practice
in Post- Colonial Literatures. Routledge
4. John McLeod: Beginning Postcolonialism. Manchester Univ. Press
5. Ania Loomba:Colonialism/Postcolonialism. Routledge
6. Leela Gandhi:Postcolonial Theory: An Introduction. Edinburgh Univ. Press
7. Elleke Boehmer:Colonial and Postcolonial Literature. OUP
8. Gregory Castle (ed.):Postcolonial Discourses: An Anthology. Blackwell
9. Padmini Mongia (ed.):Contemporary Postcolonial Theory: A Reader. Arnold
10. Francis Barker, Peter Hulme & Margaret Iversen (eds.):ColonialDiscourse/Postcolonial
Theory. Manchester Univ. Press
11. Homi K. Bhabha (ed.):Nation and Narration. Routledge
12. Donna Landry & Gerald MacLean (ed.):The Spivak Reader. Routledge
13. Edward Said:Orientalism. Penguin
14. Aijaz Ahmed:In Theory: Classes, Nations, Literatures. Verso
15. Robert Young:Colonial Desire: Hybridity in Theory, Culture and Race. Routledge
16. Helen Gilbert: Postcolonial Plays: An Anthology
17. Sarankumar Limbale: Towards an Aesthetics of Dalit Literature
18. Cornel West: Race Matters
19. Frantz Fanon: The Wretched of the Earth
20. Paul Gilroy: There Ain’t Any Black in the Union Jack
21. bell hooks: Ain’t a Black Woman
22. Paul Gilroy: Small Acts
______________________________________________________________________________

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Semester 3 - Core Course 13:

[EN010303] -Body, Text and Performance
Total Credits: 4
Total Hours: 25
Weightage:
Objectives:
The objectives of the course include facilitating an understanding of the basic structural, thematic
and theoretical patterns which govern the poetic process, especially in its relation to the
performative or the theatrical.

Course Description:
The interface between the verbal and the visual is the area under discussion here. Drama,
Theatre, Body, Performance and performativity need to undergo close scrutiny here. The way the
aspects of power and powerlessness are constructed and performed have to be analyzed. One
cannot disregard the cinematic medium in a study of performance. Theatres, dealing with issues
like gender, ethnicity, caste etc. need to be introduced. Anti-Aristotelian notions like Alienation
Effect, modern dramatic modes like Comedy of Menace, the techniques of cinematic
adaptations, etc. are also to be discussed in connection with the texts. Though seemingly
different, Expressionism and similar modes of theatrical performance should be made part of
classroom discussion. Other performance patterns like dance, performance in the form of
gender/transgender/autobiography have also to be seriously considered within the gamut of this
paper.

Module 1 [Theoretical]:
Discusses the theories of body, performance, gender, power needed for critical deliberations in
the ensuing modules.

1.1 Richard Schechner: “What is Performance Studies?” & “What is Performance?”

(Performance Studies: An Introduction (Third Edition), Chapter 1, PP. 1-5 & Chapter 2,
PP 28-31)
1.2 Judith Butler: Performative Acts and Gender Constitution: An Essay in Phenomenology and
Feminist Theory (Theatre Journal, Vol.40 PP. 519-531)
1.3 Jen Pylypa: Power and Bodily Practice: Applying the Work of Foucault to an Anthropology
of the Body (Arizona Anthropologist, Vol. 13, PP. 21-36, 1998.)

Module 2 [Desire]:
Here is desire dramatized in terms of expressive, subtle and didactic modes. The first play
presents elements of Expressionism, the second gives an idea of Comedy of Menace, and the
third introduces Epic Theatre, Alienation Effect and the musical Opera. They all speak about
violence on the body and mind of desire in myriad forms.

2.1 Tennessee Williams: A Street Car Named Desire

2.2 Harold Pinter: The Birthday Party

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Seminar:
2.3Bertolt Brecht: The Three-penny Opera

Module 3 [Gender/Transgender]:
This module is about gender/transgender and its theatrical dimensions. “Lysistrata” provides a
slice of the classical Greek comedy playing again in an arguably subversive mode the male gaze
through feminine eyes.“Ruined” is set in Congo, a reworking on the lines of Brecht’s Mother
Courage, yet surely a deviation, speaking about the horrors of rape at the time of an African civil
war. “A Friend’s Story” mediates a love triangle involving a lesbian relation, set in Mumbai, at a
time when homosexuality in India was a crime. “A Mouthful of Birds” is an ensemble of
unnatural plots and theatrical performances, staged in an avant-garde fashion, discussing female
violence and transgressions of gender norms through madness correlated with one another using
themes from The Bacchae of Euripides.

3.1 Aristophanes: Lysistrata

3.2 Lynn Notage: Ruined
3.3 Vijay Tendulkar: A Friend’s Story (Mitrachi Goshta)
Seminar:
3.4Caryl Churchill and David Lan: A Mouthful of Birds

Module 4 [Autobiography/Performance]:
Other performances in the sense of gender as performance: Isadora Duncan’s dance, seen
through her autobiography- even autobiography as performance; a Bollywood sports biopic on
Mary Kom; American Queer Theatre struggling to carve a niche in the popular Broadway as
narrated through the personal experiences of playwright, performance artiste and gender theorist
Kate Bornstein, an avowed gender non-conformist, along with her play that appears as a chapter
of the autobiography.

4.1 Isadora Duncan: My Life (Autobiography)

4.2 Omung Kumar: Mary Kom (Biopic)
Seminar:
4.3Kate Bornstein: Queer Life/Queer Theatre&Hidden: A Gender, a play in two acts (“Gender
Outlaw: On Men, Women and the Rest of us”, Chapters 14 & 15, PP. 187-275) –
(Autobiography)

Module 5 [Cinematic Dimensions; Race/Caste]:

Cinematic tellings/adaptations dealing with the issues of race, slavery and caste feature in this
module. The problematizing of the binaries of villain and superhero, the black and the white etc.,
and the play and the critique of stereotypes are all ingredients which spice up the module. The
debates are set to tone in the deftly crafted “Unbreakable” by the Indian-American Director
Manoj Nelliyattu Shyamalan. William Shakespeare’s play Othello adapted into the Indian

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context in Vishal Bhardwaj’s “Omkara” throw light on the dark recesses of racism and caste
politics. Set against the brutal and vulgar feudal system in Kerala, scripted by P. Balachandran
and directed by Rajeev Ravi, “Kammattipaadam”, the third film, marks the ways in which the
human bodies here have been socially and culturally constructed, cutting through time and space.

5.1Andrew Dix: “Films and Ideology” (Ch. 8 of Beginning Film Studies PP.229-268)
5.2M. Night Syamalan: Unbreakable
5.3 Vishal Bhardwaj: Omkara
Seminar:
5.4Rajeev Ravi: Kammattipaadam

Specific Additional Readings:

1. Descartes: Mind-body dualism (The Principles of Philosophy, PP.60-65)
2. Richard Schechner: Performance Studies: An Introduction (Third Edition)
3. Philip C. Kolin: Roland Barthes, Tennessee Williams, and “A Streetcar Named
Pleasure/Desire”: JSTOR.
4. Aloysia Rousseau: Harold Pinter’s The Birthday Party (1958) and The Dumb Waiter (1960) or
the Intermingling of Farce and Menace.
5. Alice Rayner: Harold Pinter: Narrative and Presence. JSTOR.
6. Bertolt Brecht: The Street Scene: The Basic Model of an Epic Theatre
7. Kim H. Kowalke: Singing Brecht vs. Brecht Singing: Performance in Theory and Practice. 8.
Alexander G. Harrington: Directing “The Three-penny Opera”
9. Emily B. Klein. Sex and War on the American Stage: Lysistrata in Performance, 1930-2012.
10. Carmen Mendez Garcia: “This is my Place, Mama Nadi’s”: Feminine Spaces and Identity in
Lynn Nottage’s Ruined.
11. Rebecca Ashworth and Nalini Mohabir: Ruined: From Spectacle to Action
12. Fatimah Saleh Ali Al-Humoud: Violence against Women: A Feminist Study of Women’s
Situation during the Civil War of the Democratic Republic of Congo in Lynn Nottage's Ruined.
13. Rohini Hattingady: Note on A Friend‘s Story. Collected Plays in Translation. 14. Priyanka
Chandel: Engendered Subjectivities: Construction of Queer Identity in Vijay Tendulkar's A
Friend's Story and Mahesh Dattani's On a Muggy Night in Mumbai (Thesis).
15. Hidden: A Gender, a play in two acts https://www.youtube.com/watch?v=fFD8NpA3hec
16. Bina Toledo Freiwald: Becoming And Be/Longing: Kate Bornstein’s Gender Outlaw and My
Gender Workbook
17. Ann Daly: Isadora Duncan's Dance Theory (Dance Research Journal, Vol. 26, No. 2
(Autumn, 1994), pp. 24-31)
18. Sudhish Kamath: Mary Kom, about the Heroine, not the Boxer. The Hindu. Sept. 05, 2014.
19. M.C. Mary Kom: Unbreakable: An Autobiography
20. Valerie Bonnet: Sport in Films: Symbolism versus Verismo. Film Genre Theory, Sports
Films, Towards Defining Sports Films (The French Journal of Media Studies)
21. Laura Nutten: Madness and Signification in A Mouthful of Birds

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22. Ronald L. Jackson II: “Black Masculine Scripts” (Scripting the Black Masculine Body:
Identity, Discourse and Politics in Popular Media, Chapter 3, PP. 73-102).
23. Dave Schilling: Unbreakable: The Film that Launched our Modern Superhero Renaissance.
24. Brinda Charry and Gitanjali Shahani: The Global as Local/Othello as “Omkara”
25. Rebecca Dmello: Constrained Women in “Omkara”: Marriage, Mythology, and Movies.
26. SakshamSharda: Black Skin, Black Castes: Overcoming a Fidelity Discourse in
Bhardwaj’s “Omkara”
27. Sonali Pattnaik: Adaptation as ‘Becoming Other’: A Study of the Film “Omkara”
28. Sreedhar Pillai: How Malayalam film “Kammatipaadam” shatters stereotypes about caste and
complexion
29. Siddhant Adlakha: Fantastic Fest: “Kammatipaadam” is a Crime Masterpiece.
30. Latha V.K and Remya R.: Historical Revisionism in “Kammattippadam”: A Regional
Chronicle Of Dalit History
31. Interviews with Vinayakan:
https://www.youtube.com/watch?v=e1sFQoReIechttps://www.youtube.com/watch?v=zk1MUQi
QUAg&t=173s
Texts for Consultation:
1. Philip B. Zarilli: Acting (Re) Considered: A Theoretical and Practical Guide
2. Philip Auslander: From Acting to Performance (“Just be your Self”: Logocentrism and
Differance in Performance Theory)
3. Philip Auslander: Liveness: Performance in a Mediatized Culture
4. David Krasner and David Z. Saltz: Staging Philosophy: Intersections of Theatre, Performance,
and Philosophy
5. Deidre Heddon: Autobiography and Performance (Theatre and Performance Practices).
6. Robert Scholes et. al. (Ed.): “The Elements of Film” Elements of Literature
7. Keir Elam: Semiotics of Theatre and Drama
8. Alex Siers Ed.: The Metheun Drama Book of Twenty-First Century Plays
9. Shohini Chowdhuri: Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Terese de
Lauretis, Barbara Creed
10. Eric Lane Ed.: Telling Tales: New One Act Plays
11. Kenneth Pickering: Studying Modern Drama
12. Christian Metz: Film Language
13. Henry Bial (Ed.): The Performance Studies Reader
14. Julie Sanders: Adaptation and Appropriation
15. Marvin Carlson: Performance: A Critical Introduction
16. Johan Huizinga: Homo Ludens
17. Women’s Theatre Group (WTG) & Elaine Feinstein: Lear’s Daughters (Adaptations of
Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present (Eds.)
Daniel Fischlin, Mark Fortier)
__________________________________________________________________

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Semester 3 – Core Course 14:

[EN010304] -Literature and Gender

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
The course seeks to highlight the historic, thematic and cultural concerns that literature attempts
against the backdrop of gender issues. A theoretical framework is provided whereby gender
issues are examined, paying special attention to the fundamental political, religious and social
issues that shape gender relations, thereby viewing gender as a fluid rather than a mere fixed
hetero-normative Male-Female concept.

Course Description:
The ‘woman quotient’ in Gender Studies is mapped in the first module where the concept of
Masculinity which looms large in a patriarchal social order is also examined .The learner is taken
on a poetic voyage through ecriture feminine in the second module. The third section
interrogates the social stakes involved in being a woman and addresses the issue of Gender and
Community Identity. The fourth section addresses the problematic issues of Lesbian and Black
identity. The last module is an exclusive study of the issue of patriarchal oppression portrayed
in various Indian languages over the decades.

Module 1:
1.1 Elaine Showalter; “The Female Tradition” from A Literature of their Own.(Feminisms: An
Anthology of Literary Theory and Criticism Ed. Robyn R. Warhol & Diane Price Herndl.
pp 269-88)
1.2 Patricia Hill Collins: “The Power of Self-Definition”. (Black Feminist Thought pp 107-32)
1.3 Susan Jeffords: “Masculinity as Excess in Vietnam Films: The Father/Son Dynamic of
American Culture”. (Feminisms: An Anthology of Literary Theory and Criticism Ed.
Robyn R. Warhol& Diane Price Herndl 988-1010)

Module 2:
2.1Sappho: Ode to Aphrodite
2.2 Auvaiyar: “Real Freedom”
2.3 AkkaMahadevi: “It was like a Stream”
2.4 Phyllis Wheatley: “On being brought from Africa to America”
2.5 Margaret Atwood: “Helen of Troy does Countertop Dancing”
2.6 Kamala Das: “An Introduction
2.7Imtiaz Dharker: “Purdah”

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Seminar:
2.8Taslima Nasrin: “Things Cheaply Had”
2.9Kishwar Naheed: “The Grass Is Really Like Me”
2.10 Meena Kandaswamy: “Princess in Exile’
2.11 Meena Alexander: “Illiterate Heart”

Module 3:
3.1 Bapsi Sidwa: The Ice Candy Man
3.2 Sylvia Plath: The Bell Jar
3.3 Alice Walker: Color Purple

Seminar:
3.4Virginia Woolf: The Hours

Module 4:
4.1 Revathy. A.: The Truth About Me: A Hijra Life Story
4.2 Maya Angelou: I know Why the Caged Bird Sings
4.3 Lorraine Hansberry: Raisin in the Sun

Seminar:
4.4 Chimamanda Adichie: “We should all be Feminists,” Ted talk,
(https://www.ted.com/talks/chimamanda_ngozi_a dichie_we_should_all_be_feminists#t-
181958)
4.5 Rebecca Walker: “Becoming the Third Wave” (United States 1992){ The Essential Feminist
Reader Ed. Estelle. B. Freedman 397-401}

Module 5:
5.1 Lalithambika Antharjanam: Pratikaradevatha (Transl. Gita Krishnankutty Women Writing in
India Vol: I )(490-501)
5.2 Prathibha Ray: The Blanket (Transl. Jayanta Mahapatra. Women Writing in India Vol: II)
(512-23)
5.3 Ajeet Cour: Dead End (Speaking for Myself: An Anthology of Asian Women’s Writing) (369-
85)
5.4 Rokeya Sakhwat Hossain: Sultana’s Dream (Women Writing in India Vol: I) (342-351)
5.5Hamsa Wadkar: I’m Telling You Listen (Women Writing in India Vol: I) (190-196)
5.6 Sajitha Madathil: Kaalinaadakam (Translated by Anand Haridas in Indian Literature No 303,
January/February 2018, Vol LXI No. 1)
5.7 Susie Tharu & J. Lalitha: The Twentieth Century: Women Writing the Nation (43-78)
Seminar:
5.8 Sara Joseph: Black Chinks (Translated by J. Devika in The Oxford Anthology of Modern
Malayalam Literature Ed. P. P. Raveendran &. G. S. Jayasree) (280-88)
5.9 S. Sithara: Fire (Translated by Jayasree Ramakrishnan in The Oxford Anthology of Modern
Malayalam Literature Ed. P. P. Raveendran & G. S. Jayasree) 393-98

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Texts for Consultation:

1. Robyn R. Warhol& Diane Price Herndl (eds): Feminisms: An Anthology of Literary Theory
and Criticism
2. Estelle B. Freedman (ed): The Essential Feminist Reader
3. Susie Tharu & J. Lalitha (ed): Women Writing in India, vols I& 2
4. Patricia Hill Collins: Black Feminist Thought
5. Sukrita Paul Kumar and Malashri Lal (eds): Speaking for Myself: An Anthology of Asian
Women’s Writing
6. Shosanna Feldman; “Women and Madness: the Critical Fallacy” in The Feminist Reader:
Essays in Gender and the Politics of Literary Criticism. Ed, Catherine Belsey & Jane Moo

7. P. P. Raveendran & G. S. Jayasree Ed. The Oxford Anthology of Modern Malayalam

Literature (Vol I&II)
8. J. Devika: En-gendering Individuals: The Language of Re-forming in Early Twentieth Century
Keralam (Orient Black Swan)
9. Claire Colebrook: Gender (transitions - Gen Editor Julian Wolfreys)
10. Toril Moi: Sexual/Textual Politics
11. Simone de Beauvoir: The Second Sex
12. Kate Millet: Sexual Politics
13. Elaine Showalter: A Literature of Their Own
14. Isobel Armstrong: New Feminist Discourses
15. Judith Butler: “Imitation and Gender Insubordination” in Diana Fuss(ed) Inside Out :
Lesbian Theories
16. Helene Cixous: “The Laugh of the Medusa” in Elaine Marks & Isabelle de Courvitron (Ed)
New French Feminism
17. Monique Wittig: The Straight Mind and Other Essays
18. Rebecca Walker: “How my mother’s fanatical views tore us apart,”
http://www.dailymail.co.uk/femail/article1021293/How-mothers-fanatical-feministviews-tore-apart-
daughter-The-Color-Purpleauthor.html
19. Bell hooks: “Black Women Shaping Feminist Theory,” Feminist Theory: From Margin to Center,
1984
20. Virginia Woolf: “Professions for Women,” in Women and Writing&A Room of One’s Own
______________________________________________________________________________

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Semester 3 - Core Course 15:

[EN010305]-Ethics in/as Literature

Total Credits: 3
Total Hours: 25
Weightage:

Course Objectives:
The main objective of this course is to familiarise the student with certain ‘ethics’ that narrative
fiction has adopted across centuries, continents and languages. It is expected that the student will
be introduced to the various ethical, formal choices that schools, influences and narrative devices
have upheld so as to shape narrative fiction into its present expressive plurality.

Course Description:
Module I includes reading from some of the major theoretical interpretations of the narrative and
narrative mores: Roland Barthes’ ‘Authors and Writers’, Milan Kundera’s ‘The Depreciated
Legacy of Cervantes’, Orhan Pamuk’s Preface to Tristram Shandy and Franco Moretti’s “History
of the Novel, Theory of the Novel”.
Module 2 takes a walk down the fabulist lane that stretches beyond what we usually understand
as fictional/narrative realism:Miguel de Cervantes’s Don Quixote (Part 2), Lawrence Sterne’s
Tristram Shandy,Donald Barthelme’s post-modern reworking of the Snow White – fairy tale,
Jorge Luis Borges’ ‘The Garden of Forking Paths’ and Gabriel Garcia Marquez’ ‘The
Handsomest Drowned Man in the World’
Module 3 is an attempt to sample how fiction has dealt with the issue of disabilities at different
levels. Starting with the perennial classic,Victor Hugo’s The Hunchback of Notre-Dame, the
module also includes Nikos Kazantzakis’ God’s Pauper: St Francis of Assisi,José
Saramago’sBlindness,W. Somerset Maugham’s ‘The Man with the Scar’ and Raymond Carver’s
‘Cathedral’
Module 4 is all about the environment – the natural and the human and the intersectionality
between them. The module starts off with the phenomenal Malayalam work bySubhash
Chandran, A Preface to Man, followed byOrhan Pamuk’s Snow,Margaret Atwood’s Oryx and
Crake,J. M. Coetzee’s ‘The Lives of Animals’ and Mahasweta Devi’s ‘Dopti/Draupadi’
Module 5 looks into issues of Otherness, as it has been tackled by narrative fiction.The selection
includes Fyodor Dostoyevsky’s The Possessed,Ama Ata Aidoo’s parody of Joseph Conrad’s
Heart of Darkness - Our Sister Killjoy,Arundhati Roy’s The Ministry of Utmost Happiness,John
Henrik Clarke’s ‘The Boy Who Painted Christ Black’ and the Malayalam Dalit masterpiece, Paul
Chirakkarode’s ‘Eli Eli Lama Sabachthani?’ [My God, My God, Why Hast Thou Forsaken Me?]

Note: As is evident from a perusal of the syllabus, all the seminar fields have been assigned
‘short stories’; this is a tacit nod to acknowledging the trajectories which this ‘other’ prose
fictional genre has traversed in the last two hundred odd years.

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Module 1 [On Narrative Ethics]:

1.1 Roland Barthes: ‘Authors and Writers’ (Critical Essays)
1.2Milan Kundera: ‘The Depreciated Legacy of Cervantes’ (Part 1 of: The Art of the Novel)
1.3Orhan Pamuk: ‘Everyone Should Have an Uncle Like This’ (Other Colours)
1.4 Franco Moretti: “History of the Novel, Theory of the Novel” New Left Review 52, July-
August 2008

Module 2 [Beyond Realism]:

2.1Miguel de Cervantes: Don Quixote (Part 2) [Edith Grossman Translation]
2.2Lawrence Sterne: Tristram Shandy
2.3Donald Barthelme: Snow White
Seminar:
2.4 Jorge Luis Borges: ‘The Garden of Forking Paths’
2.5 Gabriel Garcia Marquez: ‘The Handsomest Drowned Man in the World’

Module 3 [Disabilities]:
3.1 Victor Hugo: The Hunchback of Notre-Dame
3.2Nikos Kazantzakis: God’s Pauper: St Francis of Assisi
3.3José Saramago:Blindness
Seminar:
3.4W. Somerset Maugham: ‘The Man with the Scar’
3.5 Raymond Carver: ‘Cathedral’

Module 4 [The Human (and the) Environment]:

4.1Subhash Chandran: A Preface to Man
4.2 Orhan Pamuk: Snow
4.3 Margaret Atwood: Oryx and Crake
Seminar:
4.4J. M. Coetzee: ‘The Lives of Animals’
4.5 Mahasweta Devi: ‘Dopti/Draupadi’

Module 5 [Otherness]:
5.1Fyodor Dostoyevsky: The Possessed (The Devils/ Demons)
5.2Ama Ata Aidoo: Our Sister Killjoy
5.3 Arundhati Roy: The Ministry of Utmost Happiness
Seminar:
5.4John Henrik Clarke: ‘The Boy Who Painted Christ Black’
5.5 Paul Chirakkarode: ‘Eli Eli Lama Sabachthani?’

Specific Additional Readings:

1. Mark DeStephano on Don Quixote

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2. Ignacio Arellano on Don Quixote

3. Oana-Roxana Ivan on Tristram Shandy
4. Daniel Thomières on Tristram Shandy
5. Shaghayegh Mohammadi on Snow White
6. Alina Leonte on Snow White
7. Gemma Curto on ‘Garden of Forking Paths’
8. Ethan Weed on ‘Garden of Forking Paths’
9. David Holland on Marquez
10. Anupa Lewis on Marquez
11. Fiona Whittington-Walsh on Hunchback of Notre Dame
12. Alex J Novikoff on Hunchback of Notre Dame
13. Frederick Sontag on Kazanthzakis and St Francis
14. Paulo C Chagas on Saramago
15. Hayfa Chenini on Saramago
16. On –‘The Man with the Scar’
17. Ala Eddin Sadeq on Raymond Carver
18. Libe García Zarranz on Raymond Carver
19. Sandhya Suresh V on A Preface to Man
20. Jyothi lekshmi G on A Preface to Man
21. Alver Ahmet on Orhan Pamuk’s Snow
22. Pritha Mukherjee on Orhan Pamuk’s Snow
23. Beth Irwin on Oryx and Crake
24. Valeria Mosca on Oryx and Crake
25. Alan Northover on Coetzee
26. Wolfe on ‘Lives of Animals’
27. Huma Yaqub on Mahasweta Devi
28. Ranita Chakraborty on Mahasweta Devi
29. Eva M Meyersson on Dostoevsky
30. Christine Smoley on Dostoevsky
31. Lhoussain Simour on Our Sister Killjoy
32. Aisha Al Matari on Our Sister Killjoy
33. Alex Tickell on Arundhati Roy
34. Angelo Monaco on Arundhati Roy

Texts for Consultation:

1. Georg Lukacs: TheTheory of the Novel
2. Lucien Goldmann: Towards a Sociology of the Novel
3. David Lodge: The Art of Fiction
4. Wayne C. Booth: The Rhetoric of Fiction
5. Patricia Waugh: Metafiction
6. Jeremy Hawthorn: Studying the Novel
7. Shlomith Rimmon-Kenan: Narrative Fiction: Contemporary Poetics

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8. Joyce Carol Oates: Telling Stories – An Anthology for Writers

9. Linda Hutcheon: A Poetics of Postmodernism: History, Theory, Fiction
10. Mikhail Bakhtin: The Dialogic Imagination
11. Susan Lohafer & Jo Ellyn Clarey (eds): Short Story Theory at a Crossroads
12. Edgar V. Roberts and Henry E. Jacobs: Literature: An Introduction to Reading and Writing
______________________________________________________________________________

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FOURTH SEMESTER CORE COURSES

EN010401 Cultural Studies 16

EN010402 Post Colonial Poetry 17
<Elective> 18
<Elective> 19
<Elective> 20

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Semester 4 - Core Course 16:

[EN010401]-Cultural Studies

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:To introduce students to certain interpretive strategies commonly employed in

Cultural Studies. Emphasis is on overt interdisciplinary approaches to exploring how cultural
processes and artifacts are produced, shaped, distributed, consumed, and responded to in diverse
ways.
Course Description:
“It is ―a tendency across disciplines rather than a discipline itself.” By transgressing
disciplinary boundaries, Cultural Studies suggests a “remapping of the humanities.”
Module 1is axiomatic in the sense that the 3 readings taken from Raymond Williams, Stuart Hall,
and John Storey set the stage for the subsequent engagements.
Module 2draws attention to the pervading cultural semiosis that one can discern in societies the
world over. The readings from Guy Debord, R. Nandakumar, and David Forgacs offer ways by
which one can understand the methodologies of representation and the decoding of such social
signs as such.
Module 3is all about the different modes that Lifestyles assume.The readings from Michel de
Certeau, Pierre Bourdieu,and George Simmel offer means by which we can and ‘read’ the
various negotiations of socio-cultural identities.
Module4 is the terrain of ‘Homo Ludens’ – the playing human. The writings of Roland Barthes,
Abilash Nalapat/Andrew Parker, and Amanda Roth/Susan A. Basowdraw attention to the poetics
and politics of sports-as-myth.
Module 5is an assemblage that can be termed ‘Manifestoes.’The readings fromArjun Appadurai,
Achille Mbembe, and Jacques Rancière form an inter-textual deep-play network that constellates
to draw attention to the horizon of cultural certitudes, expectations and anxieties that deserve
thorough academic scrutiny.

Module 1 [Axioms]:
1.1 Raymond Williams: “The Analysis of Culture”
1.2 Stuart Hall: “The Emergence of Cultural Studies and the Crisis of the Humanities.’
1.3 John Storey: “What is Popular Culture?” (pp 1-16 in Cultural Theory and Popular Culture)

Module 2 [Representations]:
2.1 Guy Debord: “The Commodity as Spectacle.”
2.2R Nandakumar: “The Missing Male: The Female Figures of Ravi Varma and the Concepts of
Family, Marriage and Fatherhood in Nineteenth century Kerala” (South Indian Studies,
No.1, Jan-June, 1996)
Seminar:

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2.3David Forgacs: “National-popular: Genealogy of a concept” in Simon During (ed) The

Cultural Studies Reader.

Module 3 [Lifestyles]:
3.1 Michel de Certeau: “Walking in the City” in Simon During (ed) The Cultural Studies Reader.
3.2Pierre Bourdieu: “Distinction: A Social Critique of the Judgement of Taste” in Carole
Counihan and Penny van Esterik (eds), Food and Culture: A Reader, Routledge, 2013, pp 31-40

Seminar:
3.3 George Simmel: “Fashion”

Module 4 [Homo Ludens]:

4.1 Roland Barthes: ‘The World of Wrestling’ (From Mythologies, selected and translated by
Annette Kavers, London, Jonathan Cape, 1972)
4.2 Abilash Nalapat and Andrew Parker: ‘Sport, Celebrity and Popular Culture: Sachin
Tendulkar, Cricket and Indian Nationalisms.’
Seminar:
4.3Amanda Roth &Susan A. Basow: ‘Femininity, Sports, and Feminism.’

Module 5 [Manifestoes]:
5.1Arjun Appadurai: ‘The Thing Itself’
5.2 Achille Mbembe: ‘Necropolitics’
Seminar:
5.3Jacques Rancière: ‘Preface to Proletarian Nights’

Specific Additional Readings:

1. Raymond Williams: “Culture is Ordinary” (Resources of Hope: Culture, Democracy,
Socialism)
2. Stuart Hall: “Cultural Studies: Two Paradigms” (Media, Culture and Society vol.2)
3.Simon During: “Postmodernism or Post-colonialism Today” (in Bill Ashcroft etal: The Post-
colonial Studies Reader)
4. Chandra Mukerji & Michael Schudson: “Introduction: Rethinking Popular Culture.”
in Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies. Berkeley:
University of California Press, 1991.
5. Simon During: ‘Value’ in Simon During: Cultural Studies: A Critical Introduction. London;
New York: Routledge (2005)
6. Susan Sontag: On Photography
7. Janet Murray: Hamlet On the Holodeck. New York: Free Press, 1997. Pp. 273-283.
8. Bhaskar Mukhopadhyay: “Cultural Studies and Politics in India Today,” Theory Culture
Society, 2006 (SAGE, London, Thousand Oaks and New Delhi), Vol. 23(7–8): 279–292

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9. Ashis Nandy: “Introduction: Indian Popular Cinema as a Slum‘s Eye View of Politics” in The
Secret Politics of Our Desires: Innocence Culpability and Indian Popular Cinema, Ashis Nandy
(ed) Delhi: OUP, 1998)
10. John Fiske: “The Signs of Television.”
11. Pierre Bourdieu: ‘How can one be a sports fan?’
12. Udayakumar: “Autobiography as a Way of Writing History: Personal Narratives from Kerala
and the Inhabitation of Modernity” (in History in the Vernacular, eds. Partha Chatterjee and
Raziuddin Aquil, Delhi: Permanent Black, 2008.)
13. Raadhika Gupta: ‘Bowled Out of the Game: Nationalism and Gender Equality in Indian
Cricket.’
14. Lorenzo Magnani: ‘Ritual Artifacts as Symbolic Habits.’
15. Arjun Appadurai: ‘Playing with Modernity: The Decolonization of Indian Cricket.’
16. Arjun Appadurai: ‘Architecture and Amnesia in Indian Modernity.’
17. Roland Barthes: “Rhetoric of the image.”Image, Music. Text.
18. Jacques Lacan: “Sign, Symbol, Imagery.” On Sign. Ed. Marshall Blonsky.
19. John Fiske: “Television Culture” Literary Theory: An Anthology.(Rivkin and Ryan).
20. Raymond Williams. Television; Technology and Cultural Form.
21. Ann Keplan:” Feminist Criticism and Television” from Channels of DiscourseReassembled
(Robert Allen)
22. Aravind Rajagopal: “Hindu Nationalism and the Cultural Forms of Indian Politics.”
23. Carole M. Cusack: “The Gods on Television: Ramanand Sagar’s Ramayan”, in Politics and
Popular Piety in Late Twentieth-Century India by Alex Norman and Cusack, 2012.
24. Aarttee Kaul Dhar: “The Ramayana and Sita in Films and Popular Media: The Repositioning
of a Globalised Version” in The Return of the Epic Film,
25. Prabha Krishnan: “In the Idiom of Loss: Ideology of Motherhood in Television Serials.”
Economic and Political Weekly 25, no. 42/43 (1990): WS103–16.
26. ShantiKumar:Gandhi Meets Primetime: Globalization and Nationalism in Indian Television
Chicago: University of Illinois Press, 2006.
27. Purnima Mankekar:Screening Culture, Viewing Politics: An Ethnography of Television,
Womanhood, and Nation in Postcolonial India. Durham: Duke University Press, 1999.
28. Clifford Geertz: ‘The Balinese Cockfight.”
29. Helena Tolvhed : ‘Sex Dilemmas, Amazons and Cyborgs: Feminist Cultural Studies and
Sport.’

Texts for Consultation:

1. Theodor Adorno: The Culture Industry: Selected Essays on Mass Culture (ed., with intro.),
J.M. Bernstein. London: Routledge (1991)
2. Elaine Baldwin: Introducing Cultural Studies. New York: Pearson/Prentice Hall (2004)
3. Roland Barthes: Mythologies. London: Paladin (1973)
4. Catherine Belsey: Culture and the Real: Theorizing Cultural Criticism London; New York:
Routledge (2005)

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5. Walter Benjamin, W.: Illuminations. New York: Schocken Books (1968)

6. Tony Bennett, L. Grossberg: New Keywords: A Revised Vocabulary of Culture and Society.
Blackwell (2005)
7. Tony Bennett: Outside Literature. London: Routledge (1990)
8. Pierre Bourdieu: The Field of Cultural Production. Cambridge: Polity Press (1993)
9. Simon During (ed.): The Cultural Studies Reader. London: Routledge (1993)
10. Simon During: Cultural Studies: A Critical Introduction. London; New York: Routledge
(2005)
11. Antony Easthope: Literary into Cultural Studies. London: Routledge (1991)
12. Antony Easthope: A Critical and Cultural Theory Reader. Open University Press (1992)
13. John Fiske: Understanding Popular Culture. Boston, MA: Unwin Hyman (1989)
14. Toby Miller (ed): A Companion to Cultural Studies. Blackwell (2001)
15. Nelson, Cary and Dilip Parameshwar Gaonkar (eds.): Disciplinarity and Dissent in Cultural
Studies. New York: Routledge, 1996.
16. Johan Huizinga:Homo Ludens
______________________________________________________________________________

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Semester 4 - Core Course 17:

[EN010402]-Postcolonial Poetry

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
To introduce the students to the diversityof poetry coming from the erstwhile coloniesof the
European Colonial Empires. To clear the ground from where the student can see how, beyond
the general discursive constellations, there are regional specifics that ‘in a hybrid mode’
negotiate issues of sovereignty, language, race, gender, identity and place.
Course Description:
“Here we stand at the messiest point of our time // someone should write us, if we don’t / who
will.” - Gülten Akın (2007).
The course attempts to cover, through representative texts, the entire gamut of poetrythat has
emerged from and still addresses the (post)colonial experience, the world over.
Module 1 is a conceptual orientation; it tries to situate, in a somewhat general way, certain
contours that ‘Poetic Postcolonialisms’ assume.
Module 2 is a collection of poems that are South Asia & Australasia-specific.
Module 3 is a choice take on West & East Asia.
Module 4 is solely representative of poems from Africa.
Module 5 brings together myriad yet ‘intertwined’ verses from South America & Caribbean.
Special Note: A detailed delving into the poems is not expected vis-à-vis the Seminar Fields.
Questions pertaining to these sections will be Generic: issues like Identity, Gender, Cultural
Poetics and Language Politics.

Module 1[Poetic Postcolonialisms]:

1.1Jahan Ramazani: “Contemporary Postcolonial Poetry” in Neil Roberts (ed): A Companion to
Twentieth‐Century Poetry, Blackwell Publishing, 2007
1.2Sudipta Kaviraj: “A Strange Love of the Land: Identity, Poetry and Politics in the
(Un)Making of South Asia.”

Module 2[South Asia & Australasia]:

2.1 India: Kamala Das: “Someone Else’s Song” & Agha Shahid Ali: “I See Kashmir From New
Delhi at Midnight”
2.2 Pakistan: Faiz Ahmad Faiz: “Black Out” & Kishwar Naheed: “We Sinful Women”
2.3 Sri Lanka: Yasmine Gooneratne: “There was a Country” &R. Cheran: “Yaman”
2.4 Bangladesh: Taslima Nasrin: “Can’t I have a homeland to call my own?” &Kaiser Haq:
“Ode on the Lungi”

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Seminar:
2.5 Australia: A D Hope: “Australia” & Judith Wright: “Eve to her Daughters”
2.6 New Zealand: Selina Tusitala Marsh: “naming myself”&“The Young and the Restless”
2.7 Fiji: Konai Helu Thaman: “Living Amongst the Trees” & “Kakala Folau (a gift of love)”

Module 3[West & East Asia]:

3.1 Israel: Yehuda Amichai: “National Thoughts” & Dahlia Ravikovitch: “Hovering at a Low
Altitude”
3.2 Palestine: Mahmoud Darwish: “The Earth is Closing on Us,” &Hanan Mikha’il ’Ashrawi :
“From TheDiary of an Almost-Four-Year-Old”
3.3 Iran: Forugh Farrokhzad: “I Will Greet the Sun Again” &Simin Behbahani: “And Behold”
3.4 Turkey: Orhan Veli: “For Free” &Gülten Akın: “Woman’s Song”

Seminar:
3.5 Philippines: Cirilo F. Bautista: “Written in Stratford-Upon-Avon”&Marjorie Evasco:
“Caravan of the Waterbearers”
3.6 Singapore:Arthur Yap: “The Correctness of Flavour” &Lee Tzu Pheng: “Singapore
River”
3.7 Hong Kong: Nicholas YB Yong: “Toys ‘R’ Us” & Tammy Ho Lai-ming: “Leftovers”

Module 4[Africa]:
4.1 Nigeria: Chinua Achebe: “Vultures” & Mabel Segun: “The Pigeon-Hole”
4.2 Egypt: Iman Mersal: “Sometimes Wisdom Possesses Me” & Fatima Naoot: “Blind”
4.3 Mozambique: Noémia de Sousa: “Black Blood” &Ana Mafalda Leite: “Liquid Frontier”
4.4 Algeria: Muhammad Dib: “Guardian Show” &Djamal Amrani: “Beneath a Pile of Rubble”

Seminar:
4.5 South Africa: Dennis Brutus: “A poem about Sharpeville” & Antjie Krog: “Country of
Grief and Grace”
4.6 Kenya: Shailja Patel: “Shilling Love” &Micere Githae Mugo: “I Want You To Know”
4.7 Ghana: Kofi Awoonor: “The Weaver Bird” & Ama Ata Aidoo: “For My Mother in Her
Mid-90s”

Module 5[South America & Caribbean]:

5.1 Argentina: Jorge Luis Borges: “Borges and I” & Alfonsina Storni: “They’ve Come”
5.2 Brazil: Olavo Bilac: “Milky Way: Sonnet 13” & Hilda Hilst: “Poems for the Men of Our
Time,”
5.3 Uruguay: Mario Benedetti: “Little Stones at My Window” & Selva Casal: “the last angels of
the evening.”
5.4 Chile: Pablo Neruda: “The Poet” & Gabriela Mistral: “To See Him Again”

Seminar:
5.5Columbia: José Asunción Silva: “Sonnet”

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5.6Saint Lucia: Dereck Walcott: “The Lost Empire”

5.7Guyana: John Agard: “Prospero Caliban Cricket”
5.8 Barbados: Edward Kamau Brathwaite: “Bread”
5.9Trinidad and Tobago: Surya Vahni Priya Capildeo: “I Love You”
5.10Jamaica: Louise Bennett: “Colonisation in Reverse”

Specific Additional Readings:

1. Anna Bernard: “Poetry, Translation, and Postcolonial Criticism…”
2. Muneeza Shamsie: South Asian Muslims: Fiction and Poetry in English, Religion & Literature
Vol. 43, No. 1 (spring 2011), pp. 149-157
3. Priya Satia: Poets of Partition, Tanqeed: A magazine of politics and culture, Jan 2016
4. Omer Tarin, Ilyas Khan, and K. Majied: Pakistani English Literature – A Brief
Introduction, 1947 to the Present, Prachya Review, Dec 30, 2015
5. Kaiser Haq: An Apology for Bangladeshi poetry in English
6. Mohammad Ali Ghazalsofli: A Political Review of Iranian Contemporary Poetry
7. Bulend Ecevit: Poetry in Turkey - A Nation’s Most Popular Art
8. Müesser Yeniay: Turkish Women's Poetry: Ottoman to Contemporary
9. J. Neil C. Garcia: Postcolonialism and Filipino Poetics
10. Barbara Jane Reyes: Filipina Lives and Voices in Literature
11. Cyril Wong: An interview
12. Irving Goh: Promising ‘Post-Colonialism’: Deleuze-Guattari’s ‘Minor Literature’ and the
Poetry of Arthur Yap
13. Thow Xin Wei: Arthur Yap: Uniquely Singaporean
14. Odimegwu Onwumere: The Evolution of Nigerian Poetry
15. Mick Delap: Nigerian Poetry – Black Star or Black Hole?
16. Gemma Robinson: “Postcolonial Poetry of Great Britain: a poetics of contradictory affinity.”
17. Ngugi Wa Thiongo: ‘The Quest for Relevance’ in Decolonising the Mind

Texts for Consultation:

1. Neil Roberts (ed): A Companion to Twentieth‐Century Poetry, Blackwell Publishing, 2007
2. Rajeev S. Patke: Postcolonial Poetry in English, Oxford University Press, 2006
3. Ashok Bery: Cultural Translation and Postcolonial Poetry, Palgrave Macmillan, 2007.
4. Jahan Ramazani (ed): The Cambridge Companion to Postcolonial Poetry, Cambridge
University Press, 2017
5. Jahan Ramazani: The Hybrid Muse: Post col onial Poet ry i n Engli sh , Univer sit y o f
Chicago Press, 2001
6. Robert Stilling: Beginning at the End: Decadence, Modernism, and Postcolonial Poetry,
Harvard University Press, 2018
7. Ato Quayson (ed): The Cambridge History of Postcolonial Literature: Volume 1, Cambridge
University Press, 2012
______________________________________________________________________________

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ELECTIVES

Semester Four

+3 Electives [Choose One from theFourClustersgiven below] :

Cluster 1 Cluster 2 Cluster 3 Cluster 4

18. Post Colonial 21. Trauma 24. Modern 27. English

Theatres Narratives and European Fiction Language Teaching
[EN800401] Memory [EN820401] (ELT)
[EN810401] [EN830401]

19. Shakespeare 25. Modern

Across Cultures 22. The Island in
European Drama 28. Translation
[EN800402] Literature
[EN820402] Studies [EN830402]
[EN810402]
20. Public Domain
Writings
23. Literature 26. Indian 29. Dalit Studies
[EN800403]
Poetics: Theories [EN830403]
and Film
and Texts
[EN810403]
[EN820403]

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ELECTIVES

CLUSTER 1

18. Postcolonial Theatres[EN800401]

19. Shakespeare Across Culture [EN800402]

20. Public Domain Writings [EN800403]

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Semester 4 - Elective Course:

[EN800401]-PostcolonialTheatres

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
To consider the nature of post-colonial drama as a theatrical, cultural, social, and political
concept. Also, to ‘show’ how the idea of ‘empire’ is deconstructed by the playwrights; and
thereby explore the cultural diversities and pluralities that constitute a post-colonial ‘national’
drama. Further, the attempt is to examine the paradoxes and hybridities in the forms and styles of
post-colonial drama and to exemplify how indigenous folk and /or mythical styles and themes
inform post- colonial drama to constitute a syncretism of cultures.

Course Description:
Module 1 is an ‘inter-textual narrative drama! Here one encounters pieces by George Lamming
and Eduardo Galiano. Lamming opens up the discussion on colonial exploitation by using
Shakespeare’s text as a litmus-metaphor and Galieano narrates the neo-colonial/imperial drama
that makes the very notion of the ‘third world’ possible. Together they subsume most of the
issues that postcolonial drama ‘stages.’
Module 2 is Asia-specific; it includes works by Girish Karnad, Sulayman Al-Bassam and
Kuzhanthai M. Shanmugalingam.
Module 3 is set apart for Africa; it includes works by Athol Fugard, Efua Sutherland and Wole
Soyinka.
Module 4 sets the platform for the two trans-Atlantic continents [north and south] under the
overarching title – The Americas. It brings together works by Griselda Gambaro, Rodolfo Usigli
and Howard Zinn.
Module 5 brings up the Caribbean Quotient. The representative works included are those by
Aime Cesaire, Errol John and Derek Walcott.

Module I [Conceptual]:

1.1 George Lamming: “A Monster, a Child, a Slave” in Pleasures of Exile.

1.2 Eduardo Galiano: ‘Introduction: 120 Million Children in the Eye of the Hurricane’ in Open
Veins of Latin America.

Module 2 [Asia]:

2.1India: Girish Karnad: The Dreams of Tipu Sultan

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2.2Kuwait: Sulayman Al-Bassam: TheAl-Hamlet Summit in the Arab Shakespeare

Trilogy,Bloomsbury, 2014
Seminar:
2.3Sri Lanka: Kuzhanthai M. Shanmugalingam: The Land of Our Parents

Module 3 [Africa]:

3.1South Africa: Athol Fugard: Blood Knot

3.2Ghana: Efua Sutherland: The Marriage of Anansewa
Seminar:
3.3Nigeria: Wole Soyinka: The Lion and the Jewel

Module 4 [The Americas]:

4.1Argentina: Griselda Gambaro: Information for Foreigners

4.2Mexico: Rodolfo Usigli: The Impostor: A Play for Demagogues
Seminar:
4.3U.S.A: Howard Zinn: Marx in Soho

Module 5 [Carribean]:

5.1Martinique: Aime Cesaire: A Tempest

5.2Trinidad: Errol John: Moon on a Rainbow Shawl
Seminar:
5.3 Saint Lucia: Derek Walcott: Dream on Monkey Mountain

Specific Additional Readings:

1. Graham Holderness: ‘Arab Shakespeare: Sulayman Al-Bassam's TheAl-Hamlet Summit’,
Culture, Language and Representation, Vol IV, 2007, pp. 141-150
2. Graham Huggan: ‘Decolonizing the Map’ in The Postcolonial Studies Reader
3. George Lamming: The Occasion for Speaking
4. Dennis Walder: on Athol Fugard
5. Ashis Sengupta: Contemporary South Asian Theatre
6. Selena Burns: Griselda Gambaro’s Theatre
7. Nina L. Molinaro: Panoptic Theatre and Griselda Gambaro's El campo
8. Erroll Hill: Caribbean Theatre
9. Awam Amkpa: Post Colonial Theatre and Ethics
10. Al Bassam Sulayman: PhD thesis on his own adaptations
11. Patrice Pavis (Paris) - Intercultural Theatre
12. Austin O. Asagba: on Efua Sutherland’s The Marriage of Anansewa
13. Philomena Abakah: on Efua Sutherland’s The Marriage of Anansewa
14. On Rodolfo Usigli

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15. Vance Savage: Rodolfo Usigli's Idea of Mexican Theatre

16. Aaron Cooley: on Howard Zinn’s Dissent
17. Philip Crispin: A Tempestuous Translation: Aimé Césaire’s Une tempête
18. Shelley Cole-Nimblett: on Errol John’s Moon on a Rainbow Shawl
19. Claire Westall: on Errol John’s Moon on a Rainbow Shawl
20. Lynette Goddard: Errol John’s Moon on a Rainbow Shawl
21. Ngugi Wa Thiongo: ‘The Language of African Theatre’ in Decolonising the Mind

Texts for Consultation:

1. Bill Ashcroft, Gareth Griffiths, Helen Tiffin: Key Concepts in Post-Colonial Studies,
Routledge
2. Bill Ashcroft, Gareth Griffiths, Helen Tiffin (eds.):The Post-Colonial Studies Reader,
Routledge
3. Bill Ashcroft, Gareth Griffiths & Helen Tiffin: The Empire Writes Back: Theory and Practice
in Post- Colonial Literatures. Routledge
4. John McLeod: Beginning Postcolonialism. Manchester Univ. Press
5. Ania Loomba:Colonialism/Postcolonialism. Routledge
6. Leela Gandhi:Postcolonial Theory: An Introduction. Edinburgh Univ. Press
7. Elleke Boehmer:Colonial and Postcolonial Literature. OUP
8. Gregory Castle (ed.):Postcolonial Discourses: An Anthology. Blackwell
9. Padmini Mongia (ed.):Contemporary Postcolonial Theory: A Reader. Arnold
10. Francis Barker, Peter Hulme & Margaret Iversen (eds.):ColonialDiscourse/Postcolonial
Theory. Manchester Univ. Press
11. Robert Young:Colonial Desire: Hybridity in Theory, Culture and Race. Routledge
12. C.L.R James:The Black Jacobins
13. Shirley Chew:Concise Companion to Postcolonialism
14. Hans Thies Lehmann:Postdramatic Theatre
15. The Black Jacobins Reader
16. Lee Maracle: I Am Woman
______________________________________________________________________________

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Semester 4 – Elective Course:

[EN800402] -Shakespeare Across Cultures

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
The course is designed as one that situates the timeless genius of Shakespeare across cultures,
literatures and authors. Indeed, Shakespeare has inspired more authors than any other writer.
This is reflected in the number of rereading of his plays down the centuries in various genres
including theatre and film. This course addresses the impact of Shakespeare at the theoretical and
textual levels.
Course Description:
The course outlines the transfigurations of Shakespeare’s plays as they were received in diverse
cultures and the resonances and responses they evoked. It explores Shakespeare from a variety of
critical positions ranging from discourses of race, gender, nation and geopolitics. The course
focuses on the theoretical and creative reworking of Shakespearean plays, especially The
Tempest, Macbeth, Hamlet,and Othello. These plays have been adapted/ re-written from the
postcolonial, feminist, postmodern and queer perspectives in diverse media from theatre to the
celluloid, from manga to pop art. Its national and regional adaptations have been incorporated
too. Thus, it brings in theoretical analyses and creative interrogations of the conspicuous
absences, racial prejudices, and ethnic intolerances in Shakespearean drama revealing the power
structures, and delineates the modes in whichdiverse cultures reacted to the Eurocentric
representations and imperial overtones in Shakespearean drama. The course is arranged in five
modules. Module one comprises of essays that deal with various aspects of Shakespearean
theatrical universe. Module two consists of diverse rereadings of Shakespeare’s The Tempest and
Macbeth. The Third Module consists of adaptations of and rereadings on Othello and Hamlet.
Module four showcases celebrated fictional rewritings of Shakespeare. Module five explores the
onscreen adaptations of the Shakespearean universe.
Module 1 [Theoretical]:
1.1Harold Bloom: ‘Shakespeare’s Universalism’ from Shakespeare: The Invention of the

Human. New York: Riverhead, 1998. (Available in kupdf.net)

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1.1Alan Sinfield: ‘Royal Shakespeare: Theatre and the Making of Ideology’ from Political

Shakespeare: Essays in Cultural Materialism. Ed. Jonathan Dollimore and Alan Sinfield.

1.3 Christopher Hoile: “King Lear and Kurosova’s Ran .Splitting, Doubling and Distancing”.
Pacific Coast Philology Vol. 22, No. 1/2 (Nov., 1987), pp. 29-34 (6 pages) (available in Jstor)

Module 2 [Tempest and Macbeth]:

2.1Aime Cesaire: Une Tempeste (A play translated as A Tempest)

2.2Welcome Msomi: uMabatha(in Adaptations of Shakespeare: A Critical Anthology of Plays.

Routledge,2000)

Seminar:

2.3Stephen Orgel: “Prospero’s Wife.” Representations8 (1984): 1-13 (available in JStor)

2.4Sandra M. Gilbert : ‘“Unsex Me Here”: Lady Macbeth’s ‘Hell Broth’in Discovering

literature: Shakespeare and Renaissance, April 2016

Module 3 [Othello and Hamlet]:

3.1Bernard Jackson: Iago

3.2Tom Stoppard: Rosencrantz and Guildenstern are Dead

Seminar:

3.3Kezia Vanmeter Sproat: ‘Rereading Othello, II, 1’The Kenyon ReviewNew Series, Vol. 7,

No. 3 (Summer, 1985), pp. 44-51

2. Elaine Showalter: “Ophelia, Gender and Madness”Shakespearean Criticism: Hamlet (Vol. 59)

Module 4 [Shakespeare and Fiction]:

4.1 Anthony Burgess: Nothing Like the Sun

4.2 Margaret Atwood: Hagseed

4.3 Ian McEwan: Nutshell

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Seminar:

4.4 Valeria Luiselli: “Shakespeare, New Mexico” (tr. Christina MacSweeney )

4.5Soledad Puértolas:“The Secret Life of Shakespeareans” (tr. Rosalind Harvey)

[The stories are taken fromLunatics, Lovers and Poets: Twelve Stories After Cervantes and

Shakespeare, (And Other Stories, 2016) Edited by Daniel Hahn and Margarita Valencia.]

Module 5 [Shakespeare on Screen]:

5.1Shakespeare in Love (John Madden)

5.2 Ran(Akira Kurosawa)

5.3 Hamlet(Michael Almereyda)

5.4 Angoor ( Gulzar)

Seminar:

5.5 Ania Loomba: “Shakespeare and the Possibilities of Postcolonial Performance” in Barbara

5.6 Hodgdon and W. B. Worthen (eds), A Companion to Shakespeare and Performance, 2005

Texts for Consultation:

1. Mark Thornton Burnett and Ramona Wray, eds. Screening Shakespeare in the Twenty-First
Century

2. Russell Jackson ed. The Cambridge Companion to Shakespeare on Film

3. Ania Loomba , and Martin Orkin, eds. Postcolonial Shakespeares

4. Kenneth Rothwell.A History of Shakespeare on Screen

5. Jonathan Dollimore and Alan Sinfield, eds. Political Shakespeare: Essays in Cultural
Materialism

6. Emily C Bartels. “Making more of the Moor: Aaron, Othello, and Renaissance Refashionings
of Race. Shakespeare Quarterly. 41.4 (1990): 433-54.

7. Rob Nixon. “Caribbean and African Appropriations of The Tempest”Critical Inquiry13

(1987)557-78

8. Katherine E. Kelly,ed. The Cambridge Companionto Tom Stoppard

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9. Anthony Jenkins. The Theatre of Tom Stoppard

10. Jenny S. Spencer. Dramatic Strategies in the Plays of Edward Bond

11. Samuel Crowl. “The Bow Is Bent and Drawn: Kurosawa's Ranand the Shakespearean Arrow
of Desire,” Literature/ Film Quarterly 22. 2. (1994): 109-16I

12. Kathy Howlett, “Are You Trying to Make Me Commit Suicide? Gender, Identity, and Spatial
Arrangement in Kurosawa's Ran.” Literature/ Film Quarterly 24. 4. (1996): 360-66.

13. R. B. Parker. The Use of Mise-en-Scène in Three Films of King Lear." Shakespeare
Quarterly42. 1 (1991): 75-90

14. Christine Mangala Frost. “30 Rupees for Shakespeare: a Consideration of Imperial Theatre in

India.” Modern Drama, Volume 35, Number 1, Spring 1992, pp. 90-100

15. Ayanna Thompson. “Unmooring the Moor: Researching and Teaching on YouTube.”

Shakespeare Quarterly, Volume 61, Number 3, Fall 2010, pp. 337-356

16. Gitanjali Sahani and Brinda Charry: “The Bard in Bollywood: The Fraternal Nation and

Shakespearean adaptation in Hindi Cinema” in Shakespeare and the Ethics of Appropriation,

edited by Alexa Huang and Elizabeth Rivlin.

17. Marydass C. What Yokes Shakespeare and Tagore.

18. Paul Brown. “This thing of Darkness I acknowledge Mine: The Tempest and the Discourse

of Colonialism” from Political Shakespeare: Essays in Cultural Materialism. Ed. Jonathan

Dollimore and Alan Sinfield

19. James Tweedie. “Caliban's Books: The Hybrid Text in Peter Greenaway's Prospero's Books.”

Cinema Journal, 40, Number 1, Fall 2000, pp. 104-126.

_____________________________________________________________________________

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Semester 4 – Elective Course:

[EN800403] -Public Domain Writings

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
To introduce to the student to the concept of the public sphere, and to enable him/her to reflect
on critical issues related to everyday life, events, locales, opinions and individual/social rights.

Course Description:
The concept of the public sphere is introduced through a short article (encyclopaedia article) by
Habermas. Habermas’s later writings amplify and clarify the positions (Structural
Transformation of the Public Sphere. “Further Reflections on the Public Sphere”). This is
accompanied by articleson recent trends in media studies and cultural policy studies. The texts
included in different modules represent sampling of issues/temporalities/spaces: censorship,
counterculture, museums andspatialization. The selections examine neoliberal impulses,
changing dynamics of democracy, the media and art, new models of commerce, urban planning,
environment and nation-building. Relevant movies, novels, poems, docu-movies, music, graphic-
non-fiction, graffiti and documentaries have been interspersed in the study along with articles
from diverse sources across the world.

Module I [Conceptual]:

1.1 Jürgen Habermas; Sara Lennox; Frank Lennox: “The Public Sphere: An Encyclopaedia
Article (1964)” New German Critique, No. 3. (Autumn, 1974), PP. 49-55.
1.2 Edward Herman and Robert McChesney: Introduction to “The Global Media: The New
Missionaries of Corporate Capitalism”. PP. 1-10.
1.3 Douglas Kellner: Reading Images Critically: Toward a Postmodern Pedagogy (Journal of
Education. Volume 170. Number 3. 1988. PP.31-52.
1.4 Jim McGuigan: Cultural Policy Studies (Critical Cultural Policy Studies: A Reader, Ed.
Justin Lewis and Toby Miller, Blackwell, PP. 23-28)

Module 2 [Censorship/Surveillance]:
2.1 Someshwar Bhowmik: “A Medium in Chains?”. (Cinema and Censorship: The Politics of
Control in India, PP. 325 - 346)
2.2 Pramod K. Nayar. “I Sing the Body Biometric: Surveillance and Biological Citizenship,”
(EPW.11 August 2012) &“Our Data, Their Data” (Telangana Today. p. 8. January 24, 2019)
2.3Kamila Shamsie: Home Fire (Novel)

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Seminar:
2.4T.K. Rajeevkumar: “Thalsamayam Oru Penkutty” (A Girl on Live) – Movie -
https://www.youtube.com/watch?v=R6tlonMmsxg

Module 3 [Counterculture]:
3.1Meena T. Pillai: “The Many Misogynies of Malayalam Cinema” (EPW, Vol. 52, Issue No.
33, 19 Aug, 2017)
3.2 T. M. Krishna: “‘Our Music is About Raw Primal Instinct’ - 60 Minutes: with the Casteless
Collective” (Magazine. The Hindu. 20/01/2019)
3.3 Manu S. Pillai: “Muddupalani, the Woman who had no Reason for Shame”. (The Hindu. 02
June 2018.)
3.4 Jack Kerouac: On the Road (Novel)

Seminar:
3.5 Aja Romano: “Bohemian Rhapsody” loves Freddie Mercury’s Voice. It Fears his Queerness.
(https://www.vox.com/2018/11/16/18071460/bohemian-rhapsody-queerphobia-celluloid-closet-
aids)
3.6 Thierry Guta and Banksy: “Exit through the Gift Shop: A Banksy Film” (Docu-movie on
Graffiti, https://www.youtube.com/watch?v=IqVXThss1z4)

Module 4 [Exhibitions/Collections/Memories]:
4.1 Tony Bennett: “The Political Rationality of the Museum” (Critical Cultural Policy Studies: A
Reader, Ed. Justin Lewis and Toby Miller, Blackwell, PP. 180-187)
4.2 Lola Mac Dougall: “The Photographer as Collector: Four Women Photographers at
Serendipity Recast the Past in Unpredictable Ways” (Magazine. The Hindu. 20/01/2019)
4.3 Aanchal Malhotra: A Ghaz for my father and a Ghara for my Mother – a multidisciplinary
book- (Chapter 1, Remnants of a Separation: A History of the Partition through Material
Memory)

Seminar:
4.4OrhanPamuk: The Museum of Innocence (Novel)

Module 5 [Spatialisation]
5.1Kenneth T. Jackson: “All the World’s a Mall: Reflections on the Social and Economic
Consequences of the American Shopping Center” (Critical Cultural Policy Studies: A Reader,
Ed. Justin Lewis and Toby Miller, Blackwell, PP. 327-334)
5.2 Joe Sacco: Palestine (Non-fiction Graphic Novel)

Seminar:
5.3 Mary Oliver: Sleeping in the Forest (Poem)
5.4 S. Joseph: On the College Wall (Poem translated from Malayalam by Ajay Sekher)
5.5 Killer Whale Attack: Documentary (https://www.youtube.com/watch?v=vAaHUg0wSzo)

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Specific Additional Readings:

1. JűrgenHabermas: The Structural Transformation of the Public Sphere. MIT, 1989.
2. JűrgenHabermas: “Further Reflections on the Public Sphere” (Calhoun)
3. Danielle Kutner: “Aura, Technology and society: Theodor Adorno and Walter Benjamin on
the Revolutionary Potential of Art”
4. Edward Herman and Robert McChesney: The Global Media: The New Missionaries of
Corporate Capitalism
5. Douglas Kellner: Media Culture: Cultural Studies, Identity, and Politics between the Modern
and the Postmodern
6. Justin Lewis and Toby Miller (Eds): Critical Cultural Policy Studies: A Reader
7. Someswar Bhowmik: Cinema and Censorship: The Politics of Control in India
8. KabirAltaf: ‘Kamila Shamsie’sHome Fire: A Modern Antigone’
9. Margarita Alario: ‘Environmental Destruction and the Public Sphere: On Habermas’
Discursive Model and Political Ecology. Social Theory and Practice,Vol. 20, No. 3 (Fall 1994),
PP. 327-341

Texts for Consultation:

1. Craig Calhoun: Habermas and the Public Sphere. MIT, 1996.
2. Arturo Escobar: Encountering Development: The Making and Unmaking of the Third World.
Princeton UP, 1996.
3. Susie Tharu and K. Lalita eds., Women Writing in India: 600 B.C. to the Present, Volume I:
600 B.C. to the Early 20th Century, The Feminist Press at the City University of New York,
1991
4. Vandana Shiva: Staying Alive
5. MadhavGadgil and RamachandraGuha: This Fissured Land: An Ecological History of India.
Univ. of California Press, 1993.
6. MadhavGadgil and RamachandraGuha: The Use and Abuse of Nature. OUP, 2005.
7. Edward S. Herman and Noam Chomsky: Manufacturing Consent:The Political Economy of
the Mass Media. Pantheon, 1988.
8. Paulo Freire: The Pedagogy of the Oppressed. Penguin, 1996.
9. Eduardo Galeano: Open Veins of Latin America
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ELECTIVES

CLUSTER 2

21. Trauma Narratives and Memory [EN810401]

22. The Island in Literature [EN810402]

23. Literature and Film [EN810403]

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Semester 4 - Elective Course:

[EN810401]-Trauma Narratives and Memory

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
This paper will examine a range of ‘texts’ from the critical perspective of trauma theory; this
domain is relatively recent field which touches upon narrative, historical, theoretical,
psychoanalytic and aesthetic categories.
Course Description:

This course attempts a familiarization of the interface between narratives, trauma and memory.
Module 1 is a conceptual orientation; it tries to situate, in a somewhat general way, the issue of
‘the uncanny’ through the readings of Ernst Jentsch, Sigmund Freud, Colin Davis, and Cathy
Caruth. Inevitably E. T. A. Hoffman’s story ‘The Sandman’ also gets a slot.
Module 2 is a ‘one-of-a-kind’ list that showcases ‘Graphic literature’; it is felt that such a
selection will highlight the issue of newer modes of representation that surpasses what is usually
discussed under the rubric of ‘literary representation’, especially with regard to traumatic and
uncanny events -Marjane Satrapi, Art Spiegelman, Kate Evans, and Malik Sajad take us through
a route which is anything but ‘comic.’
Module 3 is all about prose fiction; Elisabeth M. Loevlie, Anne Whitehead, Catalina Botez, W.
G. Sebald, Toni Morrison, andCaryl Philips bring together myriad fictional and academic
attempts at contextualizing the issue of trauma.
Module 4 is brings together the works of Ariel Dorfman, Sara Kane, and Joshua Sobol; all these
texts are ‘instances of theatre’ tackling trauma.
Module 5 is the domain of cinema. The works/readings of Cathy Caruth, Shohini Chaudhuri,
Paulo De Medeiros, Alain Resnais, Alfonso Cuaron, Margarida Cardoso, and Teresa Prata reveal
the dogged cinematic determination that is evident when cinema ‘cans’ the uncanny and the
traumatic.
Module 1[Uncanny]:
1.1 E. T. A. Hoffman: ‘The Sandman’
1.2Ernst Jentsch: ‘On the Psychology of the Uncanny.’
1.3Sigmund Freud: ‘The Uncanny’
1.4 Cathy Caruth: ‘Traumatic Awakenings (Freud, Lacan and the Ethics of Memory)’ in
Unclaimed Experience: Trauma, Narrative, and History. (The Johns Hopkins University Press,
1996)
1.5 Colin Davis: ‘Hauntology, Spectres and Phantoms’

Module 2[Graphic Novels]:

2.1 Marjane Satrapi: The Complete Persepolis (2007)

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2.2Malik Sajad: Munnu: A Boy From Kashmir (2015)

Seminar:
2.3Kate Evans: Red Rosa: A Graphic Biography of Rosa Luxemburg (2015)
2.4 Art Spiegelman: The Complete Maus (1973; 1986)

Module 3[Fiction]:
3.1 Elisabeth M. Loevlie: ‘Faith in the Ghosts of Literature. Poetic Hauntology in Derrida,
Blanchot and Morrison’s Beloved’.
3.2Anne Whitehead: ‘Othello in the Ghetto: Trauma and Intertextuality in Caryl Philip’s The
Nature of Blood’in Trauma Fiction (Edinburgh University Press, 2016)
3.3 Catalina Botez: ‘Trauma Obscura Revealed: Revisiting Loss in W. G. Sebald's Austerlitz’
Seminar:
3.4 W.G. Sebald: Austerlitz
3.5 Toni Morrison: Beloved
3.6Caryl Philips: The Nature of Blood

Module 4[Drama]:
4.1 Ariel Dorfman: Death and the Maiden (1990)
4.2 Sara Kane: 4.48 Psychosis (2000)
Seminar:
4.3 Joshua Sobol: Ghetto (1984)

Module 5[Cinema]:
5.1 Cathy Caruth: ‘Literature and the enactment of Memory (Dura, Resnais, Hiroshima mon
amour)’ in Unclaimed Experience: Trauma, Narrative, and History. (The Johns Hopkins
University Press, 1996)
5.2 Shohini Chaudhuri: ‘Unpeople: postcolonial reflections on terror, torture and detention in
Children of Men’ in Sandra Ponzanesi & Marguerite Waller (eds), Postcolonial Cinema Studies
(Routledge, 2012)
5.3 Paulo De Medeiros: ‘Spectral postcoloniality: lusophone postcolonial film and the imaginary
of the nation’ in Sandra Ponzanesi & Marguerite Waller (eds), Postcolonial Cinema Studies
(Routledge, 2012)
Seminar:
5.4Hiroshima mon amour (Alain Resnais, 1959)
5.5Children of Men (Alfonso Cuaron, 2006)
5.6The Murmuring Coast (Margarida Cardoso, 2004), Sleepwalking Land (Teresa Prata, 2007)

Specific Additional Readings/Viewings:

0. Testamento (Francisco Manso, 1997),Angola, Saudades from the One who Loves You (Richard
Pakleppa, 2005)
1. Jacques Derrida: “The Double Session”, in Dissemination, London, 1981

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2. Jacques Derrida: Spectres of Marx,

3. Michelle Balaev: ‘Literary Trauma Theory Reconsidered’
4. Judit Pieldner: ‘The Topography of Memory in W. G. Sebald’s Austerlitz’
5. Catalina Botez: ‘Exploring the Edge of Trauma in W. G. Sebald’s novel Austerlitz’
6. Sara Soncini: “A horror so deep only ritual can contain it”: The art of dying in the theatre of
Sarah Kane’
7. Carolina Sanches on Sara Kane
8. Ivo Cermac on Sara Kane
9. David Luban: On Dorfman’s Death and the Maiden,
10. David Schroeder: Dorfman, Schubert, and Death and the Maiden,
11. Alan Bern on Joshua Sobol's Ghetto
12. Notes on Marjan Satrapi’s Persepolis
13. Art Spiegelman - Teachers Guide
14. Michael Cromer: Getting Graphic with the Past: Graphic Novels and the Teaching of History
15. Sohini Kumar - Study on Munnu…
16. Astrid Erll on Trauma and Media Memory Studies
17. Jacques Lacan: “The Symbolic Order” (Rivkin and Ryan)
18. Slavoj Zizek: Mapping Ideology

Texts for Consultation:

1. Roger Luckhurst: The Trauma Question, London: Routledge, 2008
2. Geoffrey Hartman (ed.): Holocaust Remembrance: The Shapes of Memory, Oxford:
Blackwell, 1994)
3. Shoshana Felman and Dori Laub: Testimony: Crises of Witnessing in Literature,
psychoanalysis, and history.
4. Lawrence Langer: Holocaust Testimonies: The Ruins of Memory, New Haven; London: Yale
University Press, 1991.
5. Robert Antelme: The Human Race (1947)
6. Charlotte Delbo: None of us will Return (1965)
7. Primo Levi: If this is a Man;andTheTruce (1958)
8. Theodor Adorno: ‘Commitment’ 1962 in The Essential Frankfurt School Reader, New York:
Urizen Books, 1978
9. Theodor W. Adorno: ‘After Auschwitz’ [1966] in Negative Dialectics, trans. E. B. Ashton
Routledge, 1973.
10. Hannah Arendt: Eichmann in Jerusalem: a Report on the Banality of Evil, New York, N.Y. :
Penguin Books, 2006
11. Shoshana Felman: The Juridical Unconscious:Trials and Traumas in the Twentieth Century,
Cambridge, MA: Harvard University Press, 2002.
______________________________________________________________________________

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Semester 4 - Elective Course:

[EN810402] -The Island in Literature

Total Credits: 3
Total Hours: 25
Weightage:

Objectives: This course aims at introducing students to select instances of how ‘islands’ have
been portrayed as symbols, metaphors, motifs and themes in literature. Broadly, the intended
focus will be on how these portrayals have been understood, situated and subsequently discussed
in relation to contemporary theories, especially post-colonial, and self-refexive perspectives.

Course Description: The course has 5 modules.

Module 1 provides a broad framework within which one can discern the whole notion of ‘literary
islands.’ The essays by Stephanos Stephanides/Susan Bassnett,Ashleigh Harris and Ioana
Andreescu chart out the domain of the subsequent discussions.
Module 2 brings together three authors who ‘rewrite’, ‘negotiate’ the canonical Island Narrative
Robinson Crusoe: J. M. Coetzee, Michel Tournier and Derek Walcott.
Module 3 is a constellation of the reworkings of William Shakespeare’s The Tempest: The works
by Marina Warner, Jamaica Kincaid and David Malouf are undergirded by both postcolonial and
island-geographic cultural concerns.
Module 4 is a select ‘deep focus’ on the ways in which ‘Europe’ has created the ‘island-as-
metaphor’. The political and semiotic layers of this endeavor are reflected in the works of D H
Lawrence, Jose Saramago and Joseph Conrad.
Module 5 puts forth a selection that has ‘meta-ramifications’; the works of Adolfo Bioy Casares,
Umberto Eco and John Fowles all retain an onus on self-reflexivity with regard to the literary
notion of ‘the island.’

Module 1[Frameworks]:
1.1Stephanos Stephanides and Susan Bassnett: ‘Islands, Literature, and Cultural Translatability.’
1.2Ashleigh Harris: ‘“The island is not a story in itself”: apartheid’s world literature.’
1.3 Ioana Andreescu: ‘Narratives of the Literary Island: European Poetics of the Social System
after 1945.’

Module 2[Robinson Crusoe]:

2.1 J. M. Coetzee: Foe [novel]
2.2Michel Tournier: Friday, or, the Other Island [novel]
Seminar:
2.3Derek Walcott: Pantomime [play]

Module 3[The Tempest]:

3.1 Marina Warner: Indigo [novel]
3.2Jamaica Kincaid: Annie John [novel]
Seminar:
3.3David Malouf: Blood Relations [play]

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Module 4[Europe]:
4.1D H Lawrence: The Man Who Loved Islands [short story]
4.2 Jose Saramago: The Tale of the Unknown Island [short story]
Seminar:
4.3Joseph Conrad: Victory: an Island Tale [novel]

Module 5[Self-reflexive]:
5.1 Adolfo Bioy Casares: The Invention of Morel [novel]
5.2 Umberto Eco: The Island of the Day Before [novel]
Seminar:
5.3John Fowles: The Magus [novel]

Specific Additional Readings:

1. David Schalkwyk: Hamlet’s Dreams: The Robben Island Shakespeare
2. Christopher Landrum: ‘Robinson Crusoe – Metaphors’
3. Donata van der Rassel: ‘What is left behind – The role of Friday in J.M. Coetzee’s Foe’
4. Susan Naramore Maher: ‘Confronting Authority: J.M. Coetzee’s Foe and the Remaking of
Robinson Crusoe’
5. A. Effe: ‘Coetzee and the Ethics of Narrative Transgression: Foe’
6. Sandra Beckett: ‘Michel Tournier’s Friday’
7. Ioana Andreescu: ‘Postwar Rewritings of Robinson Crusoe as an Act of Collective Memory’
8. Rick Dolphijn: ‘Undercurrents and the Desert(ed): Negarestani, Tournier and Deleuze Map the
Polytics of a ‘New Earth’’
9. Megan K Ahern:‘Mimicry as Bourdieuian Heterodoxy in Walcott’s Pantomime’
10. Giselle A Rampaul: ‘Carnivalesque Reversals in Derek Walcott’s Pantomime’
11. Xiana Vázquez Bouzó :‘Overview of postcolonial re-writings from Tempest to Indigo’
12. Sofia Munoz:‘Double Erasure in Tempest – Miranda’
13. Erin M. Presley:‘Understanding Sycorax’s Island in Marina Warner’s Indigo’
14. Candice A. Pitts: ‘Challenges to Nationhood in Kincaid’s Annie John’
15. Rebecca Ashworth: “Writing Gender, Re-Writing Nation: Wide Sargasso Sea, Annie John,
Jane and Louisa Will Soon Come Home and Myal”
16. Chinmoy Banerjee: ‘Postcolonial Self-Fashioning in Annie John’
17. James Marland:‘David Malouf,Blood Relationsand The Tempest’
18. Helen Gilbert:‘Topographies of the Body in the Writings of David Malouf’
19. Stefania Michelucci: ‘D. H. Lawrence’s Islands’
20. Johannes Riquet: ‘D. H. Lawrence’s Island Imaginaries’
21. Braudel papers:‘on Saramago’s Unknown Island’
22. Hania Nashef:‘on Jose Saramago’
23. Robert Hampson: ‘Silence and Secrets in Joseph Conrad’s Victory’
24. George A. Panichas: ‘Moral Warfare in Joseph Conrad’s Victory’
25. Matt Bernico: ‘on Adolfo Bioy Casares’ novel The Invention of Morel’

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26. Virgilio Fernandes Almeida: ‘on Adolfo Bioy Casares’ novel The Invention of Morel’
27. Krešimir Purgar: ‘on Umberto Eco’s Island of the Day Before’
28. Rama Kundu: ‘on Umberto Eco’s Island of the Day Before’
29. Barbara Hussey: ‘on John Fowles’s The Magus’
30. Aleks Matosoglu: ‘on John Fowles’s The Magus’
31. Daniel Graziadei: ‘Island metapoetics and beyond: introducing island poetics’

Texts for Consultation:

1. Michel Houellebecq: The Possibility of an Island
2. Sarah Murphy: The Measure of Miranda
3. Michelle Cliff: No Telephone to Heaven
4. Gilles Deleuze: Desert Islands
5. Peter Abrahams’s This Island Now
6. Michael Gilkes: Prospero’s Island
7. Athol Fugard, John Kani and Winston Ntshona: The Island
8. Daniel Defoe: Robinson Crusoe. Ed. John J Richetti. Penguin.
9. John R Gillis: Islands of the Mind: How the Human Imagination Created the
Atlantic World. Palgrave Macmillan.
10. William Shakespeare: The Tempest. Ed. Stephen Orgel. Oxford University Press.
11. Elizabeth McMahon:Islands, Identity and the Literary Imagination, Anthem Studies in
Australian Literature and Culture
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Semester 4 - Elective Course:

[EN810403] -Literature and Film
Total Credits: 3
Total Hours: 25
Weightage:
Objectives:
Cinema and Literature are connected /related to each other but still they are different in their own
ways. This love-hate interface is amply embodied in the terrain of ‘Adaptation’ – of Literature
into Film. This domain has always been one of the most fascinating forms of knowledge which
has made great impact on human psyche. This course seeks to familiarise students with the nitty-
gritty of Film Adaptations of Literature and the concomitant theoretical discussions.
Course Description:
Apart from the 3 introductory readings of Module 1, the course is schematized to represent film
adaptations of literature in the following domains: Epic/Myth (Module 2), Theatre (Module 3),
and Novel (Module 4). The last module (Module 5) is customized to accommodate film
adaptations from Kerala.
Special Note 1: Module 3 merits a specific mention. In many ways, it is Shakespeare who is the
point of discussion: 3 Hamlet-films, 3 Macbeth-films and 2 Othello-films. Also,do note that the
questions will not only be oriented in accordance with the ‘accompanying reading’, but it will
also include ‘comparative’ analysis, especially with reference to the so-called ‘original’
Shakespearean texts.
Special Note 2: Questions on the films included in the Seminar Fields will be derivative of the
films in the main sections of the respective modules.

Module 1[Film (as) Adaptation]:

1.1Robert Stam: ‘Beyond Fidelity: The Dialogics of Adaptation’
1.2Brian McFarlane: Novel to Film: An Introduction to the Theory of Adaptation;
Part I - Backgrounds, Issues, and a New Agenda
1.3Lindiwe Dovey: ‘Towards an Art of Adaptation: Film and the New Criticism-as-Creation.’

Module 2[Epic/Myth]:
2.1The Godfather [Francis Ford Coppola, 1972] /
- Nick Browne: ‘Fearful A-Symmetries: Violence as History in the Godfather Films.’
2.2Troy [Wolfgang Petersen, 2004] /
- Ruby Blondell: ‘Third cheerleader from the left’: fromHomer’s Helen to Helen of Troy.’
2.3Beowulf [Robert Zemeckis, 2007] /
- Eleanor Grigg: ‘Beowulf, the film.’
Seminar:
2.4Mother India [Mehboob Khan, 1957] /
- Vijay Mishra: ‘The Texts of Mother India’
2.5Raavan (Hindi) / Ravanan (Tamil) [Mani Ratnam, 2010] /
- Amit Basole: ‘Subverting Our Epics: Mani Ratnam’s Retelling of the Ramayana.’

Module 3[Theatre]:
3.1Hamlet [Michael Almereyda, 2000] / Hamlet [Franco Zeffirelli, 1990] /
- Elsie Walker: ‘A “Harsh World” of Soundbite Shakespeare:Michael Almereyda’s Hamlet.’

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3.2Throne of Blood [Akira Kurosawa, 1957] /Macbeth [Justin Kurzel, 2015]

- Dolores P. Martinez:‘From ‘Scottish’ Play to Japanese Film: Kurosawa’sThrone of Blood.’
- Louise D'Arcens: ‘Feeling Medieval: Mood and Transhistorical Empathy in Justin
Kurzel’s Macbeth.’
3.3Jarum Halus [Mark Tan, 2008] / O [Tim Blake Nelson, 2001] / Othello
- Su Mei Kok: ‘Malaysian Moors: Ethnicity, Speech, and Identity in JarumHalus.’
- Brittany Rowland:‘Othello and Tim Blake Nelson’s ‘O’: Shakespearean Violence in High
School.’
Seminar:
3.4Haider [Vishal Bhardwaj, 2014] /
- Brian Walsh: ‘Resisting Hamlet: Revenge and Nonviolent Struggle in Vishal
Bhardwaj’s Haider’
3.5Kaliyattom [Jayaraaj, 1997] /
- Sujata Iyengar: ‘Beds, Handkerchiefs, and Moving Objects in Othello’

Module 4[Novel]:
4.1Les Misérables [Claude Lelouch. 1995] /
- Walter C. Metz: ‘From Jean-Paul Belmondo to Stan Brakhage: Romanticism and Intertextuality
inIrma Vep and Les Misérables’
4.2Great Expectations [Alfonso Cuarón, 1998] /
- Steve Vineberg: ‘Alfonso Cuarón’s Great Expectations’
4.3The Colour Purple [Steven Spielberg, 1985] /
- Maria Fas: ‘The Walker-Spielberg Tandemand Lesbianism in The Color Purple:“[Spielberg]
Don't Like It Dirty”’
Seminar:
4.4Pather Panchali [Satyajit Ray, 1955] /
-C. G. Shyamala:‘A Deconstructive Reading of Satyajit Ray’s Pather Panchali.’
4.5Umrao Jaan [Muzaffar Ali, 1981] /
- Ayesha Arfeen: ‘The Institution of Kotha: A Case Study of Tawaif-Centered Films.’

Module 5[Malayali Resonances]:

5.1Chemmeen[Ramu Kariat, 1965] /
- Mini Chandran: ‘Not Lost in Translation:Chemmeen on Alien Shores.’
5.2Mathilukal [Adoor, 1990] /
- Krishnakumari M. P.: ‘Basheer/Adoor: The Voice Beyond the Wall.’
5.3Mazha[Lenin Rajendran, 2000] /
- C. S. Venkiteswaran: ‘Mazha: From Story to Film.’
Seminar:
5.4Nirmalyam [M. T., 1973] /
- Meena T. Pillai: ‘From Pallivallum Kalchilambum to Nirmalyam: Resurrecting the ‘Word’ and
the ‘World’.
5.5Kanchanaseetha [Aravindan, 1977] /

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- Vasanthi Sankaranarayanan: ‘On Adaptation: With Special Reference to Aravindan’s

Kanchanaseetha and Chidambaram.’

Specific Additional Readings:

1. Veena Talwar Oldenberg: “Lifestyle as Resistance: The Case of the Courtesans of Lucknow,”
in Contesting Power: Resistance and Everyday Social Relations in South Asia, ed. Douglas
Haynes and Gyan Prakash (Berkeley: U of California P, 1992): 23-61.
2. Fareed Kazmi: “Muslim Socials and the Female Protagonist: Seeing a Dominant Discourse at
Work,” in Forging Identities: Gender, Communities, and the State, ed. Zoya Hasan (New Delhi:
Kali for Women, 1994): 226-243.
3. Vijay Mishra: Bollywood Cinema: A Critical Genealogy.
4. Gayatri Chatterjee: Mother India (London: BFI, 2002).
5. Parama Roy: “Figuring Mother India: The Case of Nargis,” in Indian Traffic: Identities
in Question in Colonial and Postcolonial India (Berkeley: U of California P, 1998): 152-173.
6.Sumita Chakravarty: selection from Chapter 8, “Woman and the Burden of Postcoloniality:
The Courtesan Film Genre,” in National Identity in Indian Popular Cinema 1947-1987 (Austin:
U of Texas P, 1993): 269-293
7. Robert Stam: ‘Revisionist Adaptation: Transtextuality, Cross-Cultural Dialogism, and
Performative Infidelities.’

Texts for Consultation:

1. Robert Stam and Alessandra Raengo: Literature and Film: A Guide to the Theory and
Practice of Film Adaptation, Wiley, 2005
2. Neil Sinyard: Filming Literature: The Art of Screen Adaptation, Routledge, 2013
3. Julie Sanders: Adaptation and Appropriation, Routledge, 2015
4. Brian McFarlane: Novel to Film: An Introduction to the Theory of Adaptation; Clarendon
Press, Oxford, 1996
5.George Bluestone:Novels into Film,University of California Press, 1968
6. Andre Bazin: “Adaptation, or the Cinema as Digest” (1948),inBazin at Work by Bert Cardullo,
Routledge, 1997
7.Douglas M. Lanier: ‘Hamlet: Tragedy and Film Adaptation’ in Michael Neill and David
Schalkwyk (Eds), The Oxford Handbook of Shakespearean Tragedy
8. James Naremore: Film Adaptation
9. Jay Gould Boyum: Double Exposure: Fiction into Film
10. Catherine Belsey:‘Shakespeare and Film: A Question of Perspective.’inShakespeare on Film;
Macmillan New Case Book. Ed. Robert Shaughnessy.
11. Slavoj Zizek(ed): Everything You Always Wanted to Know About Lacan (But Were Afraid to
Ask Hitchcock)
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ELECTIVES

CLUSTER 3

24. Modern European Fiction [EN820401]

25. Modern European Drama [EN820402]

26. Indian Poetics: Theories and Texts [EN820403]

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Semester 4 – Elective Course:

[EN820401] -Modern European Fiction

Total Credits: 3
Total Hours: 25
Weightage:
Course Objectives:
To familiarize the students with the evolution of European fiction over the latter half of the
Nineteenth and early twentieth century
Course Description:
To acquaint the students with some of the major movements that shaped the growth of the
European novel and the makers of European Fiction and to familiarize them with the writings of
major novelists belonging to France, Germany, Russia, Greece, Italy and Austria spanning
movements as varied as Realism, Existentialism, Naturalism and Postmodernism.
Module One:
1.1 Walter Cohen: "Modernism". A History of European Literature. Pp.413-420. Oxford: Oxford
University Press, 2017
1.2 Jerome de Groot: “Postmodernism and the Historical Novel" in The Historical Novel Pp.
109-133. London: Routledge, 2010.
1.3 Joseph Frank: "The Background of Crime and Punishment" in Through the Russian Prism.
PP 122-136. Princeton: Princeton University Press, 1990

Module Two:
2.1 Gustave Flaubert: Madame Bovary
2.2 Fyodor Dostoevsky: Crime and Punishment
2.3 Emile Zola: Nana

Seminar:
2.4Tolstoy: Anna Karenina

Module Three:
3.1 Nikos Kazantsakis: Zorba the Greek
3.2 Patrick Modiano: The Missing Person
3.3 Thomas Mann: Death in Venice

Seminar:
3.4Boris Pasternak: Doctor Zhivago

Module Four:
4.1 Franz Kafka: The Trial
4.2 Albert Camus: The Outsider
4.3 J.M.G. Le Clezio: Desert

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Seminar:
4.4Herman Hesse: The Glass Bead Game

Module Five:
5.1 Italo Calvino: The Invisible Cities
5.2 Gunter Grass: Cat and Mouse
5.3 Primo Levi: If Not Now, When?

Seminar:
5.4Elfriede Jelenik: Lust

Specific Additional Readings:

1. James McFarlane : “The Mind of Modernism” in Modernism: A Guide to European Literature
(Eds) Malcolm Bradbury and James McFarlane, Penguin,1976,(71-94)
2. Umbereto Eco: “On Some Functions of Literature” in Our Literature.2002.(1-15)
3. Italo Calvino: “Literature as a Projection of Desire” in The Uses of Literature, Harcourt Brace,
1986(50-61)

Texts for Consultation:

1. Franco Moretti (Ed): The Novel: Forms and Themes Vol. 2

2. Mario Vargas Llosa: The Perpetual Orgy: Flaubert and Madame Bovary
3. Georg Lukacs: The Theory of the Novel
4. Joseph Frank: Dostoevsky: A Writer in His Time (third and fourth volumes)
5. Mikhail Bakhtin: The Dialogic Imagination
6. Julian Preece: The Life and Work of Gunter Grass
7. Umberto Eco: Six Walks in the Fictional Woods
8. Sigmund Freud: Mourning and Melancholia
9. Primo Levi: The Survival in Auschwitz
10. Beren Lang. (ed): Writing and the Holocaust
11. Dominick La Capra: Writing History, Writing Trauma
12. Jacques Derrida: The Other Heading
13. Georg Lukacs: Studies in European Realism
14. Bill Overton: The Novel of Female Adultery; Love and Gender in Continental European
Fiction, 1830-1900
15. George Steiner: Tolstoy or Dostoevsky
16. Ulrich Beck: The Metamorphosis of the World
17. Ronald Heyman: Doestoevsky
18. Gilles Deleuze: Kafka: Toward a Minor Literature
19. Giorgio Agamben: Remnants of Auschwitz : The Witness and Archive
________________________________________________________________

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Semester 4 – Elective Course:

[EN820402] -Modern European Drama

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
To familiarize the student with modern European Drama in terms of topics, perspectives, and
dramatic literature
.
Course Description:
This paper contains representative works to acquaint the student with the social and cultural
contexts that inform modern European Drama. The conventions of play beginning from the turn
of the century realistic plays to the postmodern experiments are chosen. The paper contains
representative plays of the Realistic, Naturalistic, Modernist, epic theatre, Theatre of the Absurd
and postmodernist theatre. The paper has five modules. The first module consists of introductory
essays on both modernist and postmodernist theatre along with some key terms associated with
it. The teacher and the learner are expected to address these terms while studying the
representative plays. The second, third and fourth modules consist of representative plays of the
various modernist dramatic modes. The fifth Module entirely consists of postmodern plays.
While dealing with them the teacher and the learner are expected to keep in mind the
characteristics of postmodern plays in general. The student is also encouraged to revisit the
ideological foundations of modernism. The student is to be acquainted with how the diversified
movements in post-modernist theatre are informed by the theatre’s increasing propensity to self-
consciousness besides discussing poststructuralist theories and feminist theatre, environmental
theatre, multicultural theatre, performance theories, threat from the cinema and the future of
theatre.

Module 1:
1.1John Fletcher and James McFarlane: “Modernist Drama: Origins and Patterns” in Modernism:
A Guide to European Literature. Eds. Malcolm Bradbury and James McFarlane. Penguin, 1991.
1.2Philip Auslander: “Postmodernism and Performance”. (Pages 97- 115) Published in
Cambridge Guide to Postmodernism. Edited by Steven Connor. Cambridge: Cambridge
University Press, 2004
1.3 Key Terms: Realist Theatre, Naturalist Theatre, Meta theatre, Epic Theatre, Poor Theatre,
Theatre of the Absurd, Theatre of Cruelty and Feminist Theatre

Module 2:
2.1 Henrik Ibsen: A Doll’s House
2.2August Strindberg: Miss Julie
Seminar:
2.3Anton Chekhov: The Cherry Orchard

Module 3:
3.1Luigi Pirandello: Six Characters in Search of an Author

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3.2 Bertolt Brecht: The Life of Galileo

Seminar:
3.3Federico Garcia Lorca: Blood Wedding

Module 4:
4.1Sartre: The Flies
4.2Jean Genet: The Maids
Seminar:
4.3Eugene Ionesco: Rhinoceros

Module 5:
5.1 Heiner Muller: Hamletmachine
5.2Georg Büchner: Woyzeck
Seminar:
5.3Samuel Beckett: Catastrophe

Specific Additional Readings:

1. Catastrophe, in Collected Shorter plays of Samuel Beckett (London: Faber, 1984) 295-301)
2. Beryl S. and John Fletcher, Student's Guide to the Plays of Samuel Beckett 2d ed.(London:
Faber, 1985)
3. Jonathan Kalb, The Theater of Heiner Müller (Cambridge: Cambridge University Press, 1998)
4. David Barnett, Literature versus Theatre. Textual Problems and Theatrical Realization in the
Later Plays of Heiner Müller (Berne: Lang, 1998)
5. A Glossary of Literary Terms 10th (tenth) Edition by Abrams, M.H., Harpham, Geoffrey
published by Cengage Learning (2011)
6. Cambridge Guide to Postmodernism Edited by Steven Connor. Cambridge: Cambridge
University Press, 2004
7. Modernism: A Guide to European Literature. Eds. Malcolm Bradbury and James McFarlane.
Penguin,1991.
8. No Exit and Three Other Plays. By Jean Paul Sartre. NO EXIT (Huis Clos). THE FLIES (Les
Mouches) translated from the French by Stuart Gilbert.

Texts for Consultation:

1. Patrick Campbell (ed): Analysing Performance: Issues and Interpretations. Manchester Univ.
Press, 1996
2. Stephen Watt. Postmodern/Drama: Reading the Contemporary Stage. Ann Arbor: University
of Michigan Press, 1998
3. Martin Esslin :The Theatre of the Absurd
4. Luigi Pirandello: “Preface to Six Characters in Search of an Author”
5. Bertolt Brecht: A Short Organum for the Theatre
6. Keir Elam: Semiotics of Theatre and Drama
7. Dario Fo: Accidental Death of an Anarchist

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8. Max Frisch: The Fire Raisers

9. John Willet: Brecht on Theatre: The Development of an Aesthetic
10. Eric Bentley: The Playwright as Thinker: A Study of Modern Drama in Modern Times
__________________________________________________________________________

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Semester 4 – Elective Course:

[EN820403] – Indian Poetics: Theories and Texts

Total Credits: 3
Total Hours: 25
Weightage:

Objectives:
The aim of the course is to familiarise the students with the major texts of the Indian tradition in
the light of Indian poetic principles.

Course Description:
The eight major schools of Indian Aesthetics are to be introduced. The two cardinal schools viz.
Rasa and dhwani are to be discussed in detail. The students must be familiar with the strong
geopolitics behind Tamil poetics. Texts have to be discussed in the light of the theories.
Questions pertaining to the dominant aesthetic sentiment, the suggestive potential of the
language of the text, and so on need to be raised. Alternative readings have to be encouraged.
Issues like the ideological ramifications of the erotic sentiment as a tool for the containment of
women, the heroic sentiment as a mechanism for authenticating kingship and social stratification,
the distinction of language into Sanskrit for noble men and Prakrit for menial characters and
women, the division of space into domestic and exterior and its significance in the domestication
of women, the significant absence of women (with the possible exception of Avvayyar) etc. are
to be highlighted. Students may be encouraged to read Romila Thapar’s analysis of Shakuntalam
to see the drastic difference in the portrayal of women in the epic and the play. How Sanskrit
became an Orientalist imperial weapon also may be analysed.

MODULE 1:

1.1S.S. Barlingay: “Various Senses of the Word Rasa” (A Modern Interpretation to Indian
Aesthetic Theory. Ch.4 PP.84-102)

1.2K.K. Kunjunni Raja: The Theory of Dhvani (Indian Aesthetics. Ed. V.S. Sethuraman)

1.3 A K Ramanujan:“The Five Landscapes” (Ed. Poems of Love and War 236-43)

MODULE 2:

2.1“Drona Parva” from the Mahabharata

2.2Bhana Bhatta: Kadambari

Seminar:
2.3“Sundara Kanda” from the Ramayana

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MODULE 3:

3.1Kalidasa: Abhijnana Shakuntala (Ed. Romila Thapar)

3.2Sudraka: Mrichakatika (The Little Clay Cart)

Seminar:

3.3Vishakhadatta: Mudrarakshasa

MODULE 4:

4.1Bhasa: Urubhanga

4.2 Jayadeva: “Song to the Melody Gurjari” in Gitagovinda

Seminar:

4.3 Bhavabhuti: Uttararamacharita

MODULE 5:

5.1Ilango Adikal: Chilappatikaram

Seminar:

5.2“Palai” from A. K. Ramanujan (Poems of Love and War)

Texts for Consultation:

1. S K Nandi. Studies in Modern Indian Aesthetics Simla: Indian Institute of Advanced Study,
1975

2. Sudhakar Pandey and V N Jha eds.: Glimpses of Ancient Indian Poetics: From Bharata to
Jagannatha. Delhi: Indian Book Centre, 1993

3. A V Subrahmanian: The Aesthetics of Wonder: New Findings in Sanskrit Alankarasastra

Delhi: Motilal Banarsidas, 1988

4. Kapil Kapoor: Literary Theory: Indian Conceptual Framework. New Delhi: Affiliate East-
West Press, 1998.

5. Sushil Kumar De.: History of Sanskrit Poetics Calcutta: Firma, 1988.

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ELECTIVES

CLUSTER 4

27. English Language Teaching (ELT) [EN830401]

28. Translation Studies [EN830402]

29. Dalit Studies [EN830403]

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Semester 4 – Elective Course:

[EN830401] -English Language Teaching (ELT)

Total Credits: 3
Total Hours: 25
Weightage:
Objectives:

To provide the fundamental techniques of teaching English language

To expose the learner to various theories of ELT from the earliest to the modern

To help them understand the concepts related to second language acquisition and the related
pedagogical issues

To equip them with the methods and means of assessment and evaluation

To create awareness about how the theory can be put to practice in the real classroom activity

Course Description:
The course is divided into five modules. These modules cover the significant areas in ELT and
they provide information about the contemporary theories as relevant to ELT.

Module I [The Basics of ELT]:

Topics

1.1 Imparting the four skills: listening, speaking, reading and writing
1.2 The process of second language acquisition and second language learning: a. Acquisition and
Learning, b. Differences between L1 and L2 acquisition
1.3 Macaulay’s Minute on Education and its impact
1.4 The teaching and learning of English in pre-Independent India
1.5 Developments in the Teaching of English in India
1.6 English and Society in India - Issues in the pedagogy of English in India
1.7 World Englishes
Module 2 [A Historical Overview of the Theories of ELT and Learning Theories]:
Topics:

2.1Basic theories of learning: Connectionist or behaviorist theories and cognitive theories,

Gestalt field or field cognitive type of learning theory.
2.2 General references to theorists such as Edward L. Thorndike, John B. Watson, Evan
Petrovich Pavlov, Burrhus Frederic Skinner, Wolfgang Kohler, Clark L. Hull, Kurt Lewin,
and Robert Gagne
2.3 Differentiating Method, Approach and Technique in ELT
2.4 The Grammar - Translation method

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2.5 The Direct method

2.6 The Audio Lingual Method: The audio-lingual method and the language lab
2.7 Total Physical Response
2.8 The Natural Approach
2.9 The Communicative Approach Psychological framework: the learner and the learning
process Behavioural, Cognitive, structural and Socio cultural approaches toward teaching.
2.10 Communicative Language Teaching and the Bangalore Project
2.11 Task-Based Language Teaching
Seminar:

2.12Importance of ELT theories in Practice

Module 3 [Techniques of Teaching]:

Topics:

3.1 Teaching Vocabulary: Active and Passive vocabularies; Techniques to introduce new words;
Vocabulary expansion
3.2 Teaching spelling: Difficulties and remedies
3.3 Teaching Grammar: Theoretical grammar and pedagogical grammar substitution tables.
3.4 The deductive approach – rule-driven learning
3.5 The inductive approach – the rule-discovery path,
3.6 The functional- notional approach
3.7 Teaching grammar in situational contexts
3.8 Teaching grammar through texts.
3.9 Honing listening skills
3.10 Teaching the techniques of Writing and speaking
3.11 Error correction
3.12 Using a dictionary
Seminar: Incorporating activities from the following books:-

3.13 Scott Thornbury (2001) Uncovering Grammar

http://www.onestopenglish.com/methodology/methodology/methodology-articles/pdf-
content/uncovering-grammar/153825.article

3.14 Ur, P. (2009). Grammar practice activities. Cambridge: Cambridge University Press

Module 4 [Teaching literature in an ELT classroom]:

Topics:

4.1Theoretical Background: Teaching literature in an ELT classroom:

a. Reasons for using literature in the language classroom
b. The importance of response and literature teaching

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4.2Teaching Poetry: Literary Language; Literary competence; Deviant use of Language;

Rhythm, intonation; Pronunciation with the help of phonetic script.

4.3 Teaching Prose: parts of speech, sentence structure, and punctuation. Strategies for
creative writing: Shared writing through exchange of ideas; developing imagination,
establishing context; developing dialogue; using appropriate vocabulary

4.4 Teaching Drama

a. Drama techniques for language learning
b. Using role play for language learning

4.5 Film in language teaching: Improving listening skills, pronunciation, and vocabulary (One
helpful website: http://film-english.com)

4.6 The internet and ELT: impact of the internet on English learning

Seminar:

4.7Teaching prose, poetry and drama in class (practice sessions)

Module 5 [The Process of Evaluation]:

Topics:

5.1 Selection, grading and sequencing of teaching items; Preparation of lesson plans for
teaching English
5.2 Use of audio video aids
5.3 Classroom observation and research; Monitoring learners' progress and giving feedback
5.4 Evaluating classroom tests and other forms of assessment for different purposes; Bloom’s
Taxonomy
5.5 Error analysis and remedial teaching - their significance and rationale.
5.6 Tests and examination; Diagnostic tests and achievement tests
Seminar:

5.7Preparing test materials and assessment charts

Texts for Consultation:

1. J. D. Brown: (1987). Principles of Language Learning and Teaching, Englewood Cliffs,New

Jersey, Prentice-Hall.

2. J. D. Brown: (1995). The Elements of Language Curriculum. Boston, Heinle&Heinle

3. C. J. Brumfit: (1980). Problems and Principles in English Teaching. Oxford, Pergamon

PressLtd.

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4. M. Finocchiaroand C. Brumfit: (1983). The Functional-Notional Approach From Theory

toPractice. Oxford, Oxford University Press

5. T. Hedge: (2000). Teaching and learning in the language classroom. Oxford,

OxfordUniversity Press.

6. T. Hutchison and A. Waters: (1987). English for Specific Purposes. Cambridge

UniversityPress.

7. R. L. Oxford: (1996). Language Learning Strategies Around the World: Cross-

CulturalPerspectives. University of Hawaii, The USA.

8. Jack C. RichardsWilly A. Renandya: (2002) Methodology in language teaching: an anthology

of current practice, Cambridge University Press, New York
9. B. Kumaravadivelu: (2006). Understanding Language Teaching from Method to
Postmethod.New Jersey, Lawrence Erlbaum Associates.

10. J. C. Richards: (2001). Curriculum Development in Language Teaching.

Cambridge,Cambridge University Press.

11. J. C. Richards and T. S. Rodgers: (1986). Approaches and Methods in Language

Teaching.Cambridge, Cambridge University Press.

12. T. M. Silviyanti: (2014). Looking into EFL students’ perceptions in listening by using
English movie videos on YouTube. Studies in English Language and Education, 1(1), 42-58.

13. R. V. White: (1988). The ELT Curriculum. Oxford, Basil Blackwell Ltd.

14. H. G. Widdowson:(1990) Aspects of Language Teaching. Oxford, Oxford University Press.

15. D. A. Wilkins: (1976). Notional syllabuses. Oxford, Oxford University Press.

16. C. Brumfit: (1983). Language teaching projects for the ThirdWorld (ELT Documents 116).
London: Pergamon Press &British Council

17. Peter James:(2001). Teachers in Action: Tasks for in-service Language Teacher Education
And Development. United Kingdom: Cambridge University Press.

18. K -12 Classroom Digital Resources: https://padlet.com/dolajuwon1/gl5rhenz6h0r

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Semester 4 - Elective Course:

[EN830402] -Studying Translations: Aspects and Contexts

Total Credits: 3
Total Hours: 25
Weightage:

Objectives: To familiarize the student to the contextual diversity of ‘translations’, and to

introduce the theoretical/political positions related to Translation Studies.

Course Description: This paper conceives the terrain of Translation Studies both as a global
phenomenon and as a culturally loaded region/subject-specific activity.
Module 1 seeks to familiarize students to certain Global Views on Translation Studies,through
the readings selected fromWalter Benjamin, Susan Bassnet/ Harish Trivedi, and Antoinne
Berman.
Module 2 takes a close look at certain Indian Views on Translation Studies through the works of
A. K. Ramanujan, Sujit Mukherjee, Gayatri Chakravorty Spivak and Rita Kothari.
Module 3 pans the Fictional Terrain: Herein is included Albert Camus’ French work L’étranger
translated by Joseph Laredo as The Outsider and by Stuart Gilbert as The Stranger;C.
Ayyappan’s Malayalam story Prethabhaashanam translated by V. C. Harris as ‘Spectral Speech’
and by Udaya Kumar as ‘Ghost Speech’; Miguel de Cervantes’ Spanish work Don Quixote - A.
The Windmill Episode as translated by Tobias Smollett and Edith Grossman, and B. The
Profound Cave Episode as translated by John Ormsby and Edith Grossman.
Module 4 pans the Poetic Terrain. The selections include Songs of Solomon 1 and 2 in their King
James Version and The New International Version; Pablo Neruda’s ‘Puedo Escribir Los Versos
Mas Tristes Esta Noche’ translated as ‘Tonight I Can Write (The Saddest Lines)’by W. S.
Merwin and as ‘I Can Write the Saddest Verses Tonight’ by Mark Eisner; Faiz Ahmad Faiz’s
Mujh se pehli si mohabbat meri mehboob na maang/ Don't ask me for that love again and
Tanhai/Solitude as differently translated by Victor G Kiernan and Agha Shahid Ali; Edward
Fitzgerald’s and Hans van Rossum’s translationsof Rubáiyát of Omar Khayyám and the Psalms
of David: 22 and 23 in their King James Version and The New International Version.
Module 5 looks at ‘inter-semiotic’ translations/transcreations of ‘Mythic Images’. Firstly, there is
the ‘switched heads trope’ from the Kathasarithasagara as differently worked out by Thomas
Mann and by Girish Karnad. Then there is Kalidasa’s Abhijnanasakuntalam [Sanskrit] as
differently translated by William Jones as Sacontala or The Fatal Ring and by Chandra Rajan as
Kalidasa: The Loom of Time (Abhijnanasakuntalam).

Crucial Note: The primary logic of Modules 3, 4, and 5 is not a summation of the essential core
of these texts. Beyond the content, the aim is to initiate discussions where multiple translations
of the same text or transcreations of a ‘core-motif’ by subsequent writers can be seen in terms of
nuanced divergences; this is tantamount to locating these texts as ‘variants. The examination

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questions will be customized to this very aspect – comparing multiple translations [TL] of a
single text [SL].

Module 1 [Global Views on Translation Studies]:

1.1 Walter Benjamin: ‘The Task of the Translator.’ (Translation Studies Reader pp 15-25)
1.2 Susan Bassnet and Harish Trivedi: ‘Introduction: Of Colonies, Cannibals and Vernaculars.’
(pp 1 - 18 in Postcolonial Translation: Theory and Practice.
1.3 Antoinne Berman: ‘Translation and the Trials of the Foreign.’ in Lawrence Venuti (ed.), The
Translation Studies Reader. London: Routledge. pp. 284 - 297.

Module 2 [Indian Views on Translation Studies]:

2.1 A. K. Ramanujan: ‘Three Hundred Ramayanas: Five Examples and Three Thoughts on
Translation.’ (pp. 131 - 160 in The Collected Essays of A K Ramanujan)
2.2 Sujit Mukherjee: ‘Translation as Discovery’ (pp. 139-150 in Translation as Discovery)
2.3 Gayatri Chakravorty Spivak: ‘The Politics of Translation.’ in Lawrence Venuti (ed.), The
Translation Studies Reader. London: Routledge. pp. 397- 416
Seminar:
2.4Rita Kothari, “Cast(e) in a Caste-less language: English as a Language of ‘Dalit’ Expression”.
EPW Vol.48, Issue No. 39, 28 Sep, 2013

Module 3 [The Fictional Terrain]:

3.1 Albert Camus: L’étranger [French]
- The Outsider Trans. Joseph Laredo &The Stranger Trans. Stuart Gilbert.
3.2 C. Ayyappan: Prethabhaashanam [Malayalam]
-‘Spectral Speech’ Trans. V. C. Harris & ‘Ghost Speech’ Trans. Udaya Kumar
Seminar:
3.3Miguel de Cervantes: Don Quixote [Spanish]
A. The Windmill Episode
[Part 1: Chapter 8: Of the good fortune which the valiant Don Quixote had in the terrible and
undreamt-of adventure of the windmills, with other occurrences worthy to be fitly recorded]
- Tobias Smollett’s translation & Edith Grossman’s translation
B. The Profound Cave Episode
[Part 2: Chapter 23: Of the wonderful things the incomparable Don Quixote said he saw in the
profound cave of Montesinos, the impossibility and magnitude of which cause this adventure to
be deemed apocryphal.]
- John Ormsby’s translation & Edith Grossman’s translation

Module 4 [The Poetic Terrain]:

4.1 Songs of Solomon: 1[The Song of Songs, which is Solomon’s. Let him kiss me with the
kisses of his mouth…] & 2 [I am the rose of Sharon, and the lily of the valleys.]
- King James Version & The New International Version
4.2Pablo Neruda: [Spanish] Puedo Escribir Los Versos Mas Tristes Esta Noche…

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- ‘Tonight I Can Write (The Saddest Lines)’ – Trans. W. S. Merwin & ‘I Can Write the Saddest
Verses Tonight’ - Trans. Mark Eisner
4.3Faiz Ahmad Faiz: [Urdu]
A. Mujh se pehli si mohabbat meri mehboob na maang/ Don't ask me for that love again
B. Tanhai/Solitude
- Victor G Kiernan’s translation & Agha Shahid Ali’s translation
Seminar:
4.4Rubáiyát of Omar Khayyám: [Persian]
- Edward Fitzgerald’s translation & Hans van Rossum’s translation
4.5 Psalms of David: 22[My God, my God, why have you rejected me?]& 23 [The Lord is my
shepherd; I have everything I need]
- King James Version & The New International Version

Module 5 [Translating ‘Mythic Images’]:

5.1 Hermann Hesse: The Transposed Heads [German]
5.2 Girish Karnad: Hayavadana [Kannada/English]
Seminar:
5.3Kalidasa: Abhijnanasakuntalam [Sanskrit]
[Act III: The Love-making (Scene –The Hermitage in a Grove)]
- Sir William Jones: Sacontala or The Fatal Ring& Chandra Rajan’s Kalidasa: The Loom of
Time (Abhijnanasakuntalam). New Delhi: Penguin, 1989.

Specific Additional Readings:

1. Romila Thapar: Sakuntala – Texts, Readings, Histories
2. Harvansh Rai Bachan: Madhusala: The House of Wine
3. Erik Gray: Fitzgerald and the Rubáiyát, In and Out of Time
4. Pratibha Umashankar: ‘Thomas Mann and Girish Karnad’
5. Anand Mahadevan: ‘Switching Heads and Cultures: Transformation of an Indian Myth by
Thomas Mann and Girish Karnad.’, Comparative Literature, Vol. 54, No. 1 (Winter, 2002)
6. Mini Chandran: NPTEL Course: Introduction to Translation Studies – Lecture 18
[Postcolonial Translation]
7. Elena Di Giovanni: Translation as Craft, as Recovery, as the Life and Afterlife of a Text: Sujit
Mukherjee on Translation in India
8. Gleanings from Haritham: edited and published by School of Letters, M.G. University/DC
Books: 2001
Texts for Consultation:
1. Sujit Mukherjee: “Translation as New Writing” in Translation as Recovery, New Delhi:
Pencraft, 2004.
2. Sujit Mukherjee: Translation as Discovery: Orient Longman: 2006
3. Brinda Bose: “The Most Intimate Act: The Politics of Gender, Culture and Translation”.
Translating Desire: The Politics of Gender and Culture in India. New Delhi: Katha, 2002.

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4. Susan Basnett: “From Comparative Literature to Translation Studies”, chapter 7 of

Comparative Literature: A Critical Introduction, Blackwell, Oxford, 1993.
5. Susan Bassnett: Translation Studies. London and New York: Methuen, 1991.
6. Susan Bassnett: Translation Studies: Routledge: 2000
7. Susan Bassnett and Harish Trivedi (eds): Post-Colonial Translation: Theory and Practice:
Routledge:2000
8. Jeremy Munday: Introducing Translation Studies: Routledge: 2003
9. Lawrence Venuti (ed): The Translation Studies Reader: Routledge: 2000
10. Susie Tharu and K. Satyanarayana (eds): No Alphabet in Sight: New Dalit Writings From
South India: Penguin Books India: 2011
11. Vinay Dharwadkar (ed): The Collected Essays of A K Ramanujan: Oxford University Press:
2004
12. Edith Grossman: Why Translation Matters: Orient Blackswan: 2011
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Semester 4 - Elective Course:

[EN830403] -Dalit Studies
Total Credits: 3
Total Hours: 25
Weightage:
Objectives:To familiarize the student with the development, intent and contents of Dalit
Literature and aesthetics from different regions of India.
Course Description: Most of the selections are translations into English from regional
languages. Hence, we have Dalitwritings from Marathi, Punjabi, Gujarati, Telugu, Kannada,
Tamil, and Malayalam. An attempt has been made to expose readers to the richness of Dalit
Literature. With these criteria in mind the selected texts span from the period of colonial
modernity through nationalist movement, independence, liberaldemocracy, cultural nationalism
and globalization. An interrogation of ‘brahmanical culture’, anassertion of equality and human
rights, an impulse to transcend the centre-margin dichotomy, and anaspiration for dignity and
political power run through these Dalit writings.
Module I [Conceptual]:
1.1B.R.Ambedkar: Speech at Mahad (Poisoned Bread, p.223-233)
1.2SaratchandraMuktibodh: What is Dalit Literature? (Poisoned Bread, p. 267-270)
1.3T.M. Yesudasan: “Towards a Prologue to Dalit Studies” in No Alphabet in Sight.

Module 2 [Poetry]:
2.1PoikayilAppachan: About my race (Oxford India Anthology of Malayalam Dalit Writing,
p.5)
2.2ArunKamble: Which Language should I Speak? (Poisoned Bread, p.54) (Marathi)
2.3JayantParmar: Manu (Indian Literature, 159, Jan-Feb 1994) (Gujarati)
2.4ManjitQuadar: A Song (Indian Literature, 185, May-June 1998) (Punjabi)
2.5BabuMasilamani: My Literature(Muse India Issue 9)(Tamil)
2.6Sukirtharani: Infant Language(Wild Girls Wicked Words) (Tamil)
2.7ChallapalliSwaroopa Rani: Prohibited History (Indian Literature) (Telugu)
2.8Mathiavannan: In the Beginning there was Hatred (No Alphabet in Sight, p.220-221) (Tamil)
2.9M. B. Manoj: The Children of the Forest Talk to Yesu, (No Alphabet in Sight, p.529-530)
2.10S Joseph: My Sister’s Bible
2.11M.R.Renukumar: Unfinished Thirties (No Alphabet in Sight, P.577-578)
Seminar:
2.12Sunny Kavikkad: Naked Truths(No Alphabet in Sight, p 487-488)

Module 3 [Short Fiction]:

3.1ArjunDangle: Promotion(Poisoned Bread, p.191-196) (Marathi)
3.2T.K.C. Vaduthala: Sweet-offering at Chankranthy (Oxford India Anthology of Malayalam
DalitWriting, p.53-61)
3.3JoopakaSubhadra: Friends in School. Different Tales. DC Books.(Telugu)

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3.4BaburaoBagul: Mother(Poisoned Bread p 183-190)

3.5DevanooraMahadeva: Tar Comes (91-98) (Kannada)
3.6AzhagiyaPeriyavan: Stench (No Alphabet in Sight, p.232-237) (Tamil)
3.7AnnabhauSathe, Gold from the Grave(Homeless in My Land: Translations from Modern
Marathi Dalit Short Stories p 64-70)
Seminar:
3.8Harish Mangalam:The Midwife.(Indian Literature,Volume 37,1994 pp. 65-68)

Module 4 [Plays and Movies]:

4.1A SanthaKumar: Dream Hunt(Oxford India Anthology of Malyalam Dalit Writing, pp 169-
179)
4.2M.M Vinodini: Thirst
4.3NagarajManjule’s movieFandry (2013)
Seminar:
4.4M. Sajitha: Matsyagandhi

Module 5 [Life Writings]:

5.1P. Sivakami: The Grip of Change
5.2Bama: Karukku
5.3Joseph Macwan: The Step Child
Seminar:
5.4Gunasekaran K.A.:The Scar. (Trans. from Tamil by V. Kadambari)

Texts for Consultation:

1. Kalyanarao, G. Untouchable Spring. Chennai: OrientBlackswan, 2010.
2. Baby Kamble.The Prisons We Broke. Orient Longman,2008.
3. Ravikumar&Azhagarasan. The Oxford India Anthology of Tamil Dalit Writing. OUP,2012.
4. SharankumarLimbale.Towards an Aesthetic of Dalit Literature.Orient Longman,2004.
5. KanchaIllaiah. Why I am not a Hindu: A Sudra Critique of Hindutva Philosophy, Culture and
Political Economy.Samya, 2009.
6. D. R. Nagaraj.The Flaming Feet and Other Essays: The Dalit Movement in India.Permanent
Black, 2010.
7. SharmilaRege.Writing Caste/Writing Gender: Narrating Dalit Women’s Testimonios.Zubaan,
2006.
8. Gail Omvedt.Dalit Visions, Tracts for the Times/8, Orient Longman.
9. LataMurugkar.Dalit Panther Movement in Maharashtra: A Sociological Appraisal,
PopularPrakashan, 1991.
10. K.Satyanarayana and Susie Tharu, The Exercise of Freedom: An Introduction to Dalit
Studies.Navayana,2013.
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1. MODEL QUESTION PAPERS

Question Paper Pattern:

I. Short Answer Questions – [Weightage 2] – 1 page answer – 4 out of 7
II. Medium Answer Questions – [Weightage 3] – 3 page answer – 4 out of 7
III. Essay Questions – [Weightage 5] – 5 page answer – 2 out of 4

2. FORMAT OF AWARDS TO BE ISSUED TO STUDENTS

10.1 GRADE CARDS/ MARK CUM GRADE CARDS FOR EACH SEMESTER
10.2 CONSOLIDATED GRADE CARD
10.3 PROVISIONAL CERTIFICATE
10.4 DEGREE CERTIFICATE

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