Syllabus for
Bachelor of Arts (Music, Psychology, English)
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

An introduction to the craft of creative writing, this paper offers an engagement with literary conventions as well as the writing techniques and tools essential to effective composition and editing.

1)Narrativising Time: calibrating time through alternate modes of expression.

Instructions: Write a paragraph that captures the passage of time. Do not use conventional markers and instruments that mark the passage of time like calendars, watches, clocks.

Tip: Observe objects and their relation with time. Describe the changes you notice.

2) Writing about Space:

Instructions: Using your bodily experience, in a few lines describe being caged, then describe being alone in a vast open desert like space. Avoid conventional words that describe space like measurements or volumes.

Tip: Observe and describe the effect spatiality has on you in terms of feelings and perceptions.

3) Ekphrasis: Describing a work of visual art:

Choose a famous work of art and narrativise it.

Tip: avoid historical, biographical or compositional facts. Study the work and imagine the moments or situations that preceded what is depicted.

4)Pecha Kucha (Sequencing):

Instructions: using 20 slides with a six second transition per slide, narrativise the story that will lead to the LAST slide being the painting chosen by you for the previous exercise.

Tip: keep slides minimal. Avoid heavy text or images. Use a visual colour palette and design mode that aligns, complements or contrasts with your last slide (the painting). Choose a font, background colour and images to suit your narrative tone. Be sensitive to cultural moorings and milieu.

5) Perspectives/ Point of View

Instructions: Choose a popular legend or fairy tale or nursery rhyme. Retell it from the point of view of a minor character or object. Example: retell Cinderella from the point of view of the slipper or the coach man.

Tip: the plot must remain the same but the perspective will define the tone and telling thereof.

6) Analogy

Instructions: Write a brief analogy: 2-5 lines only. You may use a metaphor, simile, conceit, anecdote etc.

Tip: Try to find culture specific and contextual examples. feel free to draw from your own cultural and linguistic experiences. Provide adequate translation and context. Write in English only.

7)Artistic Manifesto

Instructions: write a page describing your emerging idea of artistic writing from your experiences with the writing exercises you have hitherto done.

Tip:  You may feel the need to align your style and voice within a tradition. Describe and appraise that tradition and locate yourself within it.

8 a) Material Memory:

Instructions: Find any household artefact or family heirloom of emotional value and trace its significance within your family.

Tip: trace its ownership, try to find to the source, have a conversation with someone who has a story about it, happy or otherwise. Observe the artefact and the response it evokes in the narrator. Try to supplement your writing with a photo or illustration.

8 b) Cultural expression:

Instructions: In conversation with your family, identify a favourite proverb, insult, threat, joke that has been repeated over the years. What does it mean? What is its intention? How do some of its elements capture the sense of region and community. For example, the donkey is often vilified as a beast of stubbornness and stupidity in Tamil folklore. It is also an affectionate term of rebuke by elders and is inoffensive yet stinging. It is a character often central to proverb and folktale alike as well as good natured insults.

9) Ballad: Story poems with clear conventions

Instructions: write a ballad using the conventions discussed in class.

10) Haiku:

Instructions: Write a sequence of haiku reflecting a season.

Tip: The haiku must have a seasonal marker (kigo), cutting word (kiregi) and adhere to the conventions of Imagism, avoiding primary speech cohesion.

11) Proposal for ESE Portfolio:

Instruction: Defend your choice of form. Mention why you are choosing it and what literary significance it enjoys.

12) Review of Literature:

Instructions: Select upto 5 pieces of writing by well known authors who are renowned for their contribution to that form. Write a brief review of their work, its impact on your imagination and how you intend to align yourself in their tradition.

13) Final Submission

Instructions: Draft your Final Submission. Have a friend review it. Edit and experiment with presentation.

14) Conceptualise the design and layout of your final submission. Write a paragraph on your design concept. Even if you choose to submit an unadorned manuscript, validate this decision.

Bradley, Margaret. Ed, More Poetry Please! JM Dent & Sons,Great Britain,1988.

Fry, Stephen , The Ode less Travelled , Random House , UK

Lowenstein Tom, ed Classic Haiku: The Great Japanese Poetry from Basho, Buson, Issa, Shiki and their followers, Duncan Baird Publishers, London

Palgrave, Francis Turner Palgrave's Golden Treasury with Additional Poems, Oxford University Press, London, 1908

Reid, Ian, The Critical Idiom: The Short Story, Methuen& Co. London

Stepp, Carl Sessions. Writing as Craft and Magic, Oxford University Press, New York,2007

Thayil, Jeet, ed,60 Indian Poets, Penguin Random House , India ,2008

Students will be graded for compliance with assignment instructions.

The End Semester Assessment will be a portfolio submission (50 marks).

There is no CIA or Mid Semester examination.

• 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 course builds from content learned in MUS231 Music Foundations II. Music is a vehicle of expression that allows one to communicate experience directly. An individual situated within any culture can use their understanding of harmony to articulate their unique worldview to themselves and others. The inherent connections between western tonal harmony, neurology, and physiology grant students a means to explore and articulate their own worldview both musically and psychologically as such knowledge aids to increase emotional intelligence.

Course Objectives

• Articulate the connections between musical, neurological, and physiological emotional responses of people.
• Compose in four parts from a melody or a bass line (with or without lyrics).
• Provision of a toolbox of musical techniques for exploring emotional psychology and self-expression.
• Application of techniques learned to the development of own composition.

Introduction, Overview and Outline.

Melody Construction and Tendency, Part-writing in Four Voices, Four-part Harmonisation, Fine-tuning Melodies.

Physiological Responses to Music; Chordal Tendencies and Neurotransmitters; Music and Emotion.

Prolonging the Dominant, Modulation, Application: Secondary Dominant and Diminished Seventh Chords, Modal Exchange and Mixture Chords, Tonicization.

Piano art results from the work of a composer who express their ideas through music, and a performer who embodies the creation of the composer into life. In every musical interpretation there exists two tendencies: pursuit toward a clean expression of composers’ thoughts and pursuit toward full self-expression of a performer. During this course students will explore the nuances of famous composers and interpreters of piano music. It will also help each student grow in their listening skills and perception of classical piano music.

Course Objectives

• Enable students to learn the main features of each epoch of piano compositions.
• Help develop students to describe compositional and performance aspects of major piano works throughout history.
• Help students find parameters for critical analysis of musical material and interpretation.
• Evaluate and compare styles and interpretations of western piano music.

Outline; Overview; Empathetic Listening.

George Frederic Handel; Joseph Haydn; Wolfgang Amadeus Mozart and Ludwig Van Beethoven.

This course introduces students to a brief history of opera.Students will learn about the role of opera in the development of music in general from both theoretical and practical angles. During this course the students will get to know the names of famous opera composers and operas. There is also a focus on foundations of opera art, especially as they relate to libretto and music. Practical application of study arises in singing either famous arias and or ensemble choruses.

Course Objectives

• Enables students to learn the main features of each epoch of opera
• Analyse significant milestones in the development of opera
• Recognize musical material from seminal operas by ear
• Develop listening skills, perception and performing of western classical singing

Introduction, Overview and Outline.

"Orfeo" by Claudio Monteverdi; "Giulio Cesare" by George Frederic Handel; "Orfeo ed Euridice" by Christoph Willibald von Gluck.

"The Marriage of Figaro" by Wolfgang Amadeus Mozart; "Don Giovanni" by Wolfgang Amadeus Mozart.

"Don Carlos" by Giuseppe Verdi; "Nabucco" by Giuseppe Verdi; "Barber of Seville" by Gioachino Rossini; "La Traviata" by Giuseppe Verdi; "Rigoletto" by Giuseppe Verdi; "Libiamo" by Giuseppe Verdi.

"Cavalleria Rusticana" by Mascagni, "Pagliacci" by Leocavallo; "Carmen" by George Bizet; "Eugene Onegin" by Pytor Illich Tchaikovsky.

Required reading materials will be provided by the professor in charge.

DelDonna, A. R.; Polzonetti, P. (2009). The Cambridge Companion to Eighteenth-Century Opera. Cambridge University Press.

Burton D. Fisher " A History of Opera"

Burton D. Fisher "Opera Classics Library Series"; "Opera

Journeys Mini Guide Series"; "Opera Journeys Libretto Series"

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.

•      There will a 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.

•      For the performance exam you need to perform at least one of the two pieces assigned. Evaluation rubrics and pattern remains the same as the 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 outline:

Assessment Description:

The Assessment pattern will consist of two or more contrasting western classical piano pieces to be performed at the end of each semester. Repertoire selected by the instructor is tailored to each student's personal abilities.  

 To appear for the summative assessment:

1.     Min class attendance percentage for Major in Piano III should be 85%

2.     The student should have appeared for the formative assessment.

 If any changes in the above, the decision made by the piano coordinator will be final.

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 a 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, piano accompaniment, choir) and any event that involves team work as directed by the faculty in-charge.

Please note:

Min class attendance percentage for Collaborative Piano should be 85% to appear for the Final ESE. Else the student will not be able allowed to answer the practical exam and will be marked Fail. The student shoudl also have appeared for the formative exam. 

If any changes on the above, the decision of the piano coordinator is final. 

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. 

Equal Volume of Vowels, Aesthetics of Singing, Stable Vowels, Vocal Resonances, Active Pause.

Open Syllable, Masking Articulation of Vowels, Precise and Active Articulation of Consonants.

Repertoire selected by the instructor is tailored to each student's personal abilities.

No CIA I, II & III

End semester examination – practical exam; 100 marks 

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

Vocalise, Scales, Arpeggios, Articulations, Exercises

Playing of Vocal Exercises on Piano

Participation, Dependability, Punctuality, Communication, Musicality

End semester examination – practical exam; 100 marks

The Department of Western Music, Christ University, insists on students doing an internship for the duration of a month (30-31 days). The objective of this compulsory curricular activity is to support students to initiate contacts with the industry, provide a professional platform to apply what they have been taught in class and bolster their confidence in practicing music. The students are expected to furnish details of the workplace they are interning in, send in weekly reports to the faculty mentor, get an internship completion certificate and a feedback report from the reporting head of the workplace in a sealed and stamped envelope. Both the certificate and the feedback should be printed on the institution's letterhead.

Course Objectives

• Provide a link with industry platform to experience music-related work
• Experience application of problem-solving skills within real-life environments
• Provide students with professional networking opportunities within a music-related field
• Engage students with the practice of logging work done as a means to growth-related ends

At the end of the required period of internship the candidates will submit a report in not less than 1500 words. The report should be submitted within first 10 days of reopening of the university for the III semester.

Apart from a photocopy of the letter from the organization stating the successful completion of the internship, the report shall have the following parts:

• Introduction to the place of internship
• Reasons for the choice of the place and kind of internship
• Nature of internship
• Objectives of the internship
• Tasks undertaken
• Learning Outcomes

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