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.

This course builds from musical understandings taught in MUS431: Harmony II. Armed with the knowledge of musical structure, students will investigate how seminal composers used such musical understandings to express themselves and larger social ideas. Western music today is founded on centuries of human enterprise. Professional musicians today create music by building upon traditions of the past. This course introduces key figures of western tonal music, examined by stylistic period from ancient through to romantic styles.

Course Objectives

• Introduce students to the development of the western tonal system.
• Inform students of stylistic developments of each historical era of western tonal music.
• Feature prominent composers of any gender, creed, or nationality; outlining significant contributions made.
• Involve relevant stylistic methods of musical analysis.

Introduction, Outline and Overview.

Music, Language and Celebration; Mathematical Foundations of Western Music.

Evolution of Polyphony and the Limits of Elaboration; The Invention of Opera; Music as Social Moderator; Tuning and Temperament.

The Classical Period; Classical Forms; The Symphony.

The Romantic Period; Expanding the Emotional Palette; Folk Influences and Nationalism; Human Endeavour and Achievement; Revision Forum.

Music pedagogy is an essential specialty subject for musicians who wish to help others learn their art. Music pedagogy also involves the unification of skill sets related to practical and theoretical art forms that are specifically inherent to music. This course will provide the tools essential to becoming and effective, learner-centred educator through the creation of a pedagogical portfolio based on the subject interests of individuals undertaking the course.

Course Objectives

• Model the intersections of dynamic skill sets within learning music.
• Provide dissemination techniques to design learner-centred music curricula.
• Bridge with psychology to describe relevant underpinnings of music education.
• Discuss effective communication strategies of musical knowledge.

Introduction, Overview and Outline

Thinking, Feeling and Doing

Disseminating Content; Outcomes and Evidence of Learning; Assessment and Evaluation Rubrics; Relative Marking and Analysis; Scheduling and Preparation.

Lesson Planning; Immersive Classroom Activities; Personal Teaching Style.

Explaining Musical Time; Teaching Western Notation; Approaching Instrumental Education; Choir and Orchestrar Direction; Revision

Conductors are the leaders of the classical music world, requiring not only a specialised set of skills for orchestrating live performances but also are expected to lead up to thousands of people at a time. Basic Conducting Techniques is a practical and innovative course that provides a combination of psychology, philosophy, pedagogy and practice procedure to professionally prepare students to grow toward artistic leadership. Students select one piece from a pool of repertoire and hone their skills through its demands over the duration of the course.

Course Objectives

• Enable students to learn the basic mechanics of conducting music.
• Develop their own professional musical portfolio consisting of a prepared score of a piece they can conduct; event plans; rehearsal models and musical resume.
• Enable the growth of each student toward their individual learning affinities.
• Develop musical leadership skills and self-development through the application of skills taught.

Introduction, Outline and Overview.

Preparation of beats; Keeping the beat; Starting and stopping; Downbeats; Upbeats; Dynamics; Hand independence; Subdivision; Beat patterns.

Use of the left hand; Cues and dynamics; Managing limb independence; Body language and musical styles; Informal communication; Thinking in movements.

Conducting psychology; Music leadership; Combating performance anxiety; Breaking the shell; Music pedagogy models for self-reflection and autonomy.

Score preparation; Repertoire selection; Owning the podium; Event management and Effective communication skills.

Defining and realising an artistic vision; Leading other artists; Marketing and self-management.

A Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group and one-on-one interaction between instructor and learner. These interactions help in efficiently determining the theoretical and practical level of each student. The instructor will develop individual course plans to suit each student’s needs and requirements. The Major is a six-part course that will be completed throughout the three years of study in the music program. The course concentrates on developing an individual’s piano techniques.  

Students will be directed individually with respect to the following guidelines:

• Implement theoretical understandings from other courses into practice.
• Perform selected repertoire with appropriate technical ability and musical expression.
• Understand personal strengths and weaknesses and develop practice habits accordingly.

Collaborative piano is a six-part course that will be completed throughout the three years of study in the music program. The course is divided into technical, accompaniment and ensemble Units. The former unit concentrates on developing fundamental piano techniques through primary technical exercises, the latter focusing on general mentalities and nonverbal communication skills that contribute to successful group performances in differing piano ensemble settings (4-hands, 6-hands, multiple pianos, any other ensemble setting.) and/or vocal accompaniments.

This unit focusses on general mentalities and nonverbal communication skills that contribute to successful group performances in differing piano ensemble settings (4-hands, 6-hands, multiple pianos, choir etc.) 

Focuses primarily on how to work with in a group (especially accompanying a vocalist). Developing skills like  coordination, fluency, sight-reading, etc while accompanying. 

This unit concentrates on developing fundamental piano techniques through primary technical exercises such as scales, arpeggios, broken chords, to name a few. 

•      There will an Ensemble Performance and Technical Exam scheduled either before or after the week of your theory MSE’s. Dates will be informed by the faculty in-charge in advance. 

•      The syllabus and the evaluation pattern for the technical exam remains the same as summative exam.

•      Formative assessment is mandatory. You are not allowed to answer the summative exam if you fail to appear for the formative assessment. 

If any changes on the above, the decision taken by the faculty in-charge in this regard will be final. 

Summative Assessment Description:

The testing pattern will consist of:

1. Technical exercises to be performed at the end of each semester as per the technical exam syllabus.

2. Contribute to collaborative event (piano ensemble or piano accompaniment or choir) and any event that involves team work as directed by the faculty in-charge.

Assessment outline:

A Major is a student's practical music specialization. It is the most important course among all music courses as it is the medium through which musical communication occurs. This course offers small-group interactions between instructor and learners. These interactions help in efficiently determining the theoretical and practical level of each student's vocal abilities. The instructor will determine and develop groups to suit each student’s needs and requirements.

The Major is a six-part course that will be completed throughout the three years of study in the music program. The course is divided into Solo and Ensemble Units. The former unit concentrates on developing individual, duet and trio technique, switching back and forth between small group and individual vocal contexts. The latter unit focuses on general mentalities and nonverbal communication skills that contribute to successful choral performances.

Course Objectives

• Implement theoretical understandings from other courses into practice.
• Perform selected repertoire with appropriate technical ability and musical expression.
• Understand personal strengths and weaknesses and develop practice habits accordingly.

• Students will work as assigned by the professor per skill levels and ability.
• Progress will be monitored and difficulties attended to on an individual / group interaction basis.
• Groups will have regular performance opportunities in front of peers, wider department and beyond.

This course offers small to large group interaction between the instructor and the students. These interactions help students by giving them the opportunity to play in various combinations of piano groups to a professional standard. The course joins with a Major in Piano (solo) and is part of holistic performance education.

• Students will work together in groups assigned by the professor per skill levels and ability.
• Progress will be monitored and difficulties attended to on an individual / group interaction basis.
• Groups will have regular performance opportunities in front of peers, wider department and beyond.

“Embrace the journey of artistic expression In the Opera Production Workshop”

 This course is a comprehensive exploration of the various skills required for opera production, with a focus on Donizetti's "Elixir of Love." Students will delve into acting, dance, stage fighting, singing, stage movement, and other essential aspects of opera performance. The course integrates theoretical knowledge with practical application, providing a holistic understanding of the art form.

Vocal Technique; Acting Exercises; Character Development; Skillset Integration & Group Rehearsals

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”

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”

Ravi S. Vasudevan. “The Cities of Everyday Life”

Nitin Govil. “The Metropolis and Mental Strife: The city in science fiction cinema”

Joy Chatterjee. “Long Bus Drive”

Veena Das. “Violence and Translation”;

Rana Dasgupta. “The Face of the Future: Biometric surveillance and progress”

Shuddhabrata Sengupta. “Everyday Surveillance: ID cards, cameras and the database of ditties”

Sam de Silva. “Blind Intelligence”

David Lyon. “Surveillance: After September 11, 2001” 

---  “Urban Transformations and Media Piracy”

---- “Obscenity, Decency and Morality”

Ravi S. Vasudevan. “The Cities of Everyday Life”

Nitin Govil. “The Metropolis and Mental Strife: The city in science fiction cinema”

Joy Chatterjee. “Long Bus Drive”

Veena Das. “Violence and Translation”;

Rana Dasgupta. “The Face of the Future: Biometric surveillance and progress”

Shuddhabrata Sengupta. “Everyday Surveillance: ID cards, cameras and the database of ditties”

Sam de Silva. “Blind Intelligence”

David Lyon. “Surveillance: After September 11, 2001” 

---  “Urban Transformations and Media Piracy”

---- “Obscenity, Decency and Morality”

Ravi S. Vasudevan. “The Cities of Everyday Life”

Nitin Govil. “The Metropolis and Mental Strife: The city in science fiction cinema”

Joy Chatterjee. “Long Bus Drive”

Veena Das. “Violence and Translation”;

Rana Dasgupta. “The Face of the Future: Biometric surveillance and progress”

Shuddhabrata Sengupta. “Everyday Surveillance: ID cards, cameras and the database of ditties”

Sam de Silva. “Blind Intelligence”

David Lyon. “Surveillance: After September 11, 2001” 

---  “Urban Transformations and Media Piracy”

---- “Obscenity, Decency and Morality”