0% found this document useful (0 votes)

291 views

University of Calcutta: Notification CSR/100 /18

The document announces revisions to the existing syllabus and regulations of the 2-year MA in English program under the Choice Based Credit System at the University of Calcutta. It notifies that the Syndicate approved changes in its meeting on September 24, 2018. The revised regulations will be effective from the 2018-2019 academic session. It provides details on the program structure, course structure, question patterns for examinations, and examination procedures.

Uploaded by

Biswajit Das

Available Formats

Download as PDF, TXT or read online on Scribd

0% found this document useful (0 votes)

291 views

University of Calcutta: Notification CSR/100 /18

Uploaded by

Biswajit Das

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 56

UNIVERSITY OF CALCUTTA

Notification No. CSR/100 /18

It is notified for information of all concerned that the Syndicate in its

meeting held on 24.09.2018 (vide Item No.20) approved some revisions in the

existing Syllabus and Regulations of 2-year 4-Semester M.A. course in English

under CBCS (as notified in Notification No.CSR/36/18 dated 13.08.2018), in the

Post-Graduate Departments of the University and in the affiliated Colleges offering

Post-Graduate Courses under this University, laid down in the accompanying

pamphlet.

The above shall be effective from the academic session 2018-2019.

SENATE HOUSE
~
(Dr. Soumitra Sarkar)
KOLK.ATA-700073 Registrar (Officiating)
The 14th November, 2018

~\~
\
REVISED CSR FOR M.A. IN ENGLISH (UNDER CBCS), 2018

THE REGULATIONS FOR THE SEMESTERISED ‘MASTER OF ARTS IN ENGLISH’, A

TWO-YEAR POSTGRADUATE DEGREE PROGRAMME (CHOICE BASED CREDIT
SYSTEM) 2018, UNIVERSITY OF CALCUTTA

1. Title and Commencement

1.1 These Regulations shall be called THE REGULATIONS FOR THE SEMESTERISED ‘MASTER
OF ARTS IN ENGLISH’, A TWO-YEAR POSTGRADUATE DEGREE PROGRAMME (CHOICE
BASED CREDIT SYSTEM) 2018, UNIVERSITY OF CALCUTTA.

1.2 These regulations shall come into force with effect from the academic year 2018-2019.

1.3 These regulations will remain valid until further amendment by the concerned authorities.

2. Duration of the Programme

The 2-year ‘Master of Arts in English’ programme (under CBCS) shall be for a minimum duration of
four (04) consecutive semesters of six months each, i.e. two (02) academic years and will start as
notified by the university authority.

A candidate shall have to clear all the semesters within four years from the academic year of his/her
first admission to the university failing which enrolment of the candidate shall stand cancelled.

3. Admission

The admission to the ‘Master of Arts in English’ Programme shall only be in the first semester, at the
beginning of each academic year as per existing University of Calcutta regulations.

4. Attendance

4.1 A candidate attending at least 75% of the total number of classes* held shall be allowed to appear
in the concerned Semester End Examinations subject to fulfilment of other conditions laid down in the
regulations.

4.2 A candidate attending at least 60% but less than 75% of the total number of classes* held shall be
allowed to appear in the concerned Semester End Examinations subject to the payment of prescribed
condonation fees and fulfilment of other conditions laid down in the regulations.

4.3 A candidate attending less than 60% of the total number of classes* held shall not be allowed to
appear in the concerned Semester End Examinations and he/she has to take admission to the same
Semester in the immediately following academic year for attending the classes and appearing in the

Page 1 of 6
said Semester End Examination. Such a candidate will not be allowed to continue in the next higher
semester, if any.

*
Such attendance will be calculated from the date of commencement of classes or the date of
admission whichever is later.

5. Programme Structure

5.1 Postgraduate Degree Programme, namely ‘Master of Arts in English’ of the University of Calcutta
consists of

1. Core Courses (CC)

2. Discipline Specific Elective (DSE) courses
3. Generic Elective (GE) Courses.

5.2 Core and Discipline Specific Elective courses carry 90% credit weightage, whereas Generic
Elective courses carry 10% credit weightage.

5.3 Each course carries 50 marks/4credits. There will be 14 compulsory core courses. In addition, a
student will have to mandatorily choose 4 DSE courses ( one in Semester II, two in Semester III and
one in Semester IV) out of 13 (DSE courses) and enrol on 2 GE courses (one in Semester III and the
other one in Semester IV).

5.4 Each course shall have an alphanumeric code.

6. Course Structure for ‘Master of Arts in English’ under CBCS

Each course (except CC XIV and Language based courses – CC V, CC IX, DSE V and DSE X) will
comprise two units. There will be a pool of texts / sub-units in the syllabus for each course (except
CC XIV and Language based courses – CC V, CC IX, DSE V and DSE X) out of which three texts /
sub-units will be taught per unit. Selection of texts may vary from one batch to another and will be
announced at the beginning of each semester. There will be no unit divisions in language based four
courses -- CC V, CC IX, DSE V and DSE X. All the components in CC V, CC IX, DSE V and DSE X
may not be taught in a particular semester – the components to be taught in these four courses in any
semester will be announced at the beginning of each semester.

The course structure will be as follows:

Year Course Details Credits Marks

YEAR 4 Credits for each
SEM-I Core Courses 1 to 5 250
ONE course

Page 2 of 6
Total 4x5 = 20 Credits
Core Courses 6 to 9 4 Credits for each Core Course 200
SEM-II One DSE course from course
* DSE 50
DSE 1 to DSE 3 Total 4x5 = 20 Credits
Core Courses 10 to 11 Core Course 100
Two DSE courses from 4 Credits each course
SEM-III DSE 100
DSE 4 to DSE 8* Total 4x 5 = 20 Credits
One GE course GE 50
YEAR
TWO Core Courses 12 to 14 Core Course 150
One DSE course from 4 Credits each course
SEM-IV DSE 50
DSE 9 to DSE 13* Total 4 x 5 =20 Credits
One GE course GE 50

14 Core Courses, 4 Discipline Specific Elective

Total 80 Credits Total 1000 Marks
Courses & 2 General Elective Courses

*
Not all DSE courses may be offered in a particular semester. The number of students to be enrolled
for any DSE course may be regulated by the Department taking into consideration the resources
available. The enrolment for the DSE courses shall be on a first come, first served basis, provided the
student fulfils the relevant prerequisites for that course, if any. A minimum of five students need to
enrol in a DSE course, otherwise the course will not be offered.
7. Question Pattern for Examinations

7.1 Each course will be evaluated through an Internal Assessment (IA) of 10 marks and a Semester
End Examination of 40 marks.

7.2 In CC XIV (Course on Essay), students will have to write on an unseen topic (10 marks) out of 3
options in the Internal Assessment and one Essay (40 marks) out of a choice of 8 topics in the
Semester End Examination.

7.3 In Semester End Examination, questions will be set only from the three texts / sub-units taught
per unit in all papers, except CC V, CC IX, CCXIV, DSE V and DSE IX. Semester End Examination
will have the question pattern of 15 + 5 per unit – students will have to write one question of 15
marks and one short question of 5 marks from each unit in all CCs (except CC V, CC IX and
CCXIV) and DSE courses (except DSE V and DSE IX). In these courses, only one 15 marks question
and one 5 marks question will be set from each text/sub unit in the Semester End Examination.

Page 3 of 6
7.4 In GE courses, students will have to answer one question of 20 marks from each unit in
Semester End Examination. Only one 20 marks question will be set from each text/sub unit in the
Semester End Examination for GE papers.

7.5 No student may write more than one answer from the same text / sub-unit in the Semester
End Examination in all courses except CC V, CC IX, DSE V and DSE X.

7.6 The pattern of setting of questions and the related marks division in both Internal Assessment (10
marks) and Semester End Examination (40marks) in CC V, CC IX, DSE V and DSE X will be
flexible.

8. EXAMINATION

8.1 The 2-year ‘Master of Arts in English’ Programme under CBCS shall consist of four (04)
consecutive semesters (Semester - I, Semester – II, Semester – III and Semester – IV).

8.2 All courses / papers in the ‘Master of Arts in English’ Programme shall be evaluated through an
Internal Assessment Examination (10 marks) and a Semester End Examination (40 marks). Each
course carries 50 marks/4credits. Both the Internal Assessment and the Semester End
Examination are equally obligatory for all candidates. An examination shall be held always
under the current syllabus.

8.3 Semester End Examinations are to be held ordinarily at the end the concerned semester.

8.4 If a candidate fails to secure pass marks in one or more papers in 3rd and / or 4th End-Semester
examinations, he/she may appear in the supplementary examinations to be held after 3 months of the
publication of results of 4th semester examination.

8.5 Non-appearance (absence) in any examination for any reason shall be counted as a chance. Failure
to fill up the examination form shall also be considered as a missing chance.

8.6 A failed candidate, intending to re-appear in a subsequent semester examination has to submit
examination form / application to the Controller of Examinations through the Head of the Department
(Principal for affiliated colleges) as per the notice to be issued by the department of Controller of
examinations.

The candidate has to clear the entire course within 4 years from the year of first admission in
that course.

8.7 A candidate pursuing ‘Masters of Arts in English’ Programme has to score a minimum of 40%
marks (including Internal Assessment) in each course / paper in order to earn the corresponding
credit for the concerned course / paper and a minimum of 40% marks in aggregate taking into

Page 4 of 6
consideration all the courses / papers of all semesters as a whole, i.e. CC, DSE & GE courses / papers,
in order to get the Postgraduate Degree.

8.8 A candidate may appear in any higher Semester End examination(s) without appearing in lower
Semester End Examination(s) subject to Clause 4.3.

8.9 Internal Assessment has to be done in the semester in which a candidate becomes eligible to
appear in the concerned end semester examination. The candidates remaining absent in the Internal
Assessment will be awarded zero (0) marks in the Internal Assessment. Marks obtained in the Internal
Assessment shall be retained for the entire duration of his/her enrolment.

8.10 A candidate who is eligible to appear in any of the Semester End Examinations does not enrol or
does not appear in the examinations or fails to secure pass marks at the concerned examinations as
stated in clause 8.7 above, will be allowed to attend the classes in the next higher semester, as
applicable.

8.11 Modalities of Internal Assessment will be decided by the PGBOS.

8.12 All paper setters, examiners, scrutineers, re-examiners and members of the Board of Moderators
for each Semester End Examination will be appointed by the University Authorities on the
recommendations of the Postgraduate Board of Studies (PGBOS) in English as per University of
Calcutta regulations.

9. Re-Examination

9.1 A candidate will be eligible to re-examine his/her script if he/she appears in the concerned
Semester End Examination as a whole.

9.2 A candidate shall be allowed to apply for re-examination, within fifteen days from the publication
of results, of not more than two (02) courses/ papers in each semester, provided that he/she has scored
qualifying marks , i.e. 40% in the remaining courses/papers of that semester. Re-examination of the
Internal Assessment part in any course is not allowed under any circumstances.

9.3 In re-examination of courses/papers for any Semester End Examination of two-year ‘Master of
Arts in English’ Programme, the marks awarded by the re-examiner in a course / paper will be taken
as the marks obtained by the candidate in that paper. If on re-examination of a course/paper , the
marks get enhanced by more than 15% or get reduced by more than 5% than that awarded by the
original examiner (the percentage is to be calculated on the basis of the full marks in that paper), the

Page 5 of 6
script of the paper shall be referred to a third examiner. Among the marks awarded by three
examiners, i.e. the original examiner, the second examiner (re-examiner) and the third re-examiner,
the average of the closer two marks will be awarded, provided that such a final award does not result
in lowering of the class or status obtained by the candidate prior to the re-examination in which
case(s) the original award be retained.

10. Cancellation of Examination(s)

A candidate may apply for cancellation of enrolment of the concerned Semester End Examination
within fifteen days from the date of completion of the said examination.
11. Semester Grade Point Average (SGPA) and Cumulative Grade Point Average (CGPA)

11.1 Point Grade System shall be followed for the purpose of Grade Point Calculation as per
University of Calcutta regulations.

11.2 Semester Grade Point Average (SGPA) of a particular semester shall be calculated as per
University of Calcutta regulations.
11.3 Cumulative Grade Point Average (CGPA) over all the four semesters shall be calculated as per
University of Calcutta regulations.
11.4 The final mark sheet, on completion of Four Semesters, shall include the SGPA of Four
Semesters, CGPA, Letter Grade, the marks obtained, total marks and the credit earned.

12. Degree
If a candidate pursuing ‘Master of Arts in English’ Programmes clears all the papers and secures 40%
and above marks in aggregate of all semesters (in terms of clause 8.8) will be declared obtaining
‘Master of Arts in English’ Degree with his/her CGPA and the corresponding Letter Grade.

-------------

Page 6 of 6
CBCS SYLLABUS
M.A. IN ENGLISH
UNIVERSITY OF CALCUTTA

The Department of English Language and Literature, University of Calcutta, follows a specific vision.
Along with academic excellence, the Department believes in imparting to the learners a training that
would enable them to become responsible, perceptive and functional citizens who will contribute to
the well-being of their society and their nation. The present course is thus designed to nurture a
critical and historical awareness that can only be attained through a thorough understanding of the
texts and concepts included. The curriculum aims to create a balance between texts and textuality,
socio-cultural and linguistic theory, language studies and profession-oriented training. It is created
with an intention to equip the learners not only with ideas he/she needs to understand the key periods
in the history of English Literature but also the global events and concepts that influence and mould
them. Literature and language are intricately intertwined, this course believes that a greater
comprehension of language and its development will create a greater depth in perception and
appreciation of literature, culture and human progress. Although the aim of this course is to make the
learners ready for employment, it will also ensure that any learner who is trained through this course
should have the skill to confidently engage in further research in varied disciplines such as literature,
language, English Language Teaching (ELT), culture or political studies, to name a few.

COURSE DETAILS:

Course Details
(Semester (Core Course – CC, Discipline Sepcific Elective Course – Credits Marks
*
– Sem) DSE , Generic Elective Course – GE)

CC I: British Literature from Geoffrey Chaucer to the

Beginning of English Civil War 4 Credits
CC II: Elizabethan and Jacobean Drama each
YEAR CC III: British Literature from the English Civil War to the course
SEM-I French Revolution CC 250
ONE Total (4 x
CC IV: British Literature from the French Revolution to the
End of the Victorian Age 5=)
CC V: Introduction to Linguistics and Structure of Modern 20 Credits
English

Page 1 of 49
CC VI: British Literature from the End of the Victorian Age
to 1945 – Poetry and Novel
CC VII: British Literature from the End of the Victorian Age
4 Credits
to 1945 – Drama, Short Fiction and Non-Fiction
CC VIII: British Literature from 1946 to the Present – each
CC 200
Poetry and Novel course
SEM-II
CC IX: English Language Teaching I (4 x 5 = )
DSE 50
Total 20
DSE (any one from the following)
Credits
• DSE I: Ancient European Literature
• DSE II: Nineteenth Century American Literature
• DSE III: Indian Literature I

CC X: British Literature from 1946 to the Present – Drama,

Non-Fiction and Short Fiction
CC XI: Literary Criticism I
4 Credits CC 100
DSE (any two from the following) each
• DSE IV: Modern European Literature
course DSE
SEM-III • DSE V: Sociolinguistics, Phonetics and Phonology
(4 x 5 = ) 100
• DSE VI: Indian Literature II
Total 20
• DSE VII: Colonialism and Postcolonialism
• DSE VIII: American Literature of the Twentieth Credits GE 50
Century
YEAR
GE I: Film and Literature
TWO
CC XII: Literary Criticism II
CC XIII: Literary Theory
CC XIV: Essay
4 Credits
CC 150
DSE (any one from the following) each
• DSE IX: New Literatures course
SEM-IV DSE 50
• DSE X: English Language Teaching II (4 x 5 = )
• DSE XI: Gender and Literature Total 20
• DSE XII: Modernism and Postmodernism GE 50
Credits
• DSE XIII: Popular Culture

GE II: Children’s Literature

Total
14 Core Courses, 4 Discipline Specific Elective Courses & 2 Generic Elective Total 80
1000
Courses Credits
Marks

Page 2 of 49
Each course (except CC XIV and Language based courses – CC V, CC IX, DSE V and DSE X) will
comprise two units. There will be a pool of texts / sub-units in the syllabus for each course (except CC
XIV and Language based courses – CC V, CC IX, DSE V and DSE X) out of which three texts / sub-
units will be taught per unit. Selection of texts may vary from one batch to another and will be
announced at the beginning of each semester. There will be no unit divisions in language based four
courses -- CC V, CC IX, DSE V and DSE X. All the components in CC V, CC IX, DSE V and DSE X
may not be taught in a particular semester – the components to be taught in these four courses in any
semester will be announced at the beginning of each semester.

QUESTION PATTERN FOR SEMESTER END EXAMINATION

• Each course will be evaluated through an Internal Assessment (IA) of 10 marks and a
Semester End Examination of 40 marks.
• In CC XIV (Course on Essay), students will have to write on an unseen topic (10 marks) out
of 3 options in the Internal Assessment and one Essay (40 marks) out of a choice of 8 topics
in the Semester End Examination.
• In Semester End Examination, questions will be set only from the three texts / sub-units
taught per unit in all papers, except CC V, CC IX, CCXIV, DSE V and DSE IX. Semester
End Examination will have the question pattern of 15 + 5 per unit – students will have to
write one question of 15 marks and one short question of 5 marks from each unit in all
CCs (except CC V, CC IX and CCXIV) and DSE courses (except DSE V and DSE IX). In
these courses, only one 15 marks question and one 5 marks question will be set from each
text/sub unit in the Semester End Examination.
• In GE courses, students will have to answer one question of 20 marks from each unit in
Semester End Examination. Only one 20 marks question will be set from each text/sub unit
in the Semester End Examination for GE papers.
• No student may write more than one answer from the same text / sub-unit in the
Semester End Examination in all courses except CC V, CC IX, DSE V and DSE X.

Page 3 of 49
• The pattern of setting of questions and the related marks division in both Internal Assessment
(10 marks) and Semester End Examination (40marks) in CC V, CC IX, DSE V and DSE X
will be flexible.

DETAILED SYLLABUS
SEMESTER I
CORE COURSE I
British Literature from Geoffrey Chaucer to the Beginning of English Civil war

Course Objectives: The course attempts to trace the trajectory of modernity in England as implied by
the writings of the late mediaeval period. Such modernity, coupled with the discourse of Humanism
which settles much later in England compared to the rest of the continental Europe, defines the spirit
of the age. The genre, the style and the technique of the larger body of literature of the early modern
era, being informed by the thoughts of the classical world, would continue to shape the future course
of literature and culture in England vis-à-vis the world. How such ramification takes place is
suggested by a section of the components of the course that points to the colonial enterprise of the
nation amenable to the discovery of the ‘new’ lands. The course is designed to facilitate the learners
to understand the politics of the white, masculine self reflected in the texts included in the course.

Unit I (Poetry and Drama) [25 Marks]

1. Geoffrey Chaucer – The General Prologue, The Nun’s Priest’s Tale, The Knight’s Tale
2. Sir Gawain and the Green Knight
3. William Langland - The Vision of Piers Plowman
a. The Prologue [‘The Field of Folk’]
b. Passus 1 [‘The Treasure of Truth’]
c. Passus 5 [‘Piers Plowman Shows the Way to Saint Truth’]
d. Passus 6 [‘The Plowing of Piers's Half-Acre’]
e. Passus 7 [‘Piers Tears Truth's Pardon’]
f. Passus 18 [‘The Crucifixion and Harrowing of Hell’]
4. Everyman
5. Edmund Spenser – The Faerie Queene , Book I
6. Sonnets:
a. Thomas Wyatt – ‘My galley charged with forgetfulness’
b. Earl of Surrey – ‘The soote season’
c. Philip Sidney – Astrophel and Stella 1 and 39
d. Samuel Daniel – ‘Care charmer sleep, son of the sable Night’
e. Michael Drayton – ‘Since there’s no help’

Page 4 of 49
7. Shakespearean Sonnets: 23, 65, 73, 106, 127, 147
8. Metaphysical Poems:
a. John Donne – ‘The Canonization’, ‘The Extasie’, ‘The Sunne Rising’
b. George Herbert – ‘The Collar’
c. Andrew Marvell – ‘On a Drop of Dew’, ‘The Garden’
d. Henry Vaughan – ‘Regeneration’

Unit II (Prose) [25 Marks]

1. Thomas More – Utopia / History of King Richard III

2. Robert Fabyan - The New Chronicles of England and of France
‘The Sixth Part: Alfred’
‘The Seventh Part: William the Conqueror’
‘Of King Henry the Seventh’
3. Thomas Malory – Morte d’Arthur / Anonymous – Reynard the Fox
4. John Lyly – Eupheus
5. Thomas Nashe – The Unfortunate Traveler/ Robert Greene – Selections from his Pamphlets
6. Francis Bacon –Essays (selections)
7. Robert Burton – Anatomy of Melancholy (selections)
8. John Milton – Essays (selections) / Thomas Hobbes – Leviathan (selections)

Elizabethan and Jacobean Drama

Course Objectives: The paper is divided into Unit I, comprised of any three Shakespearean plays,
and Unit II, comprised of any three non-Shakespearean plays, with the general objective of
familiarizing students with the rich dramatic history of the age. Needless to say, certain plays are
natural conglomerates, certain plays are seminal to our understanding of the popularity of Renaissance
drama across time and space. The shifting trends of staging and criticism sometimes play a role in the
choice of play texts but our objective is also to make our students aware of the history of transmission
of these texts as well as performance history.
Our Department had legendary teachers of Renaissance drama in the past, no doubt reflecting the
strong tradition of Shakespearean studies in Bengal. Another objective of the course is to incorporate
the study of landmark productions, especially local adaptations. The plays call for student
performances, being of the nature of plays-in-performance.
The broad objectives are
• Textual explication: details of Elizabethan language like word usage, wordplay and punning,
image clusters, motifs and themes
• Reading in context of the socio-cultural background and the intellectual and artistic milieu
• Readings incorporating the critical approaches necessitated by the chosen play
• Studying the stage and film history

Unit I (William Shakespeare) [25 Marks]

1. A Midsummer Night’s Dream
2. Richard III
3. Hamlet
4. Othello
5. Antony and Cleopatra
6. King Lear
7. The Winter’s Tale
8. The Tempest

Page 6 of 49
Unit II (Renaissance Drama other than Shakespeare) [25 Marks]
1. Thomas Kyd – The Spanish Tragedy
2. Christopher Marlowe – Doctor Faustus
3. Ben Jonson – Volpone
4. Thomas Middleton and William Rowley – The Changeling
5. John Marston – The Malcontent
6. Thomas Dekker – The Shoemaker’s Holiday
7. Philip Massinger – A New Way to Pay Old Debts
8. Cyril Tourneur – The Revenger’s Tragedy

` CORE COURSE III

British Literature from the English Civil War to the French Revolution

Course Objectives: This course on Neoclassical British literature attempts to bring into the fore ‘the
dialectic of enlightenment’. The texts of this course as products of the changing pattern of history

Page 7 of 49
from Revolution in England in mid seventeenth century to that in late eighteenth century France
broadly comment upon the ushering in of a different kind of modernity in Europe availed through
social, political and cultural changes. They also show how the literary/cultural milieu shifts from
embracing the empiricist assumptions to adopting the modes of idealism as apparently two
contradictory facets of enlightenment. The emergence of the middle class, an issue gradually
developing since the English Revolution, in the public sphere of the English life is marked by the
components of this course.

Unit I (Poetry and Drama) [25 Marks]

1. John Milton – Paradise Lost Books IV and IX / Samson Agonistes

2. John Dryden – Absalom and Achitophel
3. Alexander Pope – Epistle to Dr. Arbuthnot
4. William Blake – Songs of Innocence and Experience
5. William Wycherley – The Country Wife / George Etherege – The Man of Mode
6. John Dryden – All for Love
7. John Gay – The Beggar’s Opera
8. Oliver Goldsmith – She Stoops to Conquer

Unit II (Prose) [25 Marks]

1. Daniel Defoe – Moll Flanders
2. Jonathan Swift – Gulliver’s Travels
3. Lawrence Sterne – Tristram Shandy
4. Henry Fielding – Tom Jones
5. Samuel Johnson – Selections from Lives of Poets / Selections from Periodical Essays
6. Frances Burney – Evelina
7. John Evelyn – Diary and Samuel Pepys – Diary
8. Matthew Gregory Lewis – The Monk

Unit I (Poetry) [25 Marks]

1. William Wordsworth – The Prelude, Books- I & XIII (1805 version)
2. Samuel Taylor Coleridge – Christabel, ‘Rime of the Ancient Mariner’, ‘Dejection: an Ode’,
‘Frost at Midnight’
3. John Keats – The Eve of St. Agnes, Hyperion, Lamia, ‘Ode on a Grecian Urn’, ‘Ode to
Psyche’
4. Percy Bysshe Shelley – Prometheus Unbound
5. Alfred Tennyson – In Memoriam (Selections)
6. Robert Browning – ‘Childe Roland’, ‘Fra Lippo Lippi’, ‘Andrea Del Sarto’, ‘The Bishop
Orders his tomb At St. Praxed’s Church’, ‘Caliban upon Setebos’, ‘Prospice’
7. Mathew Arnold – ‘Requiescat’, ‘The Scholar Gypsy’, ‘Thyrsis’, ‘The Forsaken Merman’

Page 9 of 49
8. Gerard Manly Hopkins – ‘The Windhover’, ‘Felix Randal’, ‘Pied Beauty’, ‘Thou Art Indeed
Just Lord’, ‘As Kingfishers Catch Fire’

Unit II (Prose) [25 Marks]

1. Jane Austen – Mansfield Park
2. William Hazlitt – ‘On Gusto’, ‘On Nick Names’, ‘On a Sun Dial’, ‘My First Acquaintance
with Poets’
3. Elizabeth Gaskell – Mary Barton / Dickens – Dombey and Son
4. Thomas Hardy – Tess of the D’Urbervilles
5. Walter Makepeace Thackeray – Vanity Fair
6. George Eliot – Middlemarch
7. Thomas Carlyle – On Heroes and Hero Worship (Selections)
8. Matthew Arnold – Culture and Anarchy / Walter Pater – Appreciations (Selections)

Introduction to Linguistics and Structure of Modern English

Course Objectives:
• To introduce learners to the basic concepts and issues of linguistics
• To provide learners an insight into the structure and the usage of modern English
• To enable learners to evaluate and analyse the structures of different grammatical constituents
of English

1. Introduction to Linguistics
a. Definition and scope of Linguistics; Language – features & functions; Human
language and animal communication; Assumptions of modern Linguistics, Levels of
Linguistic Analysis
b. Introduction to various schools of Linguistics – Traditional, Structural &
Transformational Generative
2. Structure of Modern English
a. Morphology – definition and scope; Types of morphemes; Morphological processes;
Morphs and allomorphs; Morphological analysis; Morphological and
morphophonemic rules; Feature percolation conventions
b. Syntax – definition and scope, Structure of Noun Phrase, Prepositional Phrase, Verb
Phrase, Adjective Phrase & Adverb Phrase; Clause – classification, structure and
function; Focus; IC analysis; PS rules; TG Grammar – surface and deep structure
interrelations
3. Semantics
a. Definition and scope; Semantic features; Semantic roles; Lexical relations; Theories
of Semantics

Suggested Reading:
Akmajian, Andrian, et al. Linguistics -- An Introduction to Language and Communication. New
Delhi: Prentice-Hall of India, 1996. Print.
Baker, C.L. English Syntax. Cambridge, MA: MIT Press, 1995. Print.
Crystal,David. Linguistics. Harmondsworth: Penguin, 1978. Print.
____ . What is Linguistics? London: Edward Arnold, 1985. Print.
Gleason, Henry Alan. An Introduction to Descriptive Linguistics. New Delhi: Oxford and IBH, 1970.
Print.
Hockett, Charles Francis. A Course in Modern Linguistics. New Delhi: Oxford and IBH, 1970. Print.

Page 11 of 49
Huddleson, Rodney. An Introduction to English Transformational Syntax. London: Longman, 1976.
Print.
Lieber, Rochelle. Introducing Morphology. Cambridge: Cambridge University Press, 2015. Print.
Lyons, John. Language and Linguistics. Cambridge: Cambridge University Press, 1981. Print.
O’Grady, William, Michael Dobrovolsky and Mark Aronoff. Contemporary Linguistics: An
Introduction. New York: St. Martin’s Press, 1991. Print.
Palmer,Frank. Grammar. London: Longman and ELBS, 1985. Print.
Quirk, Randolph, et al. A Comprehensive Grammar of English. London: Longman, 1982. Print.
Radford, Andrew. English Syntax: An Introduction. Cambridge: Cambridge University Press, 2004.
Print.
Verma, S.K. and Krishnaswamy, N. Modern Linguistics – An Introduction. New Delhi: Oxford
University Press, 1989. Print.
Yule, George. The Study of Language. Cambridge: Cambridge University Press, 1997. Print.

SEMESTER II

CORE COURSE VI
British Literature from End of the Victorian Age to 1945 – Poetry and Novel

Course Objectives: While one streak of the Modernist literature was critically engaged in exploring
the interiority of human psyche, perhaps influenced by Freud and Bergson, the other streak was
equally concerned with projecting the social upheavals amenable to the first World War. The
mechanism of the bourgeois ideology fostered by the realist representation of time and space is
challenged by the content, style and technique of the texts written in this period. As conflicting social
issues and agenda conglomerate in the discourse of literature, the learners are expected to ‘appreciate’
the texts offered in this course from their understading of the history of the era.

Unit I (Poetry) [25 Marks]

1. W.B. Yeats – ‘Byzantium’, ‘Sailing to Byzantium’, ‘ The Circus Animals’ Desertion’, ‘Lapis
Lazuli’, ‘An Acre of Grass’, ‘Easter 1916’
2. Thomas Hardy – ‘The Tramp Woman’s Tragedy’, ‘Logs on the Hearth’, ‘Men who March
Away’, ‘The Bird-Catcher’s Boy’, ‘The Dead and the Living One’
3. D. H. Lawrence – ‘Sorrow’ ‘Green’, ‘Snake’, ‘Piano’ ‘Autumn Rain’, ‘New Heaven and
Earth’
4. T.S Eliot – The Waste Land / Four Quartets / ‘Ash Wednesday’, ‘The Journey of the Magi’,
‘Marina’, ‘A Song of Simeon’

Page 12 of 49
5. Ezra Pound – Hugh Selwyn Mauberley / ‘The Seafarer’, ‘Medallion’, ‘Portrait d’unne
Femme’ / Canto I (from The Cantos)
6. W.H. Auden – ‘Shield of Achilles’, ‘Stop all the Clocks’, ‘Musee de Beaux Arts’, ‘Refugee
Blues’, ‘September 1, 1939’
7. Louis MacNeice – ‘The Streets of Laredo’, ‘Bagpipe Music’, ‘Prayer Before Birth’, ‘The
Sunlight on the Garden’, ‘Obituary’
8. Dylan Thomas – ‘A Refusal to Mourn the Death, by Fire, of a Child in London’, ‘Do not go
Gentle into that Good Night’, ‘Shiloh’s Seed’, ‘Poem in October’, ‘Fern Hill’

Unit II (Novel) [25 Marks]

1. James Joyce – A Portrait of the Artist as a Young Man / Ulysses
2. Virginia Woolf – To the Lighthouse
3. Joseph Conrad – Nostromo
4. D.H. Lawrence – The Rainbow
5. Graham Greene – Brighton Rock
6. Aldous Huxley – Brave New World
7. E.M. Forster – A Passage to India
8. Evelyn Waugh – Brideshead Revisited

CORE COURSE VII

British Literature from End of the Victorian Age to 1945 – Drama, Short Fiction and Non-
Fiction

Course Objectives: This course is a continuation of Core Course VI. The plays included in this
course signal the variety in form and content that the Engish stage was experiencing in the first half of
the twentieth century. The variety ranges from the Irish agenda to the representation of English
history and religion articulated through poetic effusions. The course emphasises the genre of the short

Page 13 of 49
story which as an emerging phenomenon is concerned with the ‘small experiences’ no less significant
to contribute to the making of the modernist sensibilities.

Unit I (Drama) [25 Marks]

1. J.M. Synge – Playboy of the Western World / Deirdre of the Sorrows
2. W. B. Yeats – Purgatory
3. John Galsworthy – Strife
4. James Barrie – The Old Lady shows her Medal
5. George Bernard Shaw – Man and Superman / Back to Methuselah
6. Sean O’Casey – The Silver Tassle
7. T.S. Eliot – Murder in the Cathedral
8. Noël Coward – Blithe Spirit

Unit II (Short Fiction and Non-Fiction) [25 Marks]

1. D.H. Lawrence – Short Stories: ‘Odour of Chrysanthemums’, ‘The Man Who Died’, ‘The
Rocking-Hose Winner’, ‘The Captain’s Doll’, ‘Tickets Please’
2. W. Somerset Maugham – Short stories: ‘The Verger’, ‘The Vessel of Wrath’, ‘Lord
Mountdrago’, ‘The Colonel’s Lady’, ‘The Treasure’, ‘Rain’
3. Katherine Mansfield – Short stories: ‘The Garden Party’, ‘The Canary’, ‘The Daughters of the
Late Colonel’, ‘At the Bay’, ‘Bliss’, ‘Prelude’
4. George Orwell – Short stories: ‘The Spike’, ‘A Hanging’, ‘Freedom of the Park’, ‘Nonsense
Poetry’, ‘Poetry and the Microphone’, ‘You and the Atomic Bomb’
5. James Joyce – Dubliners: ‘The Sisters’, ‘An Encounter’, ‘Eveline’, ‘The Boarding House’,
‘Grace’, ‘The Dead’
6. T.S. Eliot – ‘Tradition and Individual Talent’, ‘Baudelaire’, ‘What is a Classic?’, ‘The
Frontiers of Criticism’, ‘The Social Function of Poetry’
7. Ezra Pound – Literary Essays / F. R. Leavis - Revaluation
8. Bertrand Russell – ‘Problems of the Future’, ‘The World as it could be made’ (Roads to
Freedom), ‘The Liberation of Women’ (Marriage and Morals), ‘Fear of Public Opinion’
(Conquest of Happiness), ‘Truth and Falsehood’ (Basic Writings of Bertrand Russell), ‘The
Impulse to Power’ (Power: A Social Analysis) / Aldous Huxley – ‘Wordsworth in the
Tropics’, ‘Fashions in Love’, ‘Vulgarity in Literature’, ‘Politics and Religion’, ‘Tragedy and
the Whole Truth’, ‘Pascal’, ‘A Case of Voluntary Ignorance’

CORE COURSE VIII

British Literature from 1946 to the Present – Poetry and Novel

Course Objectives: The end of the Second World War completely changed the economic and
philosophical scene. The trajectory of civilization now headed into a time that focused more on
materialism than spiritual value. The past was dissected and re-viewed from an almost nihilistic point
of view. Late twentieth century literature negotiates this element of non-belief. It also looks askance at

Page 15 of 49
the notion of the modern that was celebrated with the coming of the new century, and encapsulates a
search for the post-modern. This course looks at the significant poets and novelists who not only lived
through and recorded the times, but were perhaps the ones who constructed the new way of life that
the world has come to accept. Most of the poets included wrote before and after the war and their
poems reflect the passage of time and the passing of thoughts. The novels selected represent their time
as well as the changing psyche of the human animal. Through these representative texts, this course
aims to present to the learners the entire psycho-social and philosophical shift that twentieth century
saw. A thorough knowledge of these texts will allow the learner to understand the time that we
inhabit.

Unit I (Poetry) [25 Marks]

1. Philip Larkin – ‘Poetry of Departures’, ‘An Arundel Tomb’, ‘The Whitsun Weddings’, ‘The
Explosion’, ‘Aubade’
2. Geoffrey Hill – Mercian Hymns I-X, The Triumph of Love XIII, XVII, LXX
3. Carol Ann Duffy – ‘War Photographer’, ‘Selling Manhattan’, ‘Litany’, ‘Mrs Midas’, ‘Anne
Hathaway’
4. Ted Hughes – ‘The Ancient Heroes and the Bomber Pilot’, ‘Lupercalia’, ‘Wodwo’, ‘Crow’s
Theology’, ‘Wolfwatching’
5. Elizabeth Jennings – ‘Sequence from Childhood’, ‘Poem in Winter’, ‘Gift of Tongue’, ‘In
Retrospect and Hope’, ‘Afterwards’
6. Thom Gunn – ‘Incidents on a Journey’, ‘Autumn Chapter in a Novel’, ‘The Goddess’,
‘Sunlight’, ‘Jack Straw’s Castle’
7. Stephen Spender – ‘I think continually of those who were truly great’, ‘Ultima Ratio Regum’,
‘Pylons’, ‘An Elementary School Classroom in a Slum’
8. Seamus Heaney – ‘Personal Helicon’, ‘Ocean’s Love to Ireland’, ‘Sweeney Redivivus’, ‘The
Sounds of Rain’, ‘The Fragment’

Unit II (Novels) [25 Marks]

1. William Golding – Lord of the Flies
2. Kingsley Amis – Lucky Jim
3. Muriel Spark – The Prime of Miss Jean Brodie
4. Anthony Burgess – A Clockwork Orange
5. Angela Carter – Night at the Circus
6. Kazuo Ishiguro – Remains of the Day
7. A.S. Byatt – Possession
8. Ian McEwan – Amsterdam / Atonement

Page 16 of 49
Suggested Further Reading:
Hamilton, Ian, ed. Twentieth Century Poetry in English. London: OUP, 1996. Print.
Tuma, Keith. ed. Anthology of Twentieth-Century British and Irish Poetry. London: OUP, 2001. Print.
Cook, Albert. Forces in Modern and Postmodern Poetry. New York: Peter Lang, 2008. Print.
Gregson, Ian. Contemporary Poetry and Postmodernism: Dialogue and Estrangement. London:
MacMillan, 1996. Print.
McHale, Brian and Platt, Len. Eds. The Cambridge History of Postmodern Literature. New York:
CUP, 2016. Print.
Eds. Ramazani, Jahan and Ellman, Richard and O’Clair, Robert. The Norton Anthology of Modern
and Contemporary Poetry. New York: W. W. Norton and Company, 2003. Print.
Bradbury, Malcolm. The Novel Today: Contemporary Writers on Modern Fiction. London: Fontana
Press, 1990. Print.
Edwards, Brian. Theories of Play and Postmodern Fiction. London: Routledge, 1998. Print.
Marshall, Brenda K. Teaching the Postmodern Fiction and Theory. New York: Routledge, 1992.
Print.
Bran, Nicol. The Cambridge Introduction to Postmodern Fiction. Cambridge: CUP, 2009. Print.
McHale, Brian. Postmodernist Fiction. London: Routledge, 1987. Print.

CORE COURSE IX
English Language Teaching I

Course Objectives
• To provide learners an insight into the differences between language acquisition and language
learning
• To enable learners to critically examine the psychological and linguistic influences on ELT,
namely behaviourism, cognitivism and humanism
• To familiarize learners with major theories of second language acquisition
• To make learners understand the significance of learner errors
• To introduce learners to theoretical concepts basic to the development of LSRW and different
types of grammar, vocabulary and study skills
• To expose learners to issues related to curriculum planning and syllabus design

1. Language Acquisition

Page 17 of 49
a. Key concepts and terms – Mother tongue; First language; Second Language; Foreign
language; Heritage language; Naturalistic vs. instructed learners, Acquisition vs.
learning
b. Stages of language acquisition
c. Views of the language teacher and learners
d. Psychological and linguistic influences on English Language Teaching –
Behaviourism; Cognitivism; Humanism
e. Major theories of Second language acquisition – Acculturation model,
Accommodation theory; Discourse theory; Monitor model; Variable Competence
Model; Universal hypothesis; Neurofunctional theory
f. Interlanguage hypothesis
g. Contrastive hypothesis
h. Error analysis
2. Developing Skills –I
a. LSRW – theoretical aspects; task types; Problems & solutions
3. Developing Skills –II
a. Grammatical, Vocabulary and Study skills – theoretical aspects
4. Curriculum Planning & Syllabus Design
a. Theoretical aspects; Major models of curriculum; Principles of curriculum planning;
Major types of ESL syllabus; Evaluation of syllabus

Suggested Reading:
Brown, H. Douglas. Principles of language Learning and Teaching. 2nd ed. Englewood Cliffs, N J:
Prentice Hall, 1994. Print.
Corder, Stephen Pit. Introducing Applied Linguistics. Harmondsworth: Penguin, 1973. Print.
_____. ‘The significance of learners’ errors’. IRAL 5: 161-9, 1967. Print.
Ellis, Rod. Understanding Second Language Acquisition. Oxford: Oxford University Press, 2012.
Print.
Gardner, Rodert C. and Lambert, Wallace E. Attitudes and Motivation in Second Language Learning.
Rowley, M A: Newbury House, 1972. Print.
Krashen, Stephen D. Second Language Acquisition and Second Language Learning. Oxford:
Pergamon Press, 1981. Print.
______. Principles and Practice in Second Language Acquisition. Oxford: Pergamon Press, 1982.
Print.
______. 1985. The Input Hypothesis: Issues and Implications. New York: Longman.
Lado, Robert. Linguistics across Cultures. Ann Arbor: University of Michigan Press, 1957. Print.

Page 18 of 49
Lightbown, Patsy and Nina Spada. How Languages are Learned. Oxford: Oxford University Press,
1993. Print.
Littlewood, Wiliam. Foreign and Second Language Learning. Cambridge: Cambridge University
Press, 1984. Print.
McLaughlin, Barry. Theories of Second Language Learning. London: Edward Arnold, 1987. Print.
Selinker, Larry. ‘Interlanguage’. International Review of Applied Linguistics 10/3: 201-31, 1972.
Print.
Sharwood-Smith, Michael. Second Language Learning. London: Longman, 1994. Print.
Skehan, Peter. A Cognitive Approach to Language Learning. Oxford: Oxford University Press, 1998.
Skinner, Burrhus Frederic. Verbal Behaviour. New York: Appleton Crofts, 1957. Print.
Spolsky, Bernard. Conditions for Second Language Learning. Oxford: Oxford University Press,
1989. Print.
Stern,Hans Heinrich. Fundamental Concepts of Language Teaching. Oxford: Oxford University
Press, 1983. Print.
Stevick, Earl W. Humanism in Language Teaching. Oxford: Oxford University Press, 1990. Print.
Ur Penny. A Course Language Teaching. Cambridge University Press, 2012. Print

DEPARTMENT SPECIFIC ELECTIVES

(Any one of the following)
DSE I
Ancient European Literature

Course Objectives: The course is designed to expose the learners to the ideas, history, narrative,
performances and the rituals of the classical world often considered to have constructed all the future
discourse of literature and culture in Europe and some other parts of the world. This course will also
help the learners to understand the growth and the development of literature better as they often resort
to the thoughts of the classical world.

Unit I [25 Marks]

1. Plato – The Symposium / The Republic (Book X)
2. Horace – Odes, Book I-i, BooK II- iv, Book III-iv,xxv
3. Virgil – Aeneid

Page 19 of 49
4. Homer – The Odyssey
5. Theocritus – ‘The Herdsmen’, ‘The Battle of Bards’, ‘The Sorceress’
6. Juvenal – Tenth Satire
7. Ovid – Metamorphoses Book I: ‘Io and Isis’, Book III: ‘Tiresias’, ‘Pentheus and Bacchus’
8. Cicero – The Republic and the Law

Unit II [25 Marks]

1. Aeschylus – Agamemnon
2. Sophocles – Antigone
3. Euripides – Medea
4. Aristophanes – The Frogs
5. Menander – The Girl from Samos
6. Plautus – Brothers Menaechmus
7. Terence – The Eunuch
8. Seneca – Thyestes

Unit I (Poetry and Non-fiction) [25 Marks]

1. Walt Whitman – ‘France, The Eighteenth Year of These States’, ‘Crossing Brooklyn Ferry’,
‘I Sing the Body Electric’, ‘When Lilacs Last in the Dooryard Bloom’d’, ‘Poets to Come’
2. Emily Dickinson – ‘The Soul selects her own society’, ‘I dwell in Possibility’, ‘Me from
Myself–to Banish’, ‘It’s Easy to Invent a Life’, ‘Because I could not stop for Death’
3. Henry Wadsworth Longfellow – The Song of Hiawatha (‘Introduction’, ‘Hiawatha’s
Childhood’, ‘The Death of Kwasind’, ‘Hiawatha’s Departure’)
4. Edgar Allan Poe – ‘Alone’, ‘The Raven’, ‘A Dream within a Dream’, ‘Lenore’, ‘The Haunted
Palace’
5. Ralph Waldo Emerson – The American Scholar
6. Henry David Thoreau – Walden (Selections)
7. Mark Twain – ‘Is Shakespeare Dead?’
8. Frederick Douglas – Narrative of the Life of Fredrick Douglass

Unit II (Novels) [25 Marks]

1. Nathaniel Hawthorne – The Scarlet Letter
2. Herman Melville – Moby Dick
3. Mark Twain – Adventures of Huckleberry Finn
4. James Fenimore Cooper – The Last of the Mohicans
5. Harriet Beecher Stowe – Uncle Tom’s Cabin
6. Stephen Crane – The Red Badge of Courage
7. Henry James – The Turn of the Screw
8. Short Stories (any three)
a. Washington Irving – ‘The Legend of Sleepy Hollow’
b. Edgar Allan Poe – ‘Fall of the House of Usher’, ‘The Cask of Amontillado’
c. Charlotte Gilman Perkins – ‘The Yellow Wallpaper’

Page 21 of 49
d. Kate Chopin – ‘Regret’

Unit I (Novels) [25 Marks]

1. Raja Rao – Kanthapura
2. Fakir Mohan Senapati – Six Acres and a Third (Trans. Ravi Shankar Mishra, Satya P.
Mohanty, Jatindra K. Nayak and Paul St-Pierre)
3. Bankim Chandra Chatterjee – The Poison Tree: A Tale of Hindu Life in Bengal (Trans.
Miriam S. Knight)
4. R.K. Narayan – Swami and Friends
5. Mulk Raj Anand – Two Leaves and a Bud
6. Munshi Premchand – The Gift of a Cow (Trans. Gordon C. Roadermal)
7. Rabindranath Tagore – Gora (Trans. Sujit Mukherjee)
8. Ismat Chughtai – The Crooked Line (Trans. Tahira Naqvi)

Page 22 of 49
Unit II (Short Fiction, Plays and Non-fiction) [25 Marks]
1. Rabindranath Tagore – Selected Short Stories. Ed. Sukanta Chaudhuri: ‘The Ghat’s Story’,
‘Ramkanai’s Folly’, ‘The Exercise Book’, ‘Kabuliwala’, ‘Hungry Stone’, ‘The Wife’s
Letter’, ‘Woman Unknown’, ‘Balai’
2. Sri Aurobindo – Perseus the Deliverer
3. Bharati Sarabhai – The Well of the People
4. Dinabandhu Mitra – The Indigo Planting Mirror
5. Poetry
• Toru Dutt – ‘Sita’, ‘The Lotus’
• Henry Louis Vivian Derozio – ‘To India - My Native Land’, ‘The Harp of India’,
‘The Fakeer of Jungheera’
• Michael Madhusudhan Dutta – ‘The Captive Ladie’
• Sarojini Naidu – ‘Palanquin Bearers’, ‘The Indian Gypsy’, ‘Harvest Hymn’.
‘Suttee’
6. Pandita Ramabai – The High-Caste Hindu Woman
7. Michael Madhusudan Dutt – Selected Letters
8. Jawaharlal Nehru – The Discovery of India

Unit I (Drama) [25 Marks]

1. Arnold Wesker – Roots
2. Robert Bolt – A Man for all Seasons
3. Harold Pinter – The Homecoming
4. John Osborne – The Entertainer
5. Edward Bond – Saved
6. Tom Stoppard – Jumpers
7. Peter Shaffer – Equus
8. Caryl Churchill – Top Girls

Unit II (Non-fiction Prose and Short Fiction) [25 Marks]

1. Gerald Durrell – My Family and Other Animals
2. Peter Brook – Threads of Time, Section I
3. William Dalrymple – In Xanadu
4. Michael Palin – Sahara
5. Robert MacFarlane – The Mountains of the Mind
6. George Mikes – How to be an Alien
7. David Olusoga – Black and British: A Forgotten History
8. Short Fiction (any two)

Page 25 of 49
a. Ray Bradbury – ‘The Veldt’, ‘The Night’
b. Alan Sillitoe – ‘The Loneliness of the Long Distance Runner’, ‘The Match’
c. Roald Dahl – ‘The Landlady’, ‘The Visitor’
d. Zadie Smith – ‘The Embassy of Cambodia’, ‘Miss Adele Amidst the Corsets’

Unit I (Renaissance to Neoclassical) [25 Marks]

1. Philip Sidney – An Apology for Poetry
2. Pierre Corneille – Of the Three Unities of Action, Time, and Place
3. John Dryden – An Essay of Dramatic Poesie
4. Alexander Pope – An Essay on Criticism
5. Edward Young – Conjectures on Original Composition: In a Letter to the Author of Sir
Charles Grandison
6. Edmund Burke – A Philosophical Enquiry into the Origin of our ideas of the Sublime
7. Samuel Johnson – ‘Preface to Shakespeare’
8. Maurice Morgann – ‘Essay on the Dramatic Character of Sir John Falstaff’
Suggested Reading:
Cheney, Patrick, and Frederick A De Armas. European Literary Careers: The Author from Antiquity
to the Renaissance. Toronto: University of Toronto Press, 2002. Print.
Habib, M. A. R. Literary Criticism from Plato to the Present. Chichester, West Sussex,U.K.: Wiley-
Blackwell, 2011. Print.
Kennedy, George Alexander. The Cambridge History of Literary Criticism, Vol. 1: Classical
Criticism. Cambridge: Cambridge University Press, 1989. Print.
Kulkarni Anand B. and Chaskar Ashok G. An Introduction to Literary Criticism and Theory. Orient
Blackswan, Hyderabad, 2015
Leitch, Vincent B, et al, eds. The Norton Anthology of Theory and Criticism. New York, NY: W. W.
Norton & Co., 2010. Print.
Murray, Penelope and Dorsch, T. Classical Literary Criticism. London: Penguin Books. 2000.Print.
Norton, Glyn P. The Cambridge History of Literary Criticism, Vol. 3: The Renaissance. Cambridge:
Cambridge university press, 1999. Print.
Vickers, Brian. English Renaissance Literary Criticism. Oxford: Clarendon Press, 1999. Print.

Page 27 of 49
DEPARTMENT SPECIFIC ELECTIVES

(Any two of the following)

DSE IV
Modern European Literature

Course Objectives: The selection of the texts for this course is varied and sprawling. They are
representative of the age, culture and space that had produced them. This selection of iconic and
experimental pieces of literature, chosen from different parts of Europe, would enlighten the learners
in their way of understanding the other canonical literatures. The experiment in poetic form, in
theatrical representation and in fictional prose writings would offer the learners a different taste which
at the same time will enrich the critical acumen to understand society, culture and literature.

Unit – I (Poetry and Plays) [25 Marks]

1. Charles Baudelaire – Les Fleurs du mal
2. Rainer Maria Rilke – Duino Elegies
3. Arthur Rimbaud – A Season in Hell
4. Anton Chekov – Cherry Orchard
5. Henrik Ibsen – Hedda Gabler
6. Jean-Paul Sartre – The Flies
7. Bertolt Brecht – Mother Courage and her Children
8. Federico Garcia Lorca – Blood Wedding

Unit II (Novels) [25 Marks]

1. Honoré de Balzac – Father Goriot
2. Leo Tolstoy – Anna Karenina
3. Fyodor Dostoyevsky – Crime and Punishment
4. Franz Kafka – The Trial
5. Thomas Mann – Death in Venice
6. André Gide – Straight is the Gate
7. Gustave Flaubert – Madame Bovary
8. Short Stories:
a. Albert Camus – ‘The Host’
b. Maxim Gorky – ‘Twenty Six Men and a Girl’
9. Heinrich Böll – ‘Stranger, Bear Word to the Spartans We...’

Page 28 of 49
Suggested Further Reading:
Bradbury and McFarlane (Eds.) Modernism: A Guide to European Literature 1890-1930. New Delhi:
Penguin, 2007. Print.
Cohen, Walter. A History of European Literature: The West and the World from Antiquity to the
Present. Oxford: Oxford University Press, 2017. Print.
Hyslop, Lois Boe. Baudelaire, Man of His Time. Yale University Press, 1980. Print.
Metzger, Erika, A. and Michael M. Metzger. A Companion to the Works of Rainer Maria Rilke.
Rochester, 2001. Print.
Leeder, Karen, and Robert Vilain (Eds.). The Cambridge Companion to Rilke. Cambridge: Cambridge
University Press, 2010. Print.
Cordle, Thomas. André Gide (The Griffin Authors Series). Twayne Publishers, Inc., 1969. Print.
Gray, Ronald. Kafka: A Collection of Critical Essays. Englewood Cliffs, NJ: Prentice-Hall, 1962.
Print.
Greenberg, Martin. The Terror of Art: Kafka and Modern Literature. New York: Basic Books, 1968.
Print.
Deleuze, Gilles; Guattari, Félix. Kafka: Toward a Minor Literature. Minneapolis: University of
Minnesota Press, 1986. Print.
Reed, Terence James. Death in Venice: Making and Unmaking a Master. New York: Twayne
Publishers, 1994.
Hirschbach, Frank Donald. The Arrow and the Lyre: A Study of the Role of Love in the Works of
Thomas Mann. The Hague: M. Nijhoff, 1955. Print.
Laing, R. D., Cooper, D. G.. Reason and Violence: A Decade of Sartre’s Philosophy, 1950–1960.
New York: Pantheon, 1971. Print.
Wittmann, Heiner. Sartre and Camus in Aesthetics: The Challenge of Freedom. Ed. by Dirk Hoeges.
Print.Dialoghi/Dialogues. Literatur und Kultur Italiens und Frankreichs, vol. 13, Frankfurt: Peter
Lang, 2009. Print.
Benjamin, Walter. Understanding Brecht. Trans. Anna Bostock. London and New York: Verso, 1983.
Print.
Ewen, Frederic. Bertolt Brecht: His Life, His Art and His Times. Citadel Press Book edition. New
York: Carol Publishing Group, 1992. Print.

DSE V
Sociolinguistics, Phonetics and Phonology

Course Objectives:
• To familiarise learners with major concepts and issues related to Sociolinguistics

Page 29 of 49
• To introduce learners to theoretical and practical aspects of Phonetics and Phonology

1. Sociolinguistics
a. Definition and scope; Language varieties; Languages in contact; Language change;
Style, register and jargon; Diglossia; Language and culture; Language and gender;
Language and power

Phonetics and Phonology

a. Definition and scope; Airstream mechanism; Organs of speech; Consonants and vowels –
description & classification; Phoneme and allophone – definition & identification; Syllable –
structure and types; Stress, rhythm and intonation; Assimilation and elision; Phonemic
transcription; Idiosyncrasies of Indian speakers of English; Teaching of English pronunciation.

Suggested Reading
Balasubramanian, T. A Textbook of English Phonetics for Indian Students. New Delhi: Macmillan,
1981. Print.
Bansal, R.K. and J.B. Harrison. Spoken English for India: A Manual of Speech and Phonetics.
Hyderabad: Orient Blackswan, 2013. Print.
Carr, Philip. English Phonetics and Phonology: An Introduction. Blackwell, 1999. Print.
Gimson, Alfred Charles. An Introduction to the Pronunciation of English. London: Edward Arnold,
1980. Print.
Jones, Daniel. An Outline of English Phonetics. Cambridge: Cambridge University Press, 1997. Print.
____ . English Pronouncing Dictionary. Cambridge: Cambridge University Press, 2012. Print.
O’Connor, J D. Better English Pronunciation. ELBS and Cambridge University Press, 2000. Print.
Roach, Peter. English Phonetics and Phonology: A Practical Course. Cambridge: Cambridge
University Press, 2000. Print.

Page 30 of 49
DSE VI
Indian Literature II

Course Objectives: Though not changed overnight the spirit of post-Independence literatue in India
distinguished itself from and at times challenged the notions disseminated through pre-Independence
literature. The represtation of nation and nationalism became far more complicated as all the domains
what together we call Indian literature, embraced different forms experiments in order to address
postcolonial anxieties often coupled with the politics of globalisation. Since the texts in this course
often explore contemporary politics and history, the learners would receive and ‘read’ the narrative
codes from a personal point of view tempered with the lived experiences.

Unit I (Novels and Short Stories) [25 Marks]

1. Durgabai Vyam and Subhash Vyam and et al – Bhimayana: Experiences of Untouchability
2. Shrilal Shukla – Raagdarbari (Trans. Gillian Wright)
3. Ilanko Atikal – Cilappatikaram (translation: R. Parthasarthy)
4. Anita Desai – In Custody
5. Amitav Ghosh – The Hungry Tide
6. Salman Rushdie – Midnight’s Children
7. Khuswant Singh – Train to Pakistan
8. Short Stories:
a. Temsula Ao – ‘Laburnum on my Head’, ‘Three Women’, ‘Sonny’
b. Prajwal Parajuly – ‘Let Sleeping Dogs Lie’. ‘Missed Blessing’, ‘No Land is Her
Land’
c. Mamang Dai – ‘the boy who fell from the sky’, ‘the strange case of kalen, the hunter’
from The Legends of Pensam

Unit II (Plays and Poems) [25 Marks]

1. Girish Karnad – Hayvadana / Fire and the Rain
2. Badal Sircar – Evam Indrajit
3. Vijay Tendulkar – Ghasiram Kotwal
4. Mahesh Dattani – Final Solutions
5. Habib Tanvir – Charandas Chor
6. Robin S. Ngangom – ‘Poetry’, ‘Native Land’, ‘Body’, ‘Homeland I Left’

Page 31 of 49
7. Nisim Ezekiel – ‘Urban’, ‘The Professor’, ‘Night of the Scorpion’, ‘Poet Lover Birdwatcher’
/ Dom Moraes – ‘The Garden’, ‘Architecture’, ‘Absence’, ‘Key’
8. Jayanta Mahapatra – ‘A Grey Haze over the Ricefields’, ‘Deaths in Orissa’, ‘Ash’, ‘The
Captive Air of Chandipur on Sea’, ‘Sanskrit’

Colonialism and Postcolonialism

Course Objectives: The course is divided into two parts. While the first part is dealing with the
theoretical grounding the second part includes texts that invariably display the agenda that entail the
social, political and cultural issues of erstwhile colonies. Given some of the texts directly explore the
issues of colonial oppression other section discreetly brings into the fore the anxieties and
interpellative forces hidden in the larger postcolonial discourse. This course is designed to facilitate
the learners to understand the poitics of the production, distribution and the reception of litearary texts
and to develop a different perspective for the act of ‘reading’.

Unit I [25 Marks]

1. Edward Said –Orientalism (Selections)

Page 32 of 49
2. Frantz Fanon – Wretched of the Earth
3. Ranajit Guha ed – A Subaltern Studies Reader (Selections)
4. Ngugi Wa Thiong’o – Decolonizing the Mind
5. Chandra Talpade Mohanty – ‘Under Western Eyes: Feminist Scholarship and Colonial
Discourses’
6. Homi Bhabha – ‘The Other Question’
7. Dipesh Chakrabarty – Provincializing Europe (Selections)
8. Partha Chatterjee – Nation and its Fragments (Selections)

Unit II [25 Marks]

1. Sir Walter Raleigh – The Discovery of Guiana
2. John Masters – Bhowani Junction
3. Rudyard Kipling – Kim / Maud Diver – The Englishwoman in India
4. J. M. Coetzee – Foe / Waiting for the Barbarians
5. Wole Soyinka – A Dance of the Forests
6. Amitav Ghosh – Sea of Poppies
7. Ruth Prawer Jhabvala – Heat and Dust / V.S.Naipaul – The Writer and the World. Essays
(selections)
8. Edward Kamau Brathwaite – The Arrivants: A New World Trilogy (selections)

American Literature of the Twentieth Century

Course Objectives: The turn of the century saw remarkable developments in the history of American
Literature. With the two great wars and a number of socio-racial issues finding prominence, the
trajectory of American Literature changed drastically. This course aims to create a comprehensive

Page 33 of 49
understanding of the new century and how it mapped the new dynamics of America, and that of the
entire world.

Unit I (Poetry and Drama) [25 Marks]

1. William Carlos Willams – ‘Overture to a Dance of Locomotives’, ‘The Attic which is
Desire’, ‘The Catholic Bells’, ‘The Poet and his Poems’, ‘An Early Martyr’
2. Langston Hughes – ‘Let America Be America Again’, ‘The Weary Blues’, ‘Harlem’, ‘The
Negro Speaks of Rivers’, ‘Dream Variations’
3. Gary Snyder – ‘At Tower Peak’, ‘Old Bones’, ‘Hay for the Horses’, ‘Axe Handles’, ‘Smoky
the Bear Sutra’
4. Marianne Moore – ‘The Buffalo’, ‘That Harp You Play So Well’, ‘Appellate Jurisdiction’,
‘The Wizard in Words’, ‘Black Earth’
5. Eugene O’Neill – Long Days Journey into Night
6. Tennessee Williams – The Glass Menagerie
7. Arthur Miller – All my Sons
8. Lorraine Hansbury – A Raisin in the Sun

Unit II (Fiction) [25 Marks]

1. F. Scott Fitzgerald – The Great Gatsby
2. William Faulkner – The Sound and the Fury
3. Ernest Hemingway – The Old Man and the Sea
4. Toni Morrison – Beloved
5. Jhumpa Lahiri – The Namesake
6. Harper Lee – To Kill a Mockingbird
7. Leslie Marmon Silko – Ceremony
8. Short Stories (any two)
a. John Cheever – ‘Reunion’, ‘O City of Broken Dreams’
b. Donald Barthelme – ‘The Balloon’, ‘Kierkegaard Unfair to Schlegel’
c. Jamaica Kincaid – ‘Girl’, ‘Holidays’
d. Bharati Mukherjee – ‘Hindus’, ‘Visitors’

Unit I (History of Film) [25 Marks]

1. Film in America
2. Film in Europe
3. Film in Japan
4. Film in Russia
5. Film in India
6. Film in Africa

Unit II (Film Texts) [25 Marks]

Page 35 of 49
1. Satyajit Ray – Charulata (1964)
2. Vijay Anand – The Guide (1965)
3. Pier Paolo Pasolini – Edipo Re (1967)
4. Francis Ford Coppola – The Godfather Part I (1972)
5. David Lean – A Passage to India (1984)
6. Vishal Bharadwaj – Maqbool (2003)

CORE COURSE XII

Literary Criticism II

Course Objectives: The history of ideas in England has always been informed by the thoughts
developed and nurtured by other European countries. Nineteeth century British literary criticism is no
exception. The first unit which includes texts originally written in other European languages examines
the dialogue between what the rest of the Europe develops in the world of thoughts and the way
English culture receives them. In continuation the essays included in the second unit, explores similar
kind of dialogue taking place in the first half of the twentieth century.

Unit I (Late Eighteenth and Nineteenth Centuries) [25 Marks]

1. Friedrich von Schiller – From On the Aesthetic Education of Man: Second, Sixth and Ninth
Letters.
2. Gotthold Ephraim Lessing – From Laocoön
a. Preface
b. Chapter XVI
3. Germaine Necker de Staël – On Literature Considered in Its Relationship to Social
Institutions
4. P.B. Shelley – A Defence of Poetry
5. John Keats – Selected Letters
a. To Benjamin Bailey (November 22, 1817)
b. To George and Thomas Keats (December 21, 1817)
c. To John Taylor (February 27, 1818))
d. To Richard Woodhouse (October 27, 1818)
6. Charles Baudelaire – The Painter of Modern Life
a. From I. Beauty, Fashion, and Happiness
b. From III. The Artist, Man of the World, Man of the Crowd, and Child
c. IV. Modernity
d. From IX. The Dandy
e. XI. In Praise of Cosmetics
7. Matthew Arnold – ‘Function of Criticism at the Present Times’, ‘The Study of Poetry’
8. Henry James – ‘The Art of Fiction’

Page 37 of 49
Unit II (Twentieth Century) [25 Marks]
1. T. S. Eliot – ‘To Criticize a Critic’, ‘The Metaphysical Poets’, ‘Hamlet and his Problems’
2. Sigmund Freud – ‘The Uncanny’, ‘Fetishism’
3. Carl Gustav Jung – ‘The Archetypes and the Collected Unconscious’
4. Cleanth Brooks - The Well Wrought Urn: Chapter 11. The Heresy of Paraphrase
5. William K. Wimsatt Jr. and Monroe C. Beardsley – ‘The Intentional Fallacy’
6. Jean-Paul Sartre – ‘Why Write?’
7. Raymond Williams – Culture and Society: 1780-1950 (Selections)
8. Mikail Bakhtin – ‘Discourse in the Novel’

CORE COURSE XIII

Literary Theory

Course Objectives: Since the essays of the course represent specific schools of thoughts and ideas,
they will be treated as reference points to discuss larger implications of the concerned literary vis-a-
vis cultural theories. The iconic eaasys of the course, from their theoretical stand, elaborate on the
issues of race, gender, ideology, history, identity, language and human psyche that will help the
learners uncover the politics of all forms of texts in the context of the globalised world of late
capitalism.

Unit I [25 Marks]

1. Boris Eichenbaum – The Theory of the Formal Method (Selections)
2. Georg Lukacs – ‘Ideology of Modernism’
3. Max Horkheimer and Theodor W. Adorno – The Culture Industry: Enlightenment as Mass
Deception (selections)
4. Stephen Greenblatt – The Power of Forms in the English Renaissance (Introduction)
5. Michel Foucault – ‘What is an Author?’
6. Wolfgang Iser – ‘Interaction between Text and Reader’
7. Roland Barthes – ‘The Death of the Author’
8. Tzvetan Todorov – ‘Structural Analysis of Narrative’

Unit II [25 Marks]

1. Jacques Derrida – ‘Deconstruction with reference to “Structure, Sign and Play” in the
Discourse of the Human Sciences’
2. Sandra M. Gilbert and Susan Gubar – The Madwoman in the Attic. Chapter 2: ‘The Woman
Writer and the Nineteenth Century Literary Imagination’
3. Stephen Slemon – ‘Unsettling the Empire: Resistance Theory for the Second World’
4. Laura Mulvey – Visual Pleasure and Narrative Cinema ( Introduction)
5. Adrienne Rich – Foreword to ‘Compulsory Heterosexuality and Lesbian Existence’

Page 39 of 49
6. Jean Baudrillard – The Precession of Simulacra (selections)
7. bell hooks – ‘Postmodern Blackness’
8. Jürgen Habermas – The Structural Transformation of the Public Sphere: An Inquiry into a
Category of Bourgeois Society (Part II, selections)

CORE COURSE XIV

Essay

Course Objectives: The Essay is a very effective testing technique for assessing students of language
and literature. Through the writing of the Essay, students can express their grasp and knowledge of all
that has been taught to them. It is simultaneously a test for evaluating higher order skills and a
challenge and this is the space where students can express their critical thoughts and ideas. The Essay
is, by definition, not bound by any rule(s) but involves both the authoring and the crafting skills. It
allows students to go beyond and explore their own capabilities. The Essay, therefore, is a significant
part of any goal-oriented curriculum.

1. Essay of 50 marks.

DSE
( Any one of the following)

DSE IX
New Literatures

Course Objectives: This course aims to familiarize learners with writers of new literatures from
around the world and enable them to comprehensively appreciate various cultures. The texts chosen
are representative of the decolonized or settler cultures that have evolved into nationalities. The past
and current flow of population, commodities and ideas; the margins writing back to the centre or
rewriting and reappraising the centre are reflected in these texts.

Page 40 of 49
Unit I [25 Marks]
1. Chinua Achebe – No Longer at Ease
2. George Lamming – ‘Pleasures of Exile’
3. David Malouf – An Imaginary Life
4. Peter Carey – True History Of The Kelly Gang / Jack Davis – No Sugar
5. Nadine Gordimer – July’s People
6. Alice Munro – Selected Stories
7. Margaret Atwood – The Handmaid’s Tale
8. Sally Morgan – My Place

Unit II [25 Marks]

1. V.S. Naipaul – A House for Mr Biswas
2. Derek Walcott – Dream on Monkey Mountain
3. Ben Okri – An African Elegy
4. Joy Kogawa – Obasan
5. Michael Ondaatje – The English Patient
6. Rohinton Mistry – A Fine Balance
7. Tsitsi Dangaremba – Nervous Conditions
8. Chimananda Ngozi Adichie – Purple Hibiscus

1. Approaches and Methods in Language Teaching

a. Grammar -Translation Method; Direct Method; Reading Method; Audio-Lingual
Method; Structural Approach; Communicative Approach; Lexical Approach; Silent
Way; Suggestopedia; Community Language Learning; Total Physical Response;
Content-based, Task-based, and Participatory Approaches; New trends and
perspectives
2. Language Teaching Materials
a. Theoretical aspects; Pedagogic and non-pedagogic materials; Teaching aids; Impact
of technology on language teaching materials; CALL – the basics; Evaluation of
materials; Recent trends in materials design
3. Testing and Evaluation
a. Theoretical aspects; Principles of evaluation; Types and techniques of evaluation
4. Classroom interaction
a. Types, tools and techniques
5. Classroom management
a. Problems and solutions
6. ELT in the Indian Context
a. Major issues; Changing perspectives

Page 42 of 49
Suggested Reading:
Branden, Kris Van Den, Martin. Bygate, and John.M. Norris. Task-based Language Teaching: A
Reader. Amsterdam: John Benjamins Publishing, 2009. Print.
Brown, H Douglas. Principles of language Learning and Teaching. 2nd ed. Englewood Cliffs, N J:
Prentice Hall, 1994. Print.
Davies, Alan. Principles of Language Testing. Oxford: Basil Blackwell, 1990. Print.
Finocchiaro, M and Brumfit, C. The Functional-Notional Approach from Theory to Practice. Oxford:
Oxford University Press, 1983. Print.
Harris, David Payne. Testing English as a Second Language. New York: McGraw-Hill, 1969. Print.
Harrison, Andrew. A Language Testing Handbook. London: Macmillan, 1983. Print.
Hedge, Tricia. Teaching and Learning in the Language Classroom. Oxford: Oxford University Press,
2000. Print.
Holliday, Adrian. Appropriate Methodology and Social Context. Cambridge: Cambridge University
Press, 1994.
Larsen-Freeman, Daine. Techniques and Principles in Language Teaching. Oxford: Oxford
University Press, 1986. Print.
Nagaraj, Geetha. English Language Teaching. New Delhi: Orient blackswan, 2011. Print.
Nunan, David. Language Teaching Methodology. New York: Prentice Hall, 1991. Print.
Richards, Jack C. and Rodgers, Theodore S. Approaches and Methods in Language Teaching. 2nd ed.
Cambridge: Cambridge University Press, 2001. Press.
Stevick, E. Humanism in Language Teaching. Oxford: Oxford University Press, 1990. Print.
Ur Penny. A Course Language Teaching. Cambridge University Press, 2012. Print.
Yalden, Janica. The Communicative Syllabus: Evolution, Design and Implementation. Oxford:
Pergamon, 1983. Print.

DSE XI
Gender and Literature

Course Objectives: The paper has two units, Unit I, comprised of Feminist Texts [of which three
shall be offered] and Unit II deals with Sexual Identity in Literature [any three texts]. In Unit I,
Feminism is the unifying force behind writing from the West and East [more specifically, India]. The
cause of women writing for and by themselves do not lack either ground breaking works or thought-
provoking theories. The course modestly attempts to represent the significant Others of the human
population in a brief span. Unit II ventures into the less explored area of Queer Studies, looking at
texts expressing erotic desire and dealing with various aspects of same-sex relations, coming to terms
with one’s sexual identity, androgyny and the fluidity of gender. The broad objectives are

Page 43 of 49
• To posit gender as a social construct.
• To represent women’s voices and histories, breaking the silence of patriarchal oppression.
• To explore the plurality of concerns despite terms like ‘feminist’ or ‘queer’.
• To accommodate the negation of gender stereotypes in a more inclusive world.

Unit I [25 Marks]

1. Elizabeth B. Browning – Aurora Leigh Book V
2. Virginia Woolf – Mrs Dalloway
3. Sylvia Plath – The Bell Jar / Doris Lessing – The Golden Notebok
4. Maxine Hong Kingston – The Woman Warrior
5. Elaine Showalter – ‘Feminist Criticism in the Wilderness’, ‘Toward a Feminist Poetics’ /
Gayatri Chakravorty Spivak – Three Women’s Texts and a Critique of Imperialism
6. Ashapurna Debi – Subarnalata (trans . Gopa Majumdar) / Suniti Namjoshi – Feminist Fables
7. Amrita Pritam – Pinjar / Attia Hosain – Sunlight on a Broken Column /
8. Manjula Padmanabhan – Lights Out!

Unit II [25 Marks]

1. Sappho – Poems: 31, Ode to Aphrodite, 94, Midnight Poem, poem no. 2, 105a
2. Judith Butler – Gender Trouble
3. Virginia Woolf – Orlando
4. Jeanette Winterson – Oranges are Not the Only Fruit
5. Ursula K. Le Guin – The Left Hand of Darkness
6. Henry David Hwang – M. Butterfly
7. Shyam Selvadurai – Funny Boy
8. Gloria Anzaldua – Borderlands / A. Revathy – The Truth About Me: A Hijra Life Story

Unit I (Poetry and Drama) [25 Marks]

1. Luigi Pirandello – Six Characters in Search of an Author / Henry IV
2. Jean Anouilh – Antigone
3. Samuel Beckett – Endgame
4. Eugene Ionesco – Rhinoceros
5. Jacques Prévert – Paroles
6. Bertolt Brecht – Poems 1913-1956
7. Guillaume Apollinaire – Alcools
8. Edward Albee – Who’s Afraid of Virginia Woolf

Unit II (Novels) [25 Marks]

1. John Fowles – The French Lieutenant’s Woman

Page 45 of 49
2. Albert Camus – The Outsider
3. Italo Calvino – If on a Winter’s Night a Traveler / Invisible Cities
4. Gabriel García Márquez – One Hundred Years of Solitude
5. Milan Kundera – The Unbearable Lightness of Being
6. Umberto Eco – The Name of the Rose
7. Isabel Allende – The House of the Spirits
8. Kurt Vonnegut – Slaughterhouse-Five

Unit I (Theory) [25 Marks]

1. Walter Benjamin – ‘The Work of Art in the Age of Mechanical Reproduction’
2. Noam Chomsky – ‘Introduction’ to Manufacturing Consent: The Political Economy of the
Mass Media
3. Theodore Adorno and Max Horkheimer – ‘The Culture Industry: Enlightenment as Mass
Deception’
4. Roland Barthes – Mythologies (Selections)
5. John Berger – Ways of Seeing
6. Umberto Eco – On Beauty: A History of a Western Idea (Selections)
7. Susan Sontag – Against Interpretation (Selections)
8. Stuart Hall – ‘The Work of Representation’

Unit II (Texts) [25 Marks]

1. Graphic Novels
a. René Goscinny and Albert Uderzo – Asterix the Legionary
b. Art Spiegelman – Maus
c. Marjani Satrapi – Persepolis
d. Samhita Arni and Moyna Chitrakar – Sita’s Ramayana
e. Chindu Sreedharan – Epic Retold
2. Popular Music
a. Bob Dylan
b. Cole Porter
c. The Beatles
3. Cinema
a. Ajoy Kar – Saptapadi
b. Ramesh Sippy – Sholay

Page 47 of 49
c. George Lukács – Star Wars
d. John Musker and Ron Clements – Aladdin / Roger Allers and Rob Minkoff – The
Lion King
4. Fiction
a. Ian Fleming – From Russia with Love
b. Alistair MacLean – The Guns of Navarone
c. Anne Rice – Interview with the Vampire
d. Alexander McCall Smith – The No. 1 Ladies’ Detective Agency
5. Comic Strips / Comics
a. Archie
b. The Superhero
c. R. K. Laxman – The Common Man
d. Dennis the Menace
6. Book Covers / Film Posters

Unit II (Fiction) [25 Marks]

1. Lewis Carroll – Alice’s Adventures in Wonderland
2. Rudyard Kipling – The Jungle Books
3. A. A. Milne – Winnie-the-Pooh
4. J.R.R. Tolkien – The Hobbit
5. J.K. Rowling – Harry Potter and the Philosopher’s Stone
6. Satyajit Ray – The Golden Fortress
7. Stephanie Meyer – Twilight
8. Suzanne Collins – The Hunger Games