Syllabus for

Academic Year  (2024)

Objectives:

·         To introduce students to few key terms of colonialism and postcolonialism

·         To enable close reading of texts in their socio/political/cultural contexts, specifically colonisation

·         To make students use critical vocabulary of the critical framework while discussing and writing

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

Terms chosen will introduce the key issues of colonialism and postcolonial literatures as a foundation to the rest of the paper. The reference text is Key Concepts in Post-Colonial Studies, Bill Ashcroft, Gareth Griffiths and Helen Tiffin, will offer focus to the discussions.

·         Centre/margin

·         Colonialism/imperialism

·         Decolonisation

·         Mimicry/hybridity

·         Post-colonialism/postcolonialism 

Savage/civilised

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

The poems chosen are response to colonisation from America, Srilanka, England, Canada  and Caribbean. The selection aims at introducing the resistance to colonisation articulated by indigenous community, Anglo-French community and the migrant slaves.

·         A Lament for Confederation - Chief Dan George 

·         I Lost My Talk - Rita Joe

·         The Dodo – Hilaire Belloc

·         Buffalo Dusk – Carl Sandburg

·       Zong - Nourbese Philip

·       The Sea is History – Derek Walcott

·     

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Novel is one of the major genres borrowed from the West and appropriated to narrate the nation. This module aims to introduce the form and the process in the Indian context.   

The team will discuss and select from the following texts. 

·       The Coming be the Christ Child -  Bessie Head

·       Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·       My Son, the Fanatic – Hanif Kureishi

·       Doris Lessing - Grass is Singing

·       Michael Oondatje - Running in the family

·       Naipaul - House for Mr Biswas or Miguel Street

·       Jamaica Kincaid - Lucy or A Small Place 

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Postcolonial short story is one genre that has articulated thoughts of resistance very effectively. This module introduces conventional short story, autobiographical narrative – one of the major forms of fiction to students.

·         The Coming be the Christ Child -  Bessie Head

·         Is There Nowhere Else Where We Can Meet? – Nadine Gordimer

·         My Son, the Fanatic – Hanif Kureishi

Adam, Ian. "Oracy and Literacy: A Postcolonial Dilemma?" The Journal of Commonwealth Literature 31.1 (1996): 97-109.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. A class test based on the text
2. A movie review
3. A book review           

For CIA III, the students can be asked

1. To prepare group presentations on topics relevant to postcolonial literature
2. To put up an exhibition/display of the literature/paintings/other art productions of the formerly colonized countries.

These are a few ideas, however, during the course of teaching, there could be other suggestions, and CIA’s could be slightly modified.

Mid Semester Exam Question Paper Pattern (50 Marks)

End Semester Exam Question Paper Pattern (100 Marks)

This paper introduces students to key themes and concerns in Indian Literatures. This is a survey course that serves as an introduction to main issues and concepts in Indian Literatures. The paper is a mix of traditional as well as contemporary literatures written both in English as well as other regional languages translated into English.

Objectives

• To understand the complexities of cultural, economic, political and social forces and their impact on the production of literatures in India of different classes and backgrounds
• To understand the religious, caste, gender, colonial, national constructs in India through its literatures and thereby develop sensitivity and add to the core value of love for fellow beings
• To become aware of methods interpreting literary texts in the contemporary context  

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context. 

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

This module will introduce students to the category of Indian Literatures, its survey of different aspects of the body of writing as well as a critical understanding of the knowledge systems indigenous to India.

• P P Raveendran: “Genealogies of Indian Literatures”, Economic and Political Weekly (June 24, 2006)
• Amitav Ghosh: “Ghost of Mrs Gandhi”
• Excerts from Argumentative Indian by Amartya Sen

Unit II: Poetry                                                                                               15 Hrs

This module surveys select poetry from contemporary India. It surveys cities, people and ideas like faith and non-violence located within the Indian context.

• K Satchidanandan “A Man with a Door”
• Mirza Ghalib “Be Merciful and Send for Me”
• Bonsai God by Temsula Ao
• Basavanna Vachana “Cripple me, father”/ Akkamahadevi’s “Akka Kelavva”
• Sangam Poetry Ilam Peruvatuti “This World Lives Because”

·         Rukmini Bhaiyya Nayar "Gender Role"  

·         Jayanta Mahapatra"Hunger"

Unit III: Play                                                                                                  13 Hrs

This module introduces students to caste and its underpinnings through a translated Dalit Drama by Vinodini. It will also introduce the Subaltern as a conceptual category and interrogate questions of caste within gender, class and other hierarchic strcutures.                                                                                                  

Daaham (Thirst) – Vinodini

Unit IV: Short stories                                                                                     12 Hrs

This selection of short stories introduces students to a variety of readings about the nation, partition, women and their social roles as well as resistance to established traditions.

Pudumaipitthan “Deliverance from Curse’’

Ambai: “A Kitchen in the Corner of a House”

Saadat Hasan Manto: “Dog of Tithwal”

A K Ramanujan's Annayya's Anthropology

Urvashi Butalia: “Blood” 

Unit V: Novel and Graphic Novel                                                                15 Hrs

This section introduces the novel form or the graphic novel as appropriated in the Indian context. The module will aim to familiazrize students to Indian writing in English and bring forth important questions with regard to English and India apart from discussing the thematic concerns in the text. Any one of the novels may be taken to class. Understanding ‘India’ in the contemporary context through the form of the novel will be the focus of this module. A thematic reading of the novel will also be done in class. (One of the two novels could be considered).

• Arundati Roy, The God of Small Things

or

• Chetan Bhagat: Five Point Someone

• Sarnath Banerjee Corridor

Studies in Culture and Translation. Vol. 2 ‘Translating Caste’Basu, Tapan. Katha, 2002. New Delhi.

Das, Kamala. The Sandal Trees and Other Stories. Disha Books. 1995, New Delhi.

Fresh Fictions, Folk Tales, Plays and Novellas from the North East. Katha. New    Delhi, 2005

Indian Short Stories. 1900-2000. Ramakrishnan, E.V. (ed). Sahithya Academy New Delhi, 2003.

Indian Literature, Sahithya Academy, bi-monthly journal. Vol.167, New Delhi, 1995.

Indian Literature, Sahithya Academy, bi-monthly journal. Vol .168, New Delhi, 1995.

Indian Literature, Sahithya Academy, bi-monthly journal. Vol.169, New Delhi, 1995.

Journal of Literature and Aesthetics. Vol.7, Numbers1 & 2 Jan- Dec.2007.Kollam, 2008.

Nandy, Ashis. The Intimate Enemy, New Delhi: O.U.P. 1989.

Short Fiction from South India, Krishna Swami, Subasree. Sreelatha.K (ed), New Delhi: Oxford University Press, 2008.

Stuart Blackburn and Vasudha Dalmia (ed). India’s Literary History. Essays on the Nineteenth Century. New Delhi: Permanent Black, 2008.

Tendulkar, Vijay. Five Plays. Bombay: 1992.OUP. 2007, New Delhi.

Tamil Poetry Today, K.S. Subramanian (ed). International Institute for Tamil Studies, Chennai 2007. 

• Comparative Study of the issues of any one prescribed piece with another one piece from any Indian language
• Written assignment on any of the typical Indian issues discussed as part of the syllabus.        

CIA III

• could be a Translation Assignment of any contemporary literary work

(Poems or Short Stories).

• written assignment on any prescribed piece bringing out the problems of translation
• If the students do not know how to read a regional language, they can listen to a story/poem from the oral tradition and translate that.
• Some students might not have the linguistic competence to translate then, they can learn a folk art form/gather some folk, oral narratives, recipes, sports and analyze them.

·         To provide a deeper understanding of theoretical knowledge.

·          To explore advanced options of learning in the chosen field.

Sthayi bhava - the predominant emotions of the human mind, sanchari bhava - transitory emotions, saatvika bhava - emotions of the human mind.

According to Nandikeshwara's Abhinaya Darpanam, there are 9 fundamental emotions a dancer/actor must deal with. They are: Shringaara, Veera, Karuna, Adhbutha, Haasya, Bhayanaka, Bheebatsya, Roudra, Shantha.

Navarasa according to Sangitaratnakara

The eight types of heroines in dance and drama according to Natyashastra.

The four types of heroes in dance and drama according to Natyashastra.

-          Ramayana & Mahabarata

Meaning, technical terms, basic movements and working with the body.

The saptha talas and the 35 variant talas according to Carnatic Music.

 Theoritical understandibg of the basic steps of the Kuchipudi dance style. 

1.      Lal, A., & Dasgupta, C. (1995). Rasa: the Indian performing arts in the last twenty-five years. Calcutta: Anamika Kala Sangam, research and publ.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Prativadi, P. (2017). Rasas in Bharatanatyam: first in a series on Indian aesthetics and Bharatanatyam. Boston, Mass.: Create Space Independent Publishing Platform.

5.      Vaidyanathan, S. (1984). The science of Bharata Natyam. New Delhi: Communication Consultants.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag .

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

8.      Rajagopalachari, C., & V. (2010). Ramayana. Mumbai: Published by P.V. Sankarankutty, Additional Registrar, for the Bharatiya Vidya Bhavan.

9.      Rajagopalachari, C. (1967). Mahabharatha.

Recommended Reading:

1.      Lal, A., & Dasgupta, C. (1995). Rasa: the Indian performing arts in the last twenty-five years. Calcutta: Anamika Kala Sangam, research and publ.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Prativadi, P. (2017). Rasas in Bharatanatyam: first in a series on Indian aesthetics and Bharatanatyam. Boston, Mass.: Create Space Independent Publishing Platform.

5.      Vaidyanathan, S. (1984). The science of Bharata Natyam. New Delhi: Communication Consultants.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag .

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

8.      Rajagopalachari, C., & V. (2010). Ramayana. Mumbai: Published by P.V. Sankarankutty, Additional Registrar, for the Bharatiya Vidya Bhavan.

9.      Rajagopalachari, C. (1967). Mahabharatha.

Examination and Assessment:

1. CIA I – Written assignment

Written assignment from the portions covered in class.

2. CIA II – Mid Semester Examinations

Theory: 5 questions to be answered out of 6.

3. CIA III – Written assignment

Written assignment from the portions covered in class.

4. End Semester Examinations

The theory paper from this semester onwards will be of 100 marks where 5 questions to be answered out of 7, each carrying 20 marks.

Objectives: This course aims at providing theoretical knowledge and deeper understanding of the different forms and structures of Carnatic Music.

·        

·         To explore advanced options of learning in the chosen field.

1.  Raga alapana

2. Tanam

3. Niraval

4. kalpanaiswaram

5. Pallavi exposition

1. Violin                                                                                                                                 

2. Flute

3. Nagaswaram

4. Gottuvadyam

The central seats of music like Madras, Tanjore, and Mysore and their importance.

·

1.      Thodi

2.      Abhogi

3.      Kharaharapriya

4.      Saveri

5.      Bhairavi

·

·         Musical sound

·         Pitch

·         Intensity

·         Timbre

·         Sympathetic vibration

·         Resonance

·         Echoes

- Definition and brief description of each.

·        

·         Patnam Subrahmanya Iyyer

·         Papanasam Sivan

-Story of the opera ‘Prahalada Bhakti Vijayam’, its kritis, ragas and talas used in it.

Recommended Reading:

1.      Leela, S. V. (2012). Indian music series. Chennai: The Karnatic Music Book Centre.

2.      Leela, S. V. (1980). Indian music series. Madras: Minerva Publ. House.

3.      Sambamoorthy, P. (1960). South Indian music. Madras: Indian Music Pub. House.

4.      A dictionary of South Indian music and musicians. (1971). Madras: Indian Music Publishing House.

5.      Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation

6.      Brochure on musical instruments. (1982). Madras: Office of the Development Commissioner (Handicrafts).

Recommended Reading:

1.      Leela, S. V. (2012). Indian music series. Chennai: The Karnatic Music Book Centre.

2.      Leela, S. V. (1980). Indian music series. Madras: Minerva Publ. House.

3.      Sambamoorthy, P. (1960). South Indian music. Madras: Indian Music Pub. House.

4.      A dictionary of South Indian music and musicians. (1971). Madras: Indian Music Publishing House.

5.      Rao, B. D. (1995). Carnatic music composers: a collection of biographical essays. Hyderabad: Triveni Foundation

6.      Brochure on musical instruments. (1982). Madras: Office of the Development Commissioner (Handicrafts).

Examination and Assessment:

1. CIA I – Written assignment

Written assignment from the portions covered in class.

2. CIA II – Mid Semester Examinations

Theory: 5 questions to be answered out of 6.

3. CIA III – Written assignment

Written assignment from the portions covered in class.

4. End Semester Examinations

The theory paper from this semester onwards will be of 100 marks where objective and discriptive types of questions to be answered with choices.

This course provides an in-depth exploration of the history, development, and key elements of theatrical performance in the Western world. From ancient Greek tragedies to contemporary productions. This course examines the evolution of Western theatre, focusing on influential playwrights, genres, styles, and significant theatrical movements. Through engaging lectures, discussions, and analysis of seminal plays, students will gain a comprehensive understanding of the cultural, social, and artistic contexts that shaped Western theatre. The course also delves into the technical aspects of theatre, including staging, set design, acting techniques, and the collaborative nature of production. By the end of the course, students will have developed a foundation in Western theatre history and an appreciation for the art form's enduring impact on society.

This unit will embark on ancient Greek drama's rich history and artistic brilliance. Exploring the works of renowned playwrights such as Aeschylus, Sophocles, and Euripides, we will delve into Greek tragedies and comedies' origins, structure, and thematic elements. Through an in-depth analysis of famous plays like "Oedipus Rex" and "Antigone," we will examine the influence of Greek society, religion, and mythology on theatrical expressions. This unit will further explore the Greek theatre's cultural significance and enduring legacy, paving the way for further exploration of classical drama.

Different styles and performance spaces.

Proscenium, Thrust, Arena, Immersive and Intimate.

Voice, vocal warm-ups, voice theory and influence on practice.

Movement principles. Motoric and Sensoric. 

Method Acting and its evolution.

Influence of Stanislavski in America.

Exploring the Group Theatre.

Shakespeare's style of writing, directing and acting.

Textual analysis.

Exploring the shakespearean texts.

Understanding realism and melodrama

Reading Chekhov

Importance of etudes.

Wickham, G (1992). A History of the Theatre. Phaidon Press Limited.

Zarrilli, P. B., McConachie, B., Sorgenfrei, C. F., & Williams, G. J. (2006). Theatre Histories: An Introduction. Routledge.

Ladousse, G. P. (1991). Role play. ELBS with Oxford University Press.

Shakespeare, W. (1905). Complete works. Oxford University Press.

Practical examination based on the topics covered in the class

CIA - II

Mid-Semester Examination

Theory Examination: Five questions to be answered out of Six question

CIA - III

Performance presentation based on the topics covered in the class

End Semester Examination

Theory Examination of 100 marks

The paper aims to explore the various forms and types of performances in Classical Dance.

• To provide a deeper understanding of practical aspects.
• To explore advanced options of learning in the chosen field.

Meaning, concept of choreography, composer, sahityam, jathis and their notations

Meaning of the Varnam, understanding choreography, jathi recitation and abhinaya excerpts.

Sahityam, composer, nayika

Tatkar, Palta, Amad, Tukdha, Hastak.and Thihai in Teentaal

 Basic adavus of Kuchipudi dance form

1.      Sarabhai, M. (2007). Understanding Bharata natyam. Ahmedabad: Darpana Academy of Performing Arts.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Laghu Bharatam. (1999). Madras: Shree Bharatalaya.

5.      Vaidyanathan, S., Seth, V. K., & Bajpai, G. (1996). Bharatanatyam: an in-depth study. New Delhi: Ganesa Natyalaya.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag.

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

Recommended Reading:

1.      Sarabhai, M. (2007). Understanding Bharata natyam. Ahmedabad: Darpana Academy of Performing Arts.

2.      N., & Ghosh, M. (1975). Nandikesvaras Abhinayadarpaṇam: a manual of gesture and posture used in ancient Indian dance and drama; English translation and notes together with the text. Calcutta: Manisha Granthalaya.

3.      Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

4.      Laghu Bharatam. (1999). Madras: Shree Bharatalaya.

5.      Vaidyanathan, S., Seth, V. K., & Bajpai, G. (1996). Bharatanatyam: an in-depth study. New Delhi: Ganesa Natyalaya.

6.      Unni, N. P. (1998). Nāṭyaśāstra: text with introduction, English translation and indices. Delhi: Nag.

7.      Muni, B., & Ghosh, M. (1956). Natyasastra. Calcutta: Manisha Granthalaya.

The end semester examination for this paper will be a practical exam of 100 marks that will have two components of performance and viva.

The paper aims to explore the various forms and types of Kalpitha Sangeetham including Pancharatna keerthanas, Swarajathi of  Shyamasastri, and basics of manodharma sangeetham.

Adi tala varnas in two speeds.

One Krithi from each section

Composition of Navagraha krithi of Muthuswami Deekshithar or Navaratri krithi of Swathi Tirunal.

Study of swara and sahityam(Bhairavi Ragam)

Shankarabharanam

Thodi

Mohanam

Saveri

Hindolam

Kharaharapriya

Simhendramadhyamam

Arabhi

Amruthavarshini

Raga alapana for any two above mentioned ragas.(From Unit 4)

One song of any composer

1. S., P. I. (1982). Gānāmrutha bōdhini: sangeetha bala padam. Mylapore, Madras: Ganamrutha Prachuram.
2. VARNASAGARAM: 415 Tana, Pada, Cauka, Ragamalika and Daru Varnas. (2006). Adayar, Chennai: Ganamandir Publications.
3. T., & Bhagyalekshmy, S. (2004). Compositions of Tyagaraja: notation of select popular kritis of Tyagaraja. Nagercoil, S. India: CBH Publications.
4. Parthasarathy, T. S. (1976). The Musical heritage of Sri Muthuswami Dikshitar. Bombay: Indian Musicological Society.
5. Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.
6. Śāstrī, S. (1979). Shyama Sastrys compositions. Madras: Vidya Shankar.

1. S., P. I. (1982). Gānāmrutha bōdhini: sangeetha bala padam. Mylapore, Madras: Ganamrutha Prachuram.
2. VARNASAGARAM: 415 Tana, Pada, Cauka, Ragamalika and Daru Varnas. (2006). Adayar, Chennai: Ganamandir Publications.
3. T., & Bhagyalekshmy, S. (2004). Compositions of Tyagaraja: notation of select popular kritis of Tyagaraja. Nagercoil, S. India: CBH Publications.
4. Parthasarathy, T. S. (1976). The Musical heritage of Sri Muthuswami Dikshitar. Bombay: Indian Musicological Society.
5. Sambamoorthy, P. (1958). South Indian music. Madras: Indian Music Pub. House.
6. Śāstrī, S. (1979). Shyama Sastrys compositions. Madras: Vidya Shankar.

Examination and Assessment:

The end semester examination for this paper will be a practical exam of 100 marks that will have two components of performance and viva.

The paper aims to explore the various forms and types of applied theatre.

• To provide a deeper understanding of practical aspects.
• To explore advanced options of learning in the chosen field.

Reading plays is crucial to the practical advancement of the course applicants.

Exploring the digital and online space for material released.

Online plays.

Immersive Online theatrical experiences.

Theatre skills beyond the norm.

Understanding the deviation from the normative application of theatre.

Simon, E. (2004). Masking Unmasked: Four Approaches to Basic Acting. Palgrave Macmillan Limited.

A. M. R. (Ed.). (n.d.) (1970). Indian puppets. Marg.

Simon, E. (2009). Art of Clowning. Palgrave Macmillan.

Simon, E. (2004). Masking Unmasked: Four Approaches to Basic Acting. Palgrave Macmillan Limited.

A. M. R. (Ed.). (n.d.) (1970). Indian puppets. Marg.

Simon, E. (2009). Art of Clowning. Palgrave Macmillan.

Following are the objectives of the internship:

·         To enable students to get exposure to the field of interest

·         To give an opportunity for the students to get a practical experience in their field of interest.

·         To strengthen the curriculum based on the internship feedback wherever relevant

·         To help students choose their career through practical experience.

PEP students have to undertake an internship of not less than 26 working days in any performing arts or fine arts institution or any other approved by the programme coordinator.

The internship is to be undertaken after the completion of the second semester. The internship is a mandatory requirement for the completion of the PEP course. The students will have to give an internship proposal with the following details: organization where the student proposes to do the internship, reasons for the choice, nature of the internship, period of internship, relevant permission letters, name of the mentor in the organization and their contact details with whom Christ University could communicate matters related to internship. Typed proposals will have to be given at least a month before the end of the second semester.

The HOD will assign faculty members from the department as guides at least two weeks before the end of the second semester. The students will have to be in touch with the guides during the internship period either through personal meeting, over the phone or through emails.

At the place of internship, the students are advised to be in constant touch with their mentors. At the end of the required period of internship, the candidates will submit a report in not less than 1500 words. The reports should be submitted within the first month after the commencement of the third semester.

The evaluation criteria will be as follows:

Report – 75 (job done and learning outcome – 40, regularity – 15, language – 10, adherence to format – 10)

Report presentation – 25 (clarity – 10, effectiveness – 10, impression -5)

The abnormal psychology course aims to sensitize the students about the existence of abnormal behaviour in order to develop greater social responsibility. The course coupled with the social psychology course of the previous semester and other courses from sociology, specifically with regard to social problems, would create a holistic understanding of the individual and their society. Further, the course would enable the student to develop a cultural understanding of abnormal behaviour within the Indian context and specifically to Bangalore. In Bangalore, there is a noticeable increase in the mental health issues faced by the population and the need for mental health practitioners who understand the difference between abnormal behaviour and distressing behaviour is a major requirement and the course would be the first step towards that direction. This course has been conceptualized in order to help the students develop an understanding of the historical development of the study of abnormal behaviour.  The specific course aim is to create an understanding of the criteria and perspectives in abnormal behaviour, common classification systems, and range of disorders including anxiety disorders, mood disorders, schizophrenia, somatic symptom disorders generally observed at childhood and adolescence, and personality disorders. 

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Defining Abnormal Behaviour, Criteria of Abnormal Behaviour, Brief Mention of DSM 5 and ICD 10 classification systems, Causes of Abnormal Behaviour – Necessary, Predisposing, Precipitating and Reinforcing Causes.

Psychoanalytic (only Freud), Behaviouristic, Cognitive - Behavioral, Humanistic, Interpersonal Perspectives (Student Effort Hours

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Intellectual disability - Definition, Levels of MR, Clinical Types and Causal Factors;

Autism spectrum disorders - Clinical Picture and Causal Factors;

Specific Learning disorder - Clinical Picture and Causal Factors; Attention-Deficit/Hyperactivity Disorder (Student Effort Hours)

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Brief Description: Panic Disorder, Generalized Anxiety Disorder, Phobic Disorder with Causal Factors.

Somatic symptom disorder, Functional neurological symptom disorder with Symptoms and Causal Factors.

Illness anxiety disorder (Student Effort Hours) 

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Cyclothymic Disorder, Bipolar I Disorder, Bipolar II Disorder.

Dysthymic Disorder, Major Depressive Disorder with Psychosocial Causal Factors.

Schizophrenia: Meaning, Clinical Picture.

Psychosocial Causal Factors (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Introduction - Clinical Features and Brief Descriptions of Cluster A, B, and C Personality Disorders with Psychosocial Causal Factors.

Gender dysphoria in children and gender dysphoria in adults (Student Effort Hours)

Butcher, J.N, Mineka, S. & Hooley, J.M (2016). Abnormal Psychology. 16th Edition. Pearson Education

Kring, A. M., Davison, G. C., Neale, J. M., & Johnson, S. L. (2012). Abnormal psychology (12th ed.). John Wiley & Sons Inc.

World Health Organization (2004). ICD-10: International statistical classification of diseases and related health problems (10th Rev. ed.). 

Nevid, J. S., Rathus, S. A., & Greene, B. (2018). Abnormal psychology in a changing world. 10th ed. Prentice-Hall.World Health Organization. 

 This course will give students an insight into topics that provide a foundation for therapeutic interventions. Topics covered include, understanding the concept of psychotherapy and its scope in India, ethical issues, the varied schools of thought and approaches, and an insight into psychodrama and its components.

Define Psychotherapy, Therapeutic Commonalities, Ethical Concerns in Psychotherapy, Scope of Counseling and Psychotherapy in India

Define Psychotherapy, Therapeutic Commonalities, Ethical Concerns in Psychotherapy, Scope of Counseling and Psychotherapy in India

Define Psychotherapy, Therapeutic Commonalities, Ethical Concerns in Psychotherapy, Scope of Counseling and Psychotherapy in India

Psychoanalytical Theory and Interventions: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Person-centred Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Psychoanalytical Theory and Interventions: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Person-centred Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Psychoanalytical Theory and Interventions: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Person-centred Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Behavioural Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Cognitive Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Behavioural Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Cognitive Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Behavioural Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application

Cognitive Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

REBT Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Gestalt theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

REBT Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Gestalt theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

REBT Theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Gestalt theory and Techniques: Brief Background and Human nature; Goals, Interventions, Strengths and Limitations, Case Application.

Brief Historical background, Stages of Psychodrama, Principles of Psychodrama and Techniques.

Brief Historical background, Stages of Psychodrama, Principles of Psychodrama and Techniques.

Brief Historical background, Stages of Psychodrama, Principles of Psychodrama and Techniques.

CIA-1: Activity-based Individual Assignment- 10 Marks

CIA-2: Mid sem Exam-Case/Scenario-based Question- 25 Marks (Department level)

CIA-3: Individual Assignment - 10 Marks

Attendance - 5 Marks

CIAs + Attendance = 45+5=50 marks

ESE (End Semester Examination) Total Marks- 50, 02 HOURS

ESE Question paper pattern

Section A- (Short Answers) 02 marks x5Qs =10 Marks

Section B- (Essay Type) 10 marks x 3Qs = 30 Marks

Section C-(Compulsory: Case Study) 10 marks x 1Q =10 Marks

Grand Total = CIAs + Attendance + ESE = 45+5+50 = 100 Marks

This course has been conceptualized to capstone experience for psychology undergraduates, in which students identify a research topic, conduct comprehensive literature reviews, and then develop a substantial written small empirical research project. The paper aims to help students collaborate and complete psychological research projects with their peers. This course is planned to also provide a framework for the development of assessment practices. Attention will be given to issues of identifying and selecting test instruments, conducting the assessment process in an ethical and considerate manner, interpreting norm references and criterion-referenced test scores and writing APA formatted reports. The program is designed to enable students to complete a group research project under the supervision of a faculty. The students would develop and defend the research proposal in the semester.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Basics of Research in Psychology: What is Psychological Research? The Goals of Psychological Research, Principles of Good Research; Ethics in Psychological Research.  Research Traditions: Quantitative & Qualitative orientations towards research & their steps, Comparing Qualitative & Quantitative Research Traditions. Review of literature: databases, search strategy, critical evaluation of an article.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Elements of proposal writing: Formulating a problem & developing a testable research question/research hypothesis, developing a rationale, aims, and objectives.  Research Designs: Identifying an appropriate research design and methods for a given research question/hypothesis. Sample and sampling: Probability & Nonprobability sampling methods; Methods of data collection- Case study, Observation, Interview & Focus group discussion, Survey. Protocols in data collection.

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Selecting a psychological test, Characteristics of a test – standardization, Reliability and validity of tests, norms, scoring, applications and cultural adaptability. 

Administer any two psychological assessments on an individual subject using any of the following tests- one personality test (NEOPI, 16PF, Eysenck Personality Questionnaire, Type A/B behaviour pattern) and one intelligence test (Ravens Test, Bhatia’s Battery of Intelligence) and write a report

Coolican, H. (2014). Research Methods and Statistics in Psychology, Sixth Edition. Taylor and Francis.

https://christuniversity.in/uploads/userfiles/CRCE.pdf. CHRIST (Deemed to be University) Institutional Ethics Documentation

• CIA 1: Individual Assignment (20 marks) + Class participation & Supervisor Feedback (05 marks) - Total 25 Marks 
• CIA 2: Individual Assignment (20 marks) + Class participation & Supervisor Feedback (05 marks) - Total 25 Marks 
• CIA 3: Department level Exam/Viva- 50 marks 

Course Description: This paper is informed by David Damrosch’s understanding that world literature is not a canon of Western master works but a mode of cross cultural reading. So the selection reflects similar themes of gender, race, being responsible citizen in oppressive conditions which the students have encountered in their earlier semester. While these themes have been discussed earlier in specific nationalistic contexts, this paper draws on that awareness and brings in comparative approach for analysis.

Objectives:

To introduce students to methods of studying literature and culture across national and linguistic boundaries

To understand the nature and function of literature from global perspective

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Frames for World Literatures’, David Damrosch

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Sappho – Lyrics

·         Sappho - Deathless Aphrodite of the Spangled Mind

·         Sappho – Moon has set

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Sophocles – Antigone

Sophocles – Antigone

Sophocles – Antigone

Sophocles – Antigone

Sophocles – Antigone

Sophocles – Antigone

Sophocles – Antigone

·         Essays on Art, Literature – Tolstoy, Nabakov, Naipaul, Borges

·         Anna Akhamatova – Requiem (Russia)

·         Constantine Cavafy – The City (Greek)

·         Rainer Maria Rilke – Spanish dancer (Czech Republic)

·         Nazik al-Mala'ika - Love Song for Words (Iraq)

·         Imtiaz Dharkar – Purdha I (Pakistan)

·         Ashraful Musaddeq - Cyber Love (Bangladesh)

·         Miriam Wei Wei Lo - Bumboat Cruise on the Singapore River (Singapore)

·         Octavio Paz - Listen to the Rain

·         Federico Garcia Lorca - City that Does Not Sleep

Fyodor Dostoevsky – Notes From the Underground

Che Guevara - The Motorcycle Diaries

Sophocles – Antigone 

“Even A Fist Was Once an Open Palm With Fingers” the Selected Poetry of Yahudi Amichai – Poetry in Translation Trans. Bloch, Chana and Mitchell, Stephen.

 http:// www-english.tamu.edu/pers/fac/myers/default.html. Web.

Arendt, Hannah. Eichmann in Jerusalem. New York: Viking, 1963.

Bauman, Zygmunt,Life in Fragments: Essays in Postmodern Morality, Oxford: Blackwell. Print.

Calvino, Italo, The Literature Machine. London: Vintage, 1987. Print.

Cargas, Harry James, ed. Telling the Tale: A Tribute to Elie Wiesel – Saint Louis.

Damrosch, David. What is World Ltierature? Princeton University Press, 2003. Print.

Eco, Umberto,The Role of the Reader.Bloomington: Indiana University Press.

Eco, Umberto, On Literature. London: Vintage, 2005. Print.

Farah, Nuruddin. Links. Penguin.Yesterday, Tomorrow: Voices from the Somali Diaspora. London and New York, Cassell, 2000. Print.

Forsdick, Charles. “‘Worlds in Collision:’The Languages and Locations of World Literature”.  A Companion to Comparative Literature. Eds. Ali Behdad and Dominic Thomas. Oxford: Blackwell, 2011. 473–89. Print

Fromm, Erich. Escape from Freedom. New York: Rinehart, 1941. Print.

Ghosh, Amitav. Sea of Poppies. Macmillan.A Guide to twentieth-century literature in English. Ed. Harry Blamires. London; New York: Methuen, 1983. Print.

Lifton, Robert J.  The Nazi Doctors: Medical Killing and the Psychology of Genocide. New York: Basic, 1986.Print.

M. Hollington, Günter Grass: The Writer in a Pluralist Society.  1980.Print.

Moretti, Franco. “Conjectures on World Literature,” New Left Review 1 (January–February2000): 54-64. Print.

Victor Frankl, From Death-Camp to Existentialism. New York: Alfred A. Knopf, 1979.

Villet, John. The Theatre of Bertolt Brecht, A Study from Eight Aspects. Print.

Question Paper Pattern

Mid Semester 

End Semester 

5x20 =100 choosing one question each from Poetry, Drama, Essay & Novel and one additional question.

• To provide the opportunity to develop and critically apply knowledge
• To understand theoretical and critical debates and key historical developments in Cultural Studies

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”

Ashis Nandy, The Twentieth Century:  The Ambivalent Homecoming of Homo Psychologicus

Henry Giroux, et al.  “The Need for Cultural Studies: Resisting Intellectuals and Oppositional Public Spheres”

Richard Howells “Semiotics”

Roland Richard Howells “Ideology”

CSCS. “Femininity -Masculinity”

CSCS. “Imagining the Nation”