Syllabus for
Bachelor of Arts (Performing Arts, English, Psychology)
Academic Year  (2023)

Course Description

This course is taught in the second year for students from different streams, namely BA, BSc

and BCom. If the first year syllabus is an attempt by the Department of English, Christ

University to recognize and bring together the polyphonic Indian voices in English and Indian

regional literatures in translation for the Additional English students of the first year, the

second year syllabus intends to take that project a little further and open up the engagement

of the students to texts from across the world. The syllabus - selection of texts will

concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-

American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of

belongingness experienced by humanity all over the globe.

The syllabus will extend the concerns of nation and nationality and marginalization,

discussed within the Indian context to a more inclusive and wider global platform. We have

consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns

from across the world. There is an implicit recognition in this project that though the aspects

of marginalization and the problems facing subalterns are present across cultures and

nations, the experiences, expressions and reflections are specific to each race and culture.

The course will address these nuances and specificities and enable our students to become

more aware and sensitive to life and reality around them. This will equip the students, who

are global citizens, to understand not just the Indian scenario, but also situate themselves

within the wider global contexts and understand the spaces they will move into and negotiate

in their future.

There is a prescribed text book Blends: Voices from Margins for the second year students,

compiled by the Department of English, Christ University and intended for private circulation.

Course Objectives

The course objectives are

 to enable students to look at different cultures through Literature

 to help students develop an understanding of subaltern realities and identity politics

 to inculcate literary sensibility/taste among students across disciplines

 to improve language skills –speaking, reading, writing and listening

 to equip the students with tools for developing lateral thinking

 to equip students with critical reading and thinking habits

 to reiterate the study skills and communication skills they developed in the previous

year and extend it.

TetsukoKuroyanagi: Tottochan: The Little Girl at the Window12

Liliana Heker : “The Stolen Party

 Higuchi Ichiyo: “Separate Ways”

 Harukki Murakami "Birthday Girl"

 Luisa Valenzuela: “I’m your Horse in the Night”

Poetry 12 Hrs

 Silvio Curbelo: “Summer Storm”

 Nancy Morejon: “Black Woman”

 Ruben Dario: “To Roosevelt”

 Mina Asadi: “A Ring to me is a Bondage”

Essay 9Hrs

 Amy Tan: “Mother Tongue

 Linda Hogan: “Waking Up the Rake”

 Isabelle Allande: “Open Veins of Latin America”

Children's Literature -  Kimberley Reynolds (CUP)

CIA 1: A written test for 20 marks. It can be an Open Book test, a classroom assignment, an

objective or descriptive test pertaining to the texts and ideas discussed in class.

CIA2: Mid-semester written exam for 50 works

CIA 3: This is to be a creative test/ project in small groups by students. They may do

Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates,

charts or any other creative test for 20 marks. This test should allow the students to explore

their creativity and engage with the real world around them and marks can be allotted to

students depending on how much they are able to link the ideas and discussions in the texts

to the world around them.

Question Paper Pattern

Mid Semester Exam: 2 hrs

Section A: 4x5= 20

Section B: 2x15=30

Total 50

End Semester Exam: 3 hrs

Section A: 4 x 5 = 20

Section B: 2 x 15= 30

Total 50

Course Description

English is offered as a course for all the students in BA, BSc, BCom, and BBA F&A classes in the third and fourth semesters. The aim is to strengthen the communication skills, and particularly study skills of the learners further, through adequate practice and exposure to good examples of writing, thought, ideas and human values. In addition, they will be trained in study skills through tasks in academic genres such as message, letter, essay, data interpretation etc. It aims to not only equip learners with skills but also sensitize them towards issues that concern human life in today’s globalised context. The course content is selected to meet the requirements of the departmental goal of “empowering the individual to read oneself, the social context and the imagined”; institutional goal of ensuring “holistic development”; and the national goal of creating competent and valuable citizens. The primary objective of this course is to help learners develop appropriate employability skills and demonstrate suitable conduct with regards to communication skills. The units are organised in order to help the learners understand the academic and workplace demands and learn by practice.

Course Objectives     

·       To enable learners to develop reading comprehension for various purposes

·       To enable learners to develop writing skills for academic and professional needs

·       To enable learners to develop the ability to think critically and express logically

·       To enable learner to communicate in a socially and ethically acceptable manner

·       To enable learners, to read, write and speak with clarity, precision and accuracy

Subject verb agreement

Tenses

Preposition

Voices

Clauses

Skimming and scanning

Strategies of reading

Reading and understanding reports

Reading content/ texts of various kinds

Inferencing skills

Academic vocab

Academic phrases

Professional expression

Study skills- library and referencing skills (organising reading, making notes, managing time, prioritising)

Mind mapping

Organising ideas

Accurate usage of vocabulary

Paragraph strategy

Cohesion and sequencing (jumbled sentences to paragraph)

Extended writing 

Formal and informal writing

Reports (all types including illustration to report and report to illustration and/or graphs, charts, tables and other statistical data)

Proposal writing (for projects, for research)

Academic essays/ articles

Persuasive writing, extrapolative writings

Case study writing

Executive summaries

Editing, proofreading skills

Resume vs CV

Self-introduction

Body language

Talks, speeches and presentations

Conversation

Telephone conversation

Meetings

Group discussion

Seminar / conference presentation

Principles of communication

Process of communication

Types of communication

Barriers in communication

Evaluation Pattern

CIA 1: Classroom assignment/test/ written or oral tasks for 20 marks keeping in tune with the course objectives and learning outcomes.

CIA 2: Mid-semester exam for 50 marks.

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any creative assignments.

 End- semester 50 marks 

End Semester Exam: 2 hrs

• To introduce the students to the socio-political, religious and cultural aspects of America through literary texts
• To enable students to  read texts as products of  historical, political and cultural context
• To provide insights into different styles of writing over different centuries
• To encourage clear understanding of different genres and prosody/forms/literary devices.
• To enable learners to give their perspective on the texts prescribed
• To brainstorm learners to use their knowledge of History, Psychology, Sociology, etc to read literary works

Description: This unit will introduce American History and literature. An outline of important events would be briefed.

• The Navajo Creation Story
• John Smith- The New Land
• Anne Bradstreet – In Honour of that Highness

Description: This unit will move further into specific texts relevant to the century and sensitize learners in that direction. 

• Doctor Richard Shuckburgh- Yankee Doodle (popular version)
• Benjamin Franklin- Rules by which a Great Empire...
• Sarah Wentworth Morton- Stanzas to a Husband Recently United

Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required

• James Lowell- Stanzas on Freedom
• Washington Irving- Rip Van Winkle
• Emerson- I Become a Transparent Eyeball/Brahma
• Hawthorne- Young Goodman Brown
• Martin Luther King- I have a Dream (speech)
• Longfellow- My Lost youth
• Douglas- What the Black Man Wants
• Whitman- A noiseless Patient Spider
• Dickinson- I years had been from Home
• Harriet Beecher Stowe- Excerpts- Uncle Tom’s Cabin
• Kate Chopin- Lilacs

Description: This unit will provide a variety in terms of different kinds of literature that the particular century has produced and provide contexts as and when required.

• Hemingway- The Snows of Kilimanjaro
• Frost- Meeting and Passing
• Ezra Pound- An Immorality
• Langston Hughes- Daybreak in Alabama
• Fitzgerald- The Curious Case of Benjamin Button
• Cummings- Even a Pencil has Fear to
• Ginsberg- Howl or A Supermarket in California
• Eugene O Neill- The Emperor Jones or Hairy Ape

Description: This unit will introduce war and the effect of it on the minds of American writers and the society. It will also take the learners through different styles of writing.

• Alice Walker- The Color Purple
• Sylvia Plath- Gold Mouths Cry
• William Burroughs- Naked Lunch
• James Thurber- A Couple of Hamburgers

Text compiled for internal circulation

1. Abel, Darrel. American Literature, Volume 1: Colonial and Early National Writing, (ed)
2. Abel, Darrel. American Literature, Volume 2: Literature of the Atlantic Culture, (ed) Abel, Darrel.
3. Recent American Literature to 1930, (ed) Heiney and Downs Lenthiel H, Volume 3; Barron’s Educational Series
4. Recent American Literature After 1930, (ed) Heiney and Downs, Lenthiel H. Volume 4; Barron’s Educational Series
5. Literary History of The United States:  (ed) Spiller, Thorp, Johnson, Canby, Ludwig, Third Edition: Revised; Amerind Publishing Co. Pvt. Ltd.
6. The Heath Anthology of American Literature, Volume 1, Second Edition; (ed) Lauter, Yarborough et al, Heath
7. The Harper American Literature, Compact Edition; (ed) McQuade, Atwan et al, Harper and Row

Question Paper Pattern

Mid Semester Exam

 End Semester Exam

Section A – 15x4 = 60

Section B – 20x2 = 40

The prescribed texts could form the subject matter of CIA 1 as well as CIA 3.

In particular, the texts could be extended to meet CIA 3 requirements.  

French as second language for the Arts, Science and Commerce UG program

To perform a tribute: artist, work, you are going to…..

Towards a working life

France Seen by...

Mediamania

Act 1, 2 & 3

2.      Gonnet, Georges. Molière- Le Bourgeois Gentilhomme .Paris : Hachette, 1971

2.      French websites like Bonjour de France, FluentU French, Learn French Lab, Point du FLE etc.

Course Description:

The detailed text book “Shambook” is a Khanda Kavya written by Jagdeesh Gupta. To improve the creative writing skills, Nibandh, Kahani and Kavitha lekhan are included.Bharathiya chitrakala is also a part of the syllabus to improve the knowledge aboutIndian paintings.

Course Objectives:

Students are exposed to different forms of poetry especially, Khanda Kavya. It will help them to understand the contemporary socio-political issues.By learning about the tradition of Indian painting and legendary painters of India , students get to know about the richness and culture  of the Indian paintings. Creative writing sharpens their thinking, analytical  and writing skills 

Khanda Kavya “Shambook” [Poetry] By:Jagdeesh Gupta. Pub: Raj Pal & Sons

Level of knowledge:Analitical    

Nibandh lekhan, Katha lekhan, Kavitha lekhan.

Level of knowledge:Conceptual

Utbhav, vikas aur pramukh shailiyam

pramukh kalakar-1.M F Hussain 2.Ravindranath Tagore 3.Raja Ravi Varma 4.Jamini Roy.

Level of knowledge: Conceptual

1. Khanda Kavya”Shambook[Poetry] ByJagdeesh Gupta.Pub: Raj Pal & Sons

2. Essentials of Screen writing: The art, craft and business of film and television writing

By: Walter Richard.

3. Writing and Script: A very short introduction

By: Robinson, Andrew.

4 .Creative writing By John Singleton

5. Adhunik  Hindi Nibandh By Bhuvaneshwarichandran Saksena.

CIA-2(Mid sem examination)

CIA-3(wikipedia article creation)

End semester examination

Course Description: Language Kannada is offered to students of third Semester BA/B.Sc as Second language for fifty marks. Students of this semester will study an anthology of Modern Kannada Poetry and an Autobiography of Laxman Gaikwad. This course prepares the students to understand the new era. At the dawn of the twentieth century, B.M. Srikantiah, regarded as the “Father of modern Kannada Literature”, called for a new era of writing original works in modern Kannada while moving away from archaic Kannada forms. Students will study modern Kannada poetry from B.M.Sri to Dalit poet Dr. Siddalingiah. An anthology of modern poetry is selected to understand the beauty of modern Kannada poets through their writings. Uchalya is an autobiographical novel that carries the memories of Laxman Gaikwad right from his childhood till he became an adult. Laxman Gaikwad took birth in a criminal tribe of India belonging to Orissa/ Maharastra. The original text is translated to Kannada by Chandrakantha Pokale.

Course Objectives:

Understand and appreciate poetry as a literary art form.

Analyse the various elements of Poetry, such as diction, tone, form, genre, imagery, symbolism, theme, etc.

Appreciates to  learn the elements of autobiography.

1. Kariheggadeya Magalu- B.M.Sri

2. Hunnime Ratri- Kuvempu

3. Anna Yagna-Bendre

4.Mankuthimmana Kagga-D.V.G

5.Ikkala- K.S. Narasimha Swamy

6. Kannad padgol- G.P.Rajarathnam

7.Hanathe hachchuttene- G.S.S

8.Adugemane Hudugi-Vaidehi

9. Nehru Nivruttaraguvudilla- Adgaru

10. Nanna Janagalu.-Siddalingaiah

Text: Uchalya

Author:Lakshman Gayekwad

Translation: Chandrakantha Pokle

1 Dialogue Writing

2 Essay writing

3 short story building

2. Kannada Sahitya Charithre- Volumes 1-4, Editor: G. S. Shivarudrappa, Prasaranga, Bangalore Univeristy.

3. Hosagannada Kavitheya Mele English Kavyada Prabhava- S. Ananthanarayana

4. Hosagannadada Arunodaya- Srinivasa  Havanuru

2. Kannada Sahitya Sameekshe- G. S. Shivarudrappa

3. Bhavageethe- Dr. S. Prabhushankara

4. My Experiments with Truth- M.K. Gandhi

5. Ouru Keri- Siddalingaiah

This is a skill enhancement course. This course has been conceptualized in order to Understand and explore basic aspects of Playback Theatre. 

- An improvisational theatre form of enacting real life stories on the spot without preparation

·         The sense of story

·         Scene and other forms

·         Being a Playback Actor

Conducting

 Growing in the world

Breathing and voice exercises, knowing fellow actors, team work and cooperation, exaggerating and limiting body expressions, developing alertness and awareness of floor space

Rituals of Playback Theatre, acting in different stages of life, real life stories, creative visualizations

Scene settings, music in stories, activity for the soul, exploring movement with fellow actors

Performance for institutional assessment

Performance for family and friends

Performance for general public

Schlaich, J., DuPont, B., & Sande, R. (1998). Dance: the art of production. Hightstown, NJ: Princeton Book Co.

Baisya, R. K., & Das, G. G. (2008).Aesthetics in marketing. Los Angeles, CA: Response.

Lal, A. (2009). Theatres of India a concise companion. New Delhi: Oxford University Press.

A collection of plays. (2003). Place of publication not identified: Ginn.

Schlaich, J., DuPont, B., & Sande, R. (1998). Dance: the art of production. Hightstown, NJ: Princeton Book Co.

Baisya, R. K., & Das, G. G. (2008).Aesthetics in marketing. Los Angeles, CA: Response.

Lal, A. (2009). Theatres of India a concise companion. New Delhi: Oxford University Press.

A collection of plays. (2003). Place of publication not identified: Ginn.

Performance for family and friends

Performance for general public

Course Description: The students who choose to specialize in dance, in this course, will gain an understanding of the various representations of Bharatanatyam across diverse aspects of gestures, iconography and notations. The theory will also be well balanced with practical lessons that will include the preliminary items of the repertoire.

Objectives:

·         To advance the knowledge and skill level of the chosen subject.

·         To provide a platform to practically experiment and exhibit the learning of the subject.

§ 

Unit 1: Dance and iconography – 6 hrs

·         Discovering the relationship between dance and iconography. (Tamil Nadu, Karnataka, Andhra and Orissa)

·         Tracing the royal patronage of dance through ages and expressions of dance through sculptures and paintings in the temples of India.

·         The concept of Lord Shiva (Nataraja) with reference to Indian Dance.

Unit 2: Styles of Bharatanatyam – 6 hrs

·         Pandanallur

·         Vazhavoor

·         Tanjore

·         Mysore

·         Nanjacod

·         Mugur

Origin and characteristics of the different styles.

Unit 3: Introduction to Treatises written on Indian Dance. – 6hrs

·         Natyashastra

·         Abhinaya Darpan

·         Dasharupaka

·         Sangeetaratnakara

·         Lasyaranjana

·         Asamyutha Hastas (From Pataka to Trishula)

Exploring the various usages of the hastas.

Definition and concept of notations, importance of notation, notating the items learnt in syllabus.

Invocatory items from the Bharathanatyam recital

Invocatory items from the bharathanatyam recital

Pure Nritta item of Bharathanatyam

It is a temple based repertoire which has combination of rhythmic and few poetical verses for abhinaya. It acts as a precursor for elaborate abhinaya numbers which would unfold in the training later.

1.      

Recommended Reading:

1.      Nandagopal, C. (1990). Dance and music in the temple architecture. Delhi: Agam Kala Prakashan.

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., & Akela, R. S. (2015). The science of Bharata natyam. New Delhi: Kanishka , Distributors.

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.      Nandagopal, C. (1990). Dance and music in the temple architecture. Delhi: Agam Kala Prakashan.

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., & Akela, R. S. (2015). The science of Bharata natyam. New Delhi: Kanishka , Distributors.

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.

Examination and Assessment:

1. CIA I – Written assignment

Written assignment from the portions covered in class.

2. CIA II – Mid Semester Examinations

This will have two components – Theory (50 marks), Practical (50 marks)

Theory: 5 questions to be answered out of 6.

Practical: Practical exam from the portions covered in class.

3. CIA III – Practical assignment

Practical assignment from the portions covered in class.

4. End Semester Examinations

This will have two components – Theory (50 marks), Practical (50 marks)

Theory: 5 questions to be answered out of 6.

Practical: Practical exam from the portions covered in class.

The students who choose to specialize in music, in this course, will be exposedto theory of technical terms and concepts at the intermediate level of music knowledge, aaAlong side, their practical will introduce them to the preliminary forms under music.

To know the Technical terms and to know the symbols and meaning.

Set the rules and regulations of  to be followed and avoided by the vocalist while singing and the qualities of the vocal artist.

To know the terms and their meanings and symbals.

Eight kinds of mudras, its definitions, Symbols and examples

10 Impotant aspects of talas , their defenitions, examples and symbols.

How to apply gamakas in compositions

How to apply Gmakas in compositions.

The contributions of THE COMPOSER TO CARNATIC MUSIC.

Organizing event, venue booking, discussions, poster making, publicity,send e.mails etc...

Hindolam, Kalyani and Sankarabharanam. Special features of the ragas, Sancharas and Compositions set in these ragas.

Hindolam, Kalyani, Suddhasaveri and Kambodhi

1 lakshana geetham,

2. 1 SWARAJATHI

one Ata tala varna

2 Nottu swaras of Muthuswamy dikshidar

One Patrotic song.

Dr.S.V.Leela Indian music series vol. 1,2.

Adictinary of south indian music and Music composers.

Ganamrutha bodhini , Varna sakaram, Keerthana mala

Krithi mala BY T.S.Parthasarathy

 100 KEERHANAS OF SRI mUTHUSWAMY DIKSHIDAR BY T.M.Tyagarajan.

This course introduces the Performance Tradition of India through the History and Theory of Natyasastra, the Evolution of Sanskrit Drama, Indian Dramaturgy and the Traditional /Folk Indian Theatre art forms of India. The objectives are to advance the chosen subject's knowledge and skill level and provide a platform to exhibit the gained knowledge through practical experiments.

This unit offers a comprehensive exploration of the Natyashastra and Indian Dramaturgy, providing students with a deep understanding of the rich heritage and principles that underlie the art of Indian classical theatre. Through a multidisciplinary approach, students will delve into the theoretical and practical aspects of Natyashastra, an ancient Sanskrit treatise on dramaturgy attributed to Bharata. 

The unit begins by introducing students to the historical and cultural context of the Natyashastra, emphasizing its significance as a foundational text in Indian performing arts. Students will examine the evolution of Indian theatre, from its origins in ritualistic practices to its establishment as a complex art form with well-defined principles.

This unit provides an in-depth exploration of the rich tradition of Sanskrit Theatre in India, covering its history, theoretical underpinnings, and practical aspects. Students will develop a comprehensive understanding of the evolution, aesthetics, and performance techniques of Sanskrit Theatre, examining its cultural significance and impact on Indian performing arts. Through theoretical study, practical exercises, and experiential learning, students will gain insight into the unique features, narrative structures, and artistic elements that characterize this ancient form of theatre.

This comprehensive unit delves into the rich and diverse world of traditional and folk theatre in India. This unit will introduce students to the captivating world of Indian performing arts, exploring various theatrical forms deeply rooted in the cultural fabric of the country. Throughout the course, students will examine the historical, social, and cultural significance of traditional and folk theatre, shedding light on their evolution and enduring appeal.

In this course, students delve into the rich and diverse world of human rituals and non-ritual forms, examining their significance, functions, and cultural contexts. Students will introspect and investigate through an interdisciplinary journey that combines anthropology, sociology, psychology, and cultural studies to deepen their understanding of these fascinating phenomena.

This unit is designed to provide a comprehensive idea of Indian drama performance and its significance to the students through practical exercises and performance-based projects. Students will delve into the rich tradition of Indian theatre, developing practical skills and analytical insights.

Tripathi, R. (2012). Nāṭyaśāstra and the Indian Dramatic Tradition. Mission for Manuscript, India.

Vatsyayan, K. (2005). Traditional Indian Theatre: Multiple Streams. National Book Trust (NBT), India.

Thampi, G. B. M. (1965). “Rasa” as Aesthetic Experience. The Journal of Aesthetics and Art Criticism, 24(1), 75. https://doi.org/10.2307/428249

Chaudhury, P. J. (1965). The Theory of Rasa. The Journal of Aesthetics and Art Criticism, 24(1), 145. https://doi.org/10.2307/428204

Gargi, B. (1967). Folk Theatre of India. University of Washington Press.

Richmond, F. P., Zarrilli, P. B., & Swann, D. L. (1990). Indian Theatre: Traditions of Performance. Univ of Hawaii Pr.

Mode of Assessment - Practical Assignment

Assignment Description - Practical assignment from the portions covered in the class.

CIA - II

Mid-Semester Examination

CIA - III

Mode of Assessment - Practical Assignment

Assignment Description - Classroom Presentation and Performance

End Semester Examination

The end Semester Examination has two components: Theory - 50 marks and Practical - 50 marks.

Theory Examination - 5 questions to be answered out of 6

Practical Examination - Performance presentation from the portions discussed in the class.

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)

Course Description

This course is offered to the third semester undergraduate students of psychology. This course will help the student to understand behaviour in a social and cultural context. It also seeks to bridge the gap between psychology and theatre by discussing the performative aspects of the self in a social context. It highlights human behaviour by exploring the relationship between aesthetics, arts, creativity, and psychology. The course also addresses the psychology of diversity and principles of social influence which enable one to understand the interface between psychology, culture and society.

Course Objectives and Learning Outcome

After the completion of this course students will be able:

To understand the sociocultural foundations of behaviour.

To appreciate the relationship between the self and the role of emotion in performance.

To comprehend the interface between psychology, culture and society.

To sensitize on the importance of the principles of persuasion and group processes in theatre.

Level of knowledge:

Knowledge of the courses studied at the higher secondary level in any discipline.

History- Origin and Development of Modern Social Psychology; Social psychology in India.

Theories of social psychology - Motivational, Learning, Cognitive, Decision-making, Interdependence, Socio-cultural, Evolutionary, and Mid-range theories.

Approaches to Culture: Symbolic, activity and individualistic; Etics and Emics; Methods of understanding culture.

Interface between psychology, culture, and society; Contemporary trends in the Indian context.

The Self concept – Beginnings, Formation, Self- schemas and Multicultural perspective

Self-presentation – Types of self presentation, Self presentation strategies, False modesty, Self-handicapping, Impression management, Self –monitoring, Goffman’s Dramaturgical model.

         Self-esteem - Development and Consequences

Perceiving persons- Attribution theories; Attributional errors & biases, Integration, Confirmation bias

What is diversity, Types of diversity – Gender, race, disability, religion, social class, sexual orientation, physical appearance; Making sense of diversity; Cognitive processes in diversity

Sociocultural perspectives of emotions, Context dependent emotion regulation,  Indian perspective on emotion (Rasa Theory ), Body language and  culture, Cultural variations in expressions of emotions. 

Persuasion: Paths to persuasion, Elements of persuasion – Communicator, message content, audience and channel of communication.

Nature and types of groups; Group performance – Types of tasks , Brainstorming ;  Group decision making – Biases in information, Group polarization , Group think ; Social facilitation & Social loafing

Group dynamics and performance 

Kassin, Saul M; Fein, Steven; Markus, Hazel; Brehm, Sharon S. (2008). Social Psychology. Houghton Miffin (Boston)

Matsumato, David; Juang, Linda. (2004). Culture and psychology. Thomson (Australia).

Taylor, Peplau & Sears. (2006). Social psychology. Pearson Education.

Davidson.D.(1985). Adolescent in search of her identity. Journal of Analytical Psychology.Vol.30 (4), p339-346.

Lynn, S.J. & Payne, D.G. (1997). Memory as the theatre of the Past: The psychology of False Memories. Current directions in psychological science (Wiley-Blackwell). Vol. 6 (3) p55-55.

Pataki, S.P., & Mackenzie, S.A (2012). Modeling Social Activism and Teaching about Violence against Women Through theatre education. Psychology of women quarterly. Vol. 36(4). P 500-503.

Rosenberg.,T. (2013). Harnessing Positive Peer Pressure to Create Atruism. Social research.

Rutten, E.A.,Biesta, G.J.J., Dekovic, M., Stams, G.J.J.M, Schuengel, C.,  & Verweel,P (2010). Using forum theatre in organised youth soccer to positively influence antisocial and prosocial behaviour: a pilot study. Journal of moral education. Mar2010, Vol. 39(1) p65-78.

Sonn, C.C., Quayle, A,F.,Belanji.B.,Baker, A.M.(2015). Responding to racialization through arts practice: The case of participatory theatre. Journal of community psychology. Vol 43(2), p 244- 259. Vol. 80 (2) p 491-510.

CIA II - Mid Semester Examination - 25 marks

CIA III - Activity based assignment - 10 marks

Attendance - 5 marks

End Semester Examination - 50 marks

Total Marks - 100

The goal of personal growth classes is to educate the whole person in mind and body, thereby preparing to be professionally competent individuals who understand the need for maintaining a healthy lifestyle and are mindful about their personal and social actions.  Emotional Intelligence and Personality assessments is chosen for personal growth lab because it increases students’ awareness and understanding about their own emotions. The course flows a psychoeducation model of curriculum traction using assessments and class activities.

Pre-assessment; The self-concept and self-esteem- Facilitating self-awareness through reflective exercises, Implementation of mindfulness skills, self-awareness questionnaires/inventories; Understanding and expressing emotions; Managing difficult emotions; Applying emotional intelligence; Understanding the role of culture, values and beliefs in understanding the self through assessments and reflection; Writing self-assessment and reflection papers, Ethical issues  Managing interpersonal conflicts; Self-disclosure in close relationships, values development and self-care

Illness- wellness continuum; components of wellness (WHO); The Bop-psycho-social model of health to understand Stress, mechanisms to deal with stress; Lifestyles-sleep, body image-and its impact on health and wellbeing; healthy relationships; Health compromising behaviors, Recognizing and Avoiding Addiction and Drug Abuse; Assessments and Writing self-assessment and reflections

http://www.cnbc.ca/uploads/File/strengthen/personal_growth_plan.pdf

Adler, R. B., & Proctor II, R.F. (2012). Looking out/Looking in (14th ed.). Wadsworth Cengage Learning

Nevid, J. S., & Rathus, S. A. (2015). Psychology and the challenges of life (13th ed.). John Wiley & Sons.

Edlin, G., & Golanty, E. (2007). Health and wellness (9th ed.). Jones & Bartlett Publishers.

Hoeger, W.K.& Hoeger, S.A. (2015). Lifetime Physical Fitness and Wellness. (13th Ed.) Cengage Learning. 

• CIA 1: Individual Assignment (20 marks) +Class participation & Supervisor Feedback (5 marks)- 25 Marks

• CIA 2: Individual assignment   (20 marks) +Class participation & Supervisor Feedback (5 marks)- 25 Marks

• CIA 3: Department-Level Examination -50 Marks 

Sundara Kanda is the only chapter of the Ramayana in which the hero is not Rama, but rather Hanuman. The work depicts the adventures of Hanuman and his selflessness, strength, and devotion to Rama are emphasized in the text. Bhoja only wrote 5 kāṇdas (up to the Sundarakāṇda), and there is a story about this: that he was inspired to write this work the night before a battle, that as he finished the Sundarakāṇda it was time to go, and that he announced that the Yuddhakāṇda would be enacted in the battlefield against the invader, but sadly he never returned. Others have composed a Yuddhakāṇda to complete the work.

The main objective of the students is to understand the champu Kavyas based on the sam.  

The Origin and development of the Champu.

Origin and developmetn of Champu kavyas

Five Important Champus

Level of knowledge: Basic/conceptual/ Analytical

Shlokas 1 -60 Hnumantha¨s voyage to Lanka and searching for Seetha Description of city Lanka , Characters of Champu Kavya 

Prayogas and Krudantha

Translation of Given passage from English to Sanskrit 

Writing composition in sanskrit on the given topic in Sanskrit

Sundarakanda from Bhaja´s Champu Ramayana 

Chitrakalayaa: ugagamam vikaasam ca

origin and development of painting through Vedas and Puranas

Reference Books:-

1)      Sundarakanda from “Champuramayana of Bhoja  

2)      Sanskrit Grammar by M.R. Kale.

3)       History of Sanskrit literature by Dr.M.S. Shivakumaraswamy.

4)       History of Sanskrit literature by Krishnamachari.

CIA 2 mid semester examination

CIA 3 Wikipedia assignment

Araillakiyam, bakthi illakiyam, ikala illakiyamn the major allakiyams.The influence myths and puranas are delineated through the good deeds for a better lifestyle.The  Cultural Studies part will have an overview of Indian painting both traditional and modern with special reference to mythology and literature

India 2020- Abdul Kalam

1. Thirukural

2. Avvai kural

1. Thiru vasagam

2. Kambar andhadhi

Naatu pura padalgal

India 2020- Dr. Abdul Kalam

1. Common topic: Oviyam

2. Visual text : nattupuviyal

Sollu illakanam

Thirukkural-Bhoombugar pathipagam- puliyur kesigan urai, Chennai- 08

Kammbarin Ainthu noolgal- Vanathi pathupagam- Dr. R. Rajagopalachariyar,  Chennai- 18

Nathu pura illakiyam- Ki Va jaganathan- malai aruvi- Monarch achagam- chennai

India 2020- APJ Abdul kalam- puthaiyuram aandugaluku aga oru thoali nooku,  New century book house, chennai

Thirukkural-Bhoombugar pathipagam- puliyur kesigan urai, Chennai- 08

Kammbarin Ainthu noolgal- Vanathi pathupagam- Dr. R. Rajagopalachariyar,  Chennai- 18

Nathu pura illakiyam- Ki Va jaganathan- malai aruvi- Monarch achagam- chennai

India 2020- APJ Abdul kalam- puthaiyuram aandugaluku aga oru thoali nooku,  New century book house, chennai

Tamizhar nattup padagal - N Vanamamalai, New century book house, Chennai

EXAMINATION AND ASSIGNMENTS: There is a continuous evaluation both at the formal and informal levels. The language skills and the ability to evaluate a text will be assessed

This paper will have a total of 50 marks shared equally by End Semester Exam (ESE) and Continuous Internal Assessment (CIA) While the ESE is based on theory the CIA will assess the students' critical thinking, leadership qualities, language skills and creativity

This course is taught in the second year for students from different streams, namely BA, BSc and B Com. If the first year syllabus is an attempt by the Department of English, Christ University to recognize and bring together the polyphonic Indian voices in English and Indian regional literatures in translation for the Additional English students of the first year, the second year syllabus intends to take that project a little further and open up the engagement of the students to texts from across the world. The syllabus - selection of texts will concentrate on readings from South Asian, Latin American, Australian, Canadian, and Afro-American. It will voice subaltern concerns of identity, gender, race, ethnicity and problems of belongingness experienced by humanity all over the globe.

The syllabus will extend the concerns of nation and nationality and marginalization, discussed within the Indian context to a more inclusive and wider global platform. We have consciously kept out ‘mainstream’ writers and concentrated on the voices of the subalterns from across the world. There is an implicit recognition in this project that though the aspects of marginalization and the problems facing subalterns are present across cultures and nations, the experiences, expressions and reflections are specific to each race and culture. The course will address these nuances and specificities and enable our students to become more aware and sensitive to life and reality around them. This will equip the students, who are global citizens, to understand not just the Indian scenario, but also situate themselves within the wider global contexts and understand the spaces they will move into and negotiate in their future.

There is a prescribed text book Blends: Voices from Margins for the second year students, compiled by the Department of English, Christ University and intended for private circulation. 

The course objectives are

·         to introduce the students to look at different cultures through Literature

·         to help students develop an understanding of subaltern realities and identity politics

·         to inculcate literary sensibility/taste among students across disciplines

·         to improve language skills –speaking, reading, writing and listening

·         to equip the students with tools for developing lateral thinking

·         to equip students with critical reading and thinking habits

·         to enable them to grasp and appreciate the variety and abundance of subaltern writing, of which this compilation is just a glimpse 

·         to actively engage with the world as a cultural and social space (to be facilitated through proactive CIAs which help students to interact and engage with the realities they face everyday and have come across in these texts)

·         to learn and appreciate India and its place in the world through association of ideas in the texts and the external contexts

·         to reiterate the study skills and communication skills they developed in the previous year and extend it.  

Unit 1: Novella

·         Viktor Frankl: “Man’s Search for Meaning”(Excerpts)                                       

Short Story                                                                                                    

·         Anton Chekov: “The Avenger”

·         Chinua Achebe: “Marriage is a Private Affair”

·         Nadine Gordimer: “Train from Rhodesia”

·         Wakako Yamuchai: “And the Soul Shall Dance”

Poetry                                                                                                             12 hrs

·         Octavio Paz: “As One Listens to the Rain”

·         Jamaica Kincaid: “Girl”

·         Derek Walcott: “A Far Cry from Africa”    

·         Joseph Brodsky: “Freedom”

·         Alice Walker: Excerpts from “In Search of My Mother’s Gardens”

·         Hannah Arendt: “Men in Dark Times”

Dalai Lama Nobel Acceptance Speech

Viktor Frankl's "Man's Search for Meaning"

Diary of Anne Frank

Famous Nobel Lectures

CIA2: Mid-semester written exam for 50 works

CIA 3: This is to be a creative test/ project in small groups by students. They may do Collages, tableaus, skits, talk shows, documentaries, Quizzes, presentations, debates, charts or any other creative test for 20 marks. This test should allow the students to explore their creativity and engage with the real world around them and marks can be allotted to students depending on how much they are able to link the ideas and discussions in the texts to the world around them.

This syllabus is meant to cater to all the three streams- B.A., B.Sc.and B.Com therefore the selection of units, has been done keeping in mind the general needs of students from these different backgrounds. Topics of universal concern, appeal and relevance have been included to sustain the interests of all students.

The selection of topics also progresses in complexity with each semester, enabling the students to gradually progress into more serious and sustained patterns of reading and become increasingly perceptive and conscious of their own selves and the world they see around them.In a nutshell we aim to bring out a text that will empower the holistic development of every student. 

In addition, the selection of topicsis also heavily based on skill sets identified to be taught. Topics are carefully chosen to integrate appropriate language and communication skills among students. The specific focus of these two semesters is to build employability skills among them and to this effect, we have career advancement skills and employability skills based units. The learners will be exposed to various skill sets required to be able to handle various requirements both in their academic and workplaces.

Course Objectives:   

·       To enable learners to develop reading comprehension for various purposes

·       To enable learners to develop writing skills for academic and professional needs

·       To enable learners to develop the ability to think critically and express logically

·       To enable learner to communicate in a socially and ethically acceptable manner

·       To enable learners, to read, write and speak with clarity, precision and accuracy

Self-awareness

Stress management

Assertive skills

Critical thinking

Creative problem solving and decision making

 Appreciative inquiry

 Conflict resolution

Professional ethics and etiquette (cell phone etiquette)

Organisation skills

Research and information management

Teamwork

Leadership skills 

Workplace ethics- culture, values and gender (netiquette)job search skill, mindfulness, goal setting, self-awareness

Interview skills

Professional etiquette

Elevator pitch

Teleconference

Video conference

Conference calls

Negotiation

Networking 

Writing for advertisement

Developing web content

Infographics

Emails 

Making notes in meetings

Minutes

Newspaper writing

Press release

Blog writing

Tender

Memo

Brochure

User manual

CIA 1: Classroom assignment/test/ written or oral tasks for 20 marks keeping in tune with the course objectives and learning outcomes.

CIA 2: Mid-semester for 50 marks.

CIA 3: Collage, tableaus, skits, talk shows, documentaries, Quizzes or any creative assignments.

End- semester 50 marks 

End Semester Exam: 2 hrs

This course aims to introduce the students to concepts, concerns, critical debates in theorising literary texts and expose them to the applicability of these theoretical frameworks. It will enable students to critically perceive and engage with the production of meanings, significations and negotiations. This paper  will act as a bridge to Cultural Studies; Popular Culture; Indian Literatures; Postcolonial Studies; Ecological Studies and other studies that will be introduced in the final year and English Honours.

I.1 What is Literature?

I.2 What is Literary Criticism; Literary/Critical Theory?

1.3 Literary Criticism/Theory: Key Ideas: Plato to Leavis 

(An Overview of the development of theory)

II. 1. Structuralism

1. What is Structuralism?
2. The Project of the Structuralists.
3. Key Ideas/Theorists: Ferdinand de Saussure and Claude Levi-Strauss

II. 2 Poststructuralism

1. What is Poststructuralism?
2. The Project of the Poststructuralists
3. Key Ideas/Theorist: Deconstruction and Jacques Derrida

III. 1 Psychoanalysis:

1. What is Psychoanalysis?
2. The Project of Psychoanalysis and its working in Literature.
3. Key Ideas/Theorists: Sigmund Freud and Jacques Lacan

III. 2 Feminism:

1. What is Feminism?
2. Pre-poststructuralist’ Feminist Literary Theory
3. Poststructuralist Feminist Theory      
4. Key Ideas/Theorists: Virginia Woolf, Elaine Showalter, Helene Cixous and Julia Kristeva

IV. 1 Ideology and Discourse:

1. What is Ideology?
2. Key Ideas/Theorists: Karl Marx; Louis Althusser; and Antonio Gramsci
3. What is Discourse and it implications?
4. Key Ideas/Theorists:Michel Foucault; New Historicism; Mikhail Bakhtin; Raymond Williams and Cultural Materialism

IV. 2 Race and Postcolonialism: Nations, Nationalisms and Identity

1. What is Postcolonialism?
2. The Project of Postcolonialism
3. Key Ideas/Theorists: Franz Fanon; Homi K Bhabha; Partha Chatterjee

V. 1 Postmodernism: Knowledge and Glocalization

a. What is Modernism and Postmodernism?

b. Key Ideas/Theorists: Jean Baudrillard; Jean-François Lyotard; Giles Deleuze and Felix Guattari

V.2 Ecocriticism: Green Studies and Sustainability

a. What is Ecocriticism?

b. Key Ideas/Theorists: Cheryl Glotfelty and Harold Fromm

V. 3 Narratology: Telling and Retelling Stories

a. What is Narratology ?

b. Key Ideas/Theorists: Gerard Gennette and Vladimir Propp

1. Peter Barry: Beginning Theory: An Introduction to Literary and Cultural Theory.

1. Abrams, M.H. A Glossary of Literary Terms. 8^th ed. New York: Wardworth, 2005.
2. Ahmand, Aijaz. In Theory: Classes, Nations, Literatures. Rpt. New Delhi: OUP, 2006.
3. Culler, Jonathan. The Pursuit of Signs: Semiotics, literature, deconstruction. London/New York: Routledge, 2001. Print.
4. Devy, G.N., ed. Indian Literary Criticism: Theory and Interpretation. Rpt. Hyderabad: Orient Longman, 2007. Print.
5. Eagleton, Terry. Literary Theory: An Introduction. 2^nd ed. Oxford: Blackwell, 2008
6. ---. The Function of Criticism. London: Verso, 2005. Print.
7. Gurrin, Wilfred L, et al. A Handbook of Critical Approaches to Literature. 5^th ed.New York: OUP, 2005. Print.
8. Habib, M.A.R., ed. A History of Literary Criticism and Theory: From Plato to the Present. Oxford: Blackwell, 2008. Print.
9. John, Eileen and Dominic McIver Lopes, eds. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004. Print.
10. John, Eileen and Dominic McIver Lopes. Philosophy of Literature: Contemporary and Classic Readings. Oxford: Blackwell, 2004.
11. Kapoor, Kapil. Literary Theory: Indian Conceptual Framework. New Delhi: Affiliated East-West Press, 1998. Print.
12. Klages, Mary. Literary Theory: A Guide for the Perplexed. London: Continuum, 2006
13. Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. New York:Norton, 2001. Print.
14. Rice, Philip and Patricia Waugh. Modern Literary Theory. 4^th ed. London: Hodder Arnold, 2001. Print.
15. Rivkin, Julie, Michael Ryan, eds. Literary Theory: An Introduction. Rev ed. Oxford: Blackwell, 2003. Print.
16. Rooney, Ellen ed. Feminist Literary Theory. Cambridge: CUP, 2006. Print.
17. Waugh, Patricia. Literary Theory and Criticism: An Oxford Guide. Oxford: OUP, 2006. Print

Section A: Any 3 questions out of 5. (3x10=30) (Conceptual Questions)

Section B: 1x 20=20. Application question. Compulsory no choice.

Total = 50.

CIA I: A class test (open book or otherwise on concepts and application) for 20 marks

CIA III: Any creative test that is application based for 20 marks.

End Semester Pattern

Section A: 5x10 =50 (Answer any 5 out of 7) Conceptual Questions alone

Section B: 2x25 = 50 (Answer any 2 out of 3) Application based

Total 100

French as a second language in the UG program. The method Génération A2 consists of a student's book and an activity book, both included in the digital manual. It consists of 6 units preceded by an initial section of 'Welcome'. Continuing from where A1 left, it aims to enhance learning skills further. The structure of each unit marks a real learning journey into different aspects of the French language and culture.

Course Objectives

·       To develop linguistic competencies and sharpen oral and written communicative skills further

·       To enhance awareness of different aspects of francophone civilization.

·       To enrich the learner’s vocabulary

·       To enable learners to engage in and discuss simple topics with ease

Lesson 1: Let’s do the housework!

Lexicon – Lodging, the house, rooms

Grammar – The progressive present tense , possessive pronouns, negative form

Speech act – Protesting and reacting

 Lesson 2: About lodging

Lexicon – Furniture and equipment, household tasks

Grammar – Some adjectives and indefinite pronouns, verbs ‘to read, to break up

                   and to complain’

Speech act – Expressing interest and indifference

Molière’ s L’Avare – Français facile -Act III Sc 8 onwards

Lesson 1: All in form!

Lexicon – The human body: exterior / interior, sickness and medicines

Grammar – Simple past tense and imperfect, recent past, expression of duration

Speech act – Narrating in the past tense

Lesson 2: Accidents and catastrophes

Lexicon – Accidents, natural catastrophes

Grammar – Adjectives and indefinite pronouns: nothing, no one, verbs ‘to say,  to run, to die’

Speech act – Expressing fear and reassuring

Molière’ s L’Avare – Français facile -Act IV

Lesson 1: Studying abroad, Happy journey

Lexicon – The educational system, formalities to go abroad

Grammar – Demonstrative pronouns, simple future tense, situating in time

Speech act – Expressing one’s opinion,

 Lesson 2: The weather

Lexicon – The weather

Grammar –Me too, not me, impersonal verbs, verbs ‘ to believe, to follow and to rain’

Speech act – Speaking about the weather, speaking about the future

Molière’ s  L’Avare – Français facile -Act V

2.     Molière, L’Avare – Français facile

Course Description:

The detailed text-book "Ashad ka ek din” is a drama by Mohan Rakeshi, one of the eminent writers of modern Hindi Literature. Hindi journalismis is one of the major unit of this semester. Phrases, idioms, technical and scientific terminology are included in this semester to improve the literary skills.

Course Objectives:

Through the prescribed play and the theatre performance, students can go through the process of experiential learning. Study of Mass media enables them to get practical training. Phrases, idioms, technical and scientific terminology sharpen the language skills of the students.  

Madhavi (Play) ByBhishma Sahni. Rajpal and Sons, New Delhi - 110006 

Level of knowledge: Analitical

•  Report writing,
• Media Interview                                                                    
•  Hindi Journalism 
• Electronic media and Hindi,
• Print media                                    

Level of knowledge: Conceptual

1. 50 Nos. Phrases and Idioms for writing the meaning and sentence formation.  

2. 100 Nos. (Hindi equivalent)

Level of knowledge: Basic

1. "Ashad ka ek din ” is a drama by Bhisma Sahni. Rajpal and Sons, New Delhi - 110006

2. Hindi PatrakaritakaIthihas:By Jagadeesh Prasad Chaturvedi

3. HindiPatrakaritaSwaroopEvamSandarbh:                          By Vinod Godare

4. Media Interview:                     By Philip Bell,Theovanleeuwen.

CIA-2(Mid sem exam)

CIA-3((Wikipedia-Article creation)

End sem exam

The course introduces the rich Kannada language and helps students to read and write the Regional language effectively. The prescribed text ‘Kalagnani Kanaka’ (Kanaka, the visionary) is all about 15^th century poet, saint and philosopher of the Haridasa Bhakti tradition. “Kanaka’s writings touch on all aspects of truth and social reality’ said K.R. Nagaraj, literary critic and the author of the Kalagnani Kanaka play. “Kanaka’s poetry is dense with rhyme, rhythm, meter and rich descriptions. He upholds social justice while addressing the issues of the time-caste and class differentiation and gender oppression, for example. Contrary to popular belief, he never confined himself to any one philosophical tradition- Advaita, Dwaita or Vishistadwaitha” ‘Kannadada Moovattu Kathegalu’ is another prescribed text. Through this text the students are exposed to the writings of Koradkal Sreenivasa Rao, K. P. Poornachandra Tejaswi, Masti Venkatesha Iyengar, G. P. Basavaraj and others. Short stories help students in harnessing creative writing skills.

Act- 1

Act- 2 

Act- 3 

Act- 4 

Act- 5

Act- 6

1.      Dhaniyara Sathyanarayana-Koradkal Sreenivasa Rao

2.      Thabarana Kate- K. P. Poornachandra Tejaswi

3.      Gowthami Helida Kathe- Masti Venkatesha Iyengar

4.      Raja mattu Hakki- G. P. Basavaraj

Essay Writing/ Letter Writing/ Dialogue writing 

2.      Kannada Rangabhoomi; L.S. Shesshagiri Rao

3.      Kannada Sanna Kathegala Olavu- Giradi Govinda Raju

4.      Tabarana Kathe- Kannada Screen play by Girish Kasaravalli

2.      Kannada Rangabhoomi; L.S. Shesshagiri Rao

3.      Kannada Sanna Kathegala Olavu- Giradi Govinda Raju

4.      Tabarana Kathe- Kannada Screen play by Girish Kasaravalli

CiA-2 Mid Semester Exams- 50 marks

CIA-3 Wikipedia Article writing- 20 marks

End Semester Exams- 50 marks

This is a skill enhancement course. This course has been conceptualized in order to identify and create options for growth as an Art Entrepreneur

Working on theme

Creating a framework and script

Designing and stage management

Budgeting and marketing

Incorporating dialogue and acting

Incorporating music

Incorporating dance

Working with sets

Working with lights

Working with costumes and make up

Combined rehearsal and integration

Run through and corrections

Technical rehearsals to invited audience

Show

 Learning outcomes and feedback.

CIA 1 - Details of Performance/Art Buisness format  and Responsibilities undertaking in organising event outside campus
CIA 2 - Investment and Returns - Amount generated through Collaboration/Sponsorship/Ticket sales etc
End Semester - a) Individual E-Profile 
                         b) Process document  - with balance statement and learning outcome
                         c) Interview 

Course Description: This course will delve deeper into the roots of our tradition by introspecting the history and development of Bharatanatyam through the various ages – from the devadasi tradition of the 10th century, through the Mughal era, and the Indian freedom struggle, up to the present day. The students will also learn about a few prominent figures in the field and their contributions. The practical will consist of the next set of items from the repertoire continued from the last semester.

Objectives:

·         To provide a deeper knowledge and skill of the chosen main subject.

·         To provide a learning framework and understanding of our tradition and heritage.

·         To understand the aesthetics and dynamics of integration and create a wholesome experience of performing arts.

Tracing the development of Bharatanatyam from the era of the devadasis to the modern times.

Beginning of the devadasi culture, Practices in South India, East, West and North India.  During the British era, reformists, revivalists and the post-independence times.

·         Krishna Iyer

·         Tanjore Brothers

Ø  Chinnayiya

Ø  Ponnayiya

Ø  Shivanandan

Ø  Vadivelu

·         Rukmani Devi Arundale

·         Bala Saraswati

·         Mylapor Gowriamma

·         Meenaxi Sundaram Pillai

Brief study of the treatises in terms of their history, content, importance and purpose

Comparative study of the two texts.

 Samyukta Hasta Viniyogas

Abhinaya Item

Compination of Nritta and Abhinaya

Pure Nritta item

1.   

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.

Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian

1.      dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.

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

3.      Eshwar, J. (2010). Bharatanatyam: how to-. Delhi: B.R. Rhythms.

4.      Waterhouse, D. (1998). Dance of India. Toronto: University of Toronto, Centre for South Asian Studies.

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

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

1.   

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.

Muni, B., & Ghosh, M. (1950). The Nāṭyasāstra: a treatise on ancient Indian

1.      dramaturgy and histrionics, ascribed to Bharata Muni. Calcutta: Asiatic Society.