1

MAHATMA GANDHI UNIVERSITY RESTRUCTURED SYLLABUS FOR M A (ENGLISH) PROGRAMME IN AFFILIATED COLLEGES CREDIT SEMESTER SYSTEM (REVISED SYLLABUS W. E. F. 2012 ADMISSIONS)

2 MEMBERS OF THE BOARD OF STUDIES

1. DR. K. M. KRISHNAN (DIRECTOR SCHOOL OF LETTERS, MAHATMA GANDHI UNIVERSITY) CHAIRMAN MEMBERS 2. DR. P. P. RAVEENDRAN, PROFESSOR SCHOOL OF LETTERS 3. DR. SHERINE UPOT, PROFESSOR SCHOOL OF DISTANCE EDUCATION . PROF. A. M.GEEVARGHESE HILL VEW, U C COLLEGE P O ALUVA. !. PROF. T. P. CHANDRAN PILLAI, DEPARTMENT OF ENGLISH, MAHARA"A#S COLLEGE, ERNAKULAM (RETD) $. KRISHNAMURTHY R. DEPARTMENT OF ENGLISH, SREE SANKARA COLLEGE KALADY %. NESSIE "OSEPH, DEPARTMENT OF ENGLISH, ST THOMAS COLLEGE, KO&HENCHERY. '. K V DOMINIC DEPARTMENT OF ENGLISH, NEWMAN COLLEGE THODUPU&HA (. N K VI"AYAN DEPARTMENT OF ENGLISH MAHARA"A#S COLLEGE, ERNAKULAM 10. DR. K P ASHA, DEPARTMENT OF ENGLISH,K M M GOVT. WOMEN#S COLLEGE, KANNUR 11. DR. SIBY "AMES DEPARTMENT OF ENGLISH, ST THOMAS COLLEGE PALAI

Mahatma Gandhi University had introduced Choice Based Credit Semester System for the undergraduate programmes in 2009. The post graduate programmes of the university are being redesigned and revised in tune ith the modifications effected at the UG !eve!. This i!! be ref!ected in the scheme course content and mode of e"amination and grading system. The scheme and sy!!abus of M. #. $ng!ish too are being revised according!y. %hat fo!!o s is a comprehensive account of the changes being introduced. The revisions ere effected based on the recommendations made at the or&shops conducted for the purpose besides severa! sittings of the Board of Studies in $ng!ish '(G). G)*)+,-. *. M # '$ng!ish) is a t o+year post+graduate programme of four semesters. 2. There are five courses in each semester, one dissertation during the entire programme, and a comprehensive viva voce at the end of the fourth semester. -. #!! the courses taught in the first three semesters in addition to one course in semester four constitute the core courses, hi!e the remaining four courses in semester four i!! be e!ective courses. %hi!e the core courses are compu!sory for a!! the students, the e!ectives can vary from co!!ege to co!!ege. .. Grading /. $va!uation of core e!ective components and the dissertation i!! be done in t o parts, that is, through continuous interna! assessment and end semester e"terna! e"amination. 0. #!! courses have been divided into five modu!es based on certain thematic commona!ities. 1ne te"t2section in each modu!e is in the seminar mode. 3. Seminar te"ts2topics have been incorporated into the sy!!abus as an integra! part of it. They are meant not mere!y for purposes of interna! assessment, but are envisaged as a ma4or pedagogica! component of the curricu!um for the (G programme. 5na one+hour seminar the student is e"pected to introduce the te"t2topic and provide as much detai! as possib!e ithin the time !imit. The teacher in charge of the particu!ar modu!e has to act as the faci!itator for the seminar presenter. #fter the seminar the teacher may provide the student ith further information or tips for further studies on the topic. There i!! not be any gradation among the te"ts at the end+ semester e"amination. 6uestions can be as&ed from any part or te"t prescribed under each modu!e inc!uding seminar te"ts. The first modu!e of every course is intended to provide bac&ground historica!, critica!, or theoretica! information regarding the course. This modu!e does not have seminar topics. The other four modu!es i!! have one seminar topic2te"t each. There i!! be t enty seminar fie!ds in each semester. 7epending on the number of students in each c!ass, the teacher may give more seminar topics or as& some students 'preferab!y those ho vo!unteer) to do an e"tra seminar in a semester. Components of 5nterna! $va!uation Component %eightage

4 *) 2) -) .) #ssignment Seminar #ttendance T o Test (apers * 2 * 2 (erformance $"ce!!ent :ery Good Good #verage (oor Grade (oint 'G) . 2 * 0 Grade 9ange -./0+. 2./0+-..9 *./0+2..9 0./0+*..9 0.0+..9

8etter Grade # B C 7 $

Grades for #ttendance (ercentage of attendance 90; Bet een </ and 90 Bet een <0 and </ Bet een 3/ and <0 = 3/ #ssignment Component (unctua!ity 9evie Content Conc!usion 9eference Seminar Component #rea2topic se!ected 9evie 9eference Content (resentation Conc!usion (ro4ect $va!uation 5nterna! Components (unctua!ity $"perimentation2dat a co!!ection Compi!ation Content

Grade # B C 7 $

%eight * * 2 * *

%eight * * 2 2 *

%eights * * * *

$"terna! Components #rea 2topic se!ected 1b4ectives 9evie Materia!s > Methods #na!ysis (resentation Conc!usion2app!ication

%eight * 2 * 2 2 2 2

The overa!! grade for a programme for certification sha!! be based on CG(# ith a 3 point sca!e as given be!o ? CG(# -.<0 to ..00 -./0 to -.39 -.00 to -..9 2./0 to 2.99 2.00 to 2..9 *./ to *.99 *.00 to *..9 Grade # (!us # 1n!y B (!us B 1n!y C (!us C 1n!y 7

# separate minimum of C Grade for 5nterna! #ssessment and $"terna! are re@uired for a pass for a course. Aor a pass in a programme a separate minimum Grade C for a!! the courses and a minimum CG(# score of *./0 or an overa!! grade of C and above are re@uired. There i!! be no supp!ementary e"aminations.

(#TT$9B 1A 6U$ST51BS

6uestions sha!! be set to assess the &no !edge ac@uired, standard app!ication of &no !edge, app!ication of &no !edge in situations, critica! eva!uation of &no !edge and the abi!ity to synthesise &no !edge. The @uestion setter sha!! ensure that @uestions testing a!! s&i!!s are set. Ce2she sha!! a!so submit a detai!ed scheme of eva!uation a!ong ith the @uestion paper. # @uestion paper sha!! be a 4udicious mi" of short ans er type, short essay2prob!em so!ving type and !ong essay type @uestions. %eight ? 7ifferent types of @uestions sha!! be given different eights to @uantify their range as fo!!o s?

S! Bo. * 2 -

Type of @uestions Short ans er type @uestions Short essay2prob!em so!ving type 8ong essay type

%eight * 2 /

Bumber of @uestions to be ans ered / out of < / out of < - out of 0

(rogramme ithout practica!sDTota! CreditsD<0

Course Teaching Cours (C * / (C 2 / (C / 5 (C . / (C / / (C 0 / (C 3 / (C < / 55 (C 9 / (C *0 / (C ** / (C *2 / (C */ 555 (C *. / (C */ / (C *0 / ($ * / ($ 2 / 5: ($ / ($ . / (ro4ect + :iva + #. Conso!idation of Grades for 5nterna! $va!uation?

Semester

Credit . . . . . . . . . . . . . . . 2

Tota! Credits 20

20

20

20

5f B,C,B and # are the grades scored by student for attendance, assignment, seminar and test respective!y for a particu!ar course, then her2his C$ grade for that course sha!! be conso!idated as fo!!o s? Component %eight '%) Grade # arded Grade point 'G) %eighted Grade (oints '%"G) 2 < *0

#ttendance * B #ssignment * C 2 Seminar 2 B Test (aper 2 # . Tota! 0 Grade ? Tota! %eighted Grade points2Tota! %eightsE *020E2.00EGrade B

B. Conso!idation of Grades for $"terna! '1ne #ns er (aper Theory) Type of @n. 6n. Bos * Grade a arded B Grade (oints %eightage * %eighted Grade (oints -

7 + + 0 . * . * * * + + 0 . * . * + + 0 2 0 2 2 . + + 0 Short $ssay + + 0 2 0 . 2 < 2 2 . + + 0 2 / *0 + + 0 + + 0 / */ * / / + + + Tota! -0 3Ca!cu!ation? 1vera!! grade of an ans er paperE sum of eighted grade points2sum of the eightageE3-2-0E 2..-EGrade C C. Conso!idation of the Grade of a Course? the grade for a course is conso!idated by combining the $S$ and C$ grades ta&ing care of their eights. Aor a particu!ar course, if the grades scored by a student is C and B respective!y for the $"terna! Continuous $va!uation, as sho n in the above e"amp!es, than, the grade for the course sha!! be conso!idated as fo!!o s? $"am %eight Grade # arded Grade (oints 'G) %eighted Grade (oint $"terna! C 9 5nterna! * B Tota! . *2 Grade of a Course Tota! Grade (oints2Tota! eightsE*22.E-.00EGrade B 'G(#) 7. Conso!idation of SG(# S(G# is obtained by dividing the sum of credit points '() obtained in a semester by the sum of credits'C) ta&en in that semester. #fter the successfu! comp!etion of a semester, Semester Grade (oint #verage 'SG(#) of a student in that semester sha!! be ca!cu!ated using the formu!a given. Suppose, the student has ta&en three courses each of . credits and t o courses each of 2 credits in a particu!ar semester. #fter conso!idating the Grade for each course as demonstrated above, SG(# has to be conso!idated as sho n be!o ? 2 . / 0 3 < 9 *0 ** *2 **. */ *0 *3 *< *9 20 2* 22 + # 7 + # B + B C + + B # C + C + + B 7 +

Short #ns er

8 Course Code 0* 02 00. 0/ Tota! SG(# Tit!e of the Course F. F. F. F. F. Credits 'C) . . . 2 2 Grade # arded # C B C B Grade (oints 'G) . 2 2 Credit (oints '(EC"G) *0 < *2 . 0 .0

Tota! Grade points2Tota! creditsE*0E2.<3EGrade B

$. Conso!idation of CG(# 5f the candidate is a arded t o # Grades, one B Grade and one C Grade for the four semesters and has <0 credits, the CG(# is ca!cu!ated as fo!!o s? Semester 5 55 555 5: Tota! CG(# Credits Ta&en Grade Grade (oint Credit (oint 20 # . <0 20 # . <0 20 B 00 20 C 2 .0 <0 200 Tota! Credit (oints2Tota! creditsE2002<0E-.2/ ' hich is bet een - and -..9 in the seven point sca!e). The 1vera!! Grade a arded is B (!us

MA E*/-012 S)3)14)+ 1 C5+) C56+1) 1. PC 17C2,68)+ ,*9 42) R5541 5: E*/-012 O;<)840=)1. The course see&s to provide the student ith &no !edge of the gro th of $ng!ish !anguage and !iterature up to the age of Chaucer. 5t a!so introduces the student to the socia! cu!tura! and inte!!ectua! bac&ground of the !ate Medieva! period in $ng!ish 8iterature and to sensitiGe him2her to the ma4or !iterary or&s of the period. C56+1) 9)18+0>405*. The socio+cu!tura! situations during the centuries preceding Chaucer shou!d provide a so!id footing for the

9 study of Chaucer and the $ng!ish !iterature that came after him. The evo!ution of $ng!ish from 1!d $ng!ish to Midd!e $ng!ish must gain focus here. The deve!opment of $ng!ish into the !anguage used by Chaucer and his contemporariesDboth the !iterary men and the genera! pub!icDfrom 5ndo+$uropean has to be discussed ith specia! emphasis on the Germanic sub+fami!y to hich $ng!ish be!ongs. Co Ce!tic Britain changed into #ng!o+Sa"on and !ater Borman $ng!and and ho the $ng!ish triumphed over the Arench by the time of Chaucer form the bac&drop to this course. 5n other ords, the history of $ng!and has to be seen as a history of po er strugg!es. The Ce!ts ho ere suppressed by the #ng!o Sa"ons, resurface in the #rthurian !egends, Scottish and 5rish !iteratures and in the 5rish !iterary rene a! centuries !ater. 7anish and Borman invasions a!so find !inguistic and !iterary repercussions in $ng!ish history. M596-) I R)?60+)9 R),90*/ . $ng!ish as a member of the 5ndo+$uropean fami!y of !anguages, the Germanic sub+fami!y The Ce!ts, the 9oman Con@uest, 7anish 5nvasion, !inguistic and !iterary 5mp!ications M596-) 2 R)?60+)9 R),90*/ . Sound !a s such as GrimmHs 8a , :ernerHs 8a , Gradation and Um!aut. Ma4or features of 1!d $ng!ish ith regard to Grammar, Spe!!ing (hono!ogy, vocabu!ary, dia!ecta! variations. S)30*,+. 5nf!uences on 1!d $ng!ish such as Ce!tic 8atin and 7anish. M596-) 3 R)?60+)9 R),90*/ . # brief out!ine of 1!d $ng!ish !iterature. 5ntroduction to Beowulf and ma4or 1!d $ng!ish authors !i&e Caedmon, Cyne u!f, Bede, and Iing #!fred. Midd!e $ng!ish authors other than Chaucer Go er, 8ang!and, 8ydgate, Cocc!eve S)30*,+. Beowulf 'no need to read the origina!). M596-) R)?60+)9 R),90*/ . Cistorica! conte"t of the Midd!e #ges. Aeatures of Midd!e $ng!ish? grammar, vocabu!ary, dia!ects. #ttempts at trans!ating the Bib!e. 5mportance of the chiva!ric romances. $ar!y inf!uence of $uropean renaissance on $ng!ish. S)30*,+. %yc!iffe and the 8o!!ards. Bative $ng!ish overcoming the c!utches of 8atin through Bib!e trans!ations. M596-) ! R)?60+)9 R),90*/ . Geoffrey Chaucer? Sections from (ro!ogue to Canterbury Tales *. 5ntroduction 2. The Inight Arom The Canterbury Tales? The BunHs (riestHs Ta!e. S)30*,+.

10 Geoffrey Chaucer ? Troi!us and Criseyde 'no need to read the origina!)

B,8@/+56*9 R),90*/. John (ec& and Martin Coy!e? A Brief History of English Literature (ierro and Ji!! Mann, eds. ? The Cambridge Chaucer Companion Ce!en Cooper? The Oxford Guides to Chaucer The Canterbury Tales J # Burro ? !edie"al #riters and their #or$%% !iddle English Literature and its Bac$ground 7avid 7aiches? A Critical History of English Literature &ol' ( Ma!co!m Godden and Michae! 8apidge? The Cambridge Companion to Old English Literature 7avid Crysta!? The Cambridge Encyclopaedia of the English Language C 8 %ren? The English Language Char!es Barber, Joan C. Bea! and (hi!ip #. Sha ? The English Language A Historical (ntroduction #!bert C Baugh and Thomas Cab!e? A History of the English Language

MA E*/-012 S)3)14)+ 1 C5+) C56+1) 2. PC 27W+040*/1 5: 42) R)*,011,*8) O;<)840=)1. The course is designed primari!y as an introduction to the $ng!ish 9enaissance and the te"ts that shaped it2 ere shaped by it. #t the same time, it is a!so designed as a theoretica!2critica! reading of the era and the te"ts in the !ight of recent theoretica! interventions !i&e Be Cistoricism hich had a specia! interest in 9enaissance te"ts. C56+1) 9)18+0>405*. The Course covers the period up to the end of the Caro!ine age. Ma4or genres !i&e tragedy, tragicomedy, epic, romance, ba!!ad, farces etc., concepts !i&e humanism, the ne or!d need to be introduced. The ma4or authors in the course inc!ude Sha&espeare, Jonson and Mar!o e. #t the same time care has been ta&en to

11 p!ace the authors and the te"ts in the proper historica! perspective. To say that renaissance meant the f!o ering of an entire range of !iterary artistic and inte!!ectua! activity ou!d be to state the obvious. Aor that reason the true spirit of renaissance is e"pected to be imparted to the pupi!. M596-) I R)?60+)9 R),90*/ . Jonathan 7o!!imore? KSha&espeare, Cu!tura! Materia!ism and the Be CistoricismL 'Chapter * of )olitical *ha$espeare edited by 7o!!imore and Sinfie!d) Stephen Greenb!att? 5ntroduction to +enaissance *elf ,ashioning John 7over %i!son? KThe TheatreL 'Chapter :55 of Life in *ha$espeare-s England) M596-) 2 R)?60+)9 R),90*/ . Sha&espeare? Hamlet S)30*,+. Sha&espeare? .ulius Caesar M596-) 3 R)?60+)9 R),90*/ . Sha&espeare? Hamlet S)30*,+. Sha&espeare? A !idsummer /ight-s 0ream M596-) R)?60+)9 R),90*/ . Christopher Mar!o e? 0octor ,austus Ben Jonson? &olpone S)30*,+. John %ebster? The 0uchess of !alfi M596-) ! R)?60+)9 R),90*/ . %i!!iam Sha&espeare? Sonnets *<, -0, **0, *29 Arancis Bacon? 1f TruthM 1f (arents and Chi!dren $dmund Spenser? (rotha!amion John 7onne? Good Morro M # :a!ediction Aorbidding Mourning #ndre Marve!!? Coratian 1de Upon Crom e!!Hs 9eturn from 5re!andM To Cis Coy Mistress S)30*,+. Thomas More? 1topia B,8@/+56*9 R),90*/. # C Brad!ey? *ha$espearean Tragedy John 7over %i!son? #hat Happens in Hamlet Caro!ine Spurgeon? *ha$espearean (magery Thomas Iyd? *panish Tragedy John 7ra&a&is $d.? Alternati"e *ha$espeares Germaine Greer? *ha$espeare Terry $ag!eton? *ha$espeare and His Age $ M % Ti!!yard? Eli2abethan #orld )icture %i!son Inight? The #heel of ,ire #nia 8oomba? +ace Gender and +enaissance 0rama Catherine Be!sey? The *ub3ect of Tragedy

12

MA E*/-012 S)3)14)+ 1 C5+) C56+1) 3. PC 37R)=5-6405* ,*9 42) E*-0/24)*3)*4 O;<)840=)1? To fami!iariGe the student ith the $ng!ish !iterature of the Seventeenth Century and to provide him2her ith ana!ytica!2critica! perspectives on the socia!, cu!tura! and inte!!ectua! c!imate of the period C56+1) D)18+0>405*? The (uritan $ng!and as a period of ma4or socia! and po!itica! upheava!s inc!uding the Civi! %ar. The age itnessed the strugg!e bet een the &ing and the par!iament for domination. $ventua!!y, 1!iver Crom e!!, the !eader of the puritans, cou!d form the Common ea!th and Char!es 5 as e"ecuted in *0.9. The puritan movement based on honesty, righteousness, inte!!ectua!ity and freedom proved too severe for the peop!e and this !ed to the restoration of Monarchy. Mean hi!e the rash acts such as the c!osure of the theatres had done enough damage to !iterature. The po!itica! turmoi! not ithstanding, the age cou!d hera!d a scientific out!oo& and temperament. This !ed to the formation of a number of inte!!ectua! institutions

13 inc!uding the 9oya! Society. 5n the society too, the considerab!e increase in production resu!ted in the formation of a number of economic institutions. 5n the fie!d of !iterature, the era a!so itnessed the emergence of number of genres. Scientific revo!utions, the evo!ution of ne re!igious concepts, and the ne phi!osophica! streams of thought need to be introduced. 9ationa!ism and the conse@uent estab!ishment of the autonomous human sub4ect 'cogito) are to be presented as instrumenta! in the progress of the $n!ightenment. M596-) 1 R)?60+)9 R),90*/. (ramod Bayar? 5ntroduction English )oetry 4556%4786 $d. (ramod Bayar (au! Goring? KCistorica! Cu!tura! and 5nte!!ectua! Conte"tL Eighteenth Century Literature and Culture 5an %att? +ise of the /o"el Chapters * and 2 Miche! Aoucau!t? K%hat is $n!ightenmentNL M596-) 2 R)?60+)9 R),90*/. John Mi!ton ? )aradise Lost Boo$ (& #phra Behn ? To the Aair C!arinda #!e"ander (ope ? $pist!e to 7r. #rbuthnot %i!!iam Co!!ins ? 1de to $vening S)30*,+. Mary 9obinson ? Aema!e Aashions for *399 M596-) 3 R)?60+)9 R),90*/. %i!!iam Congreve ? #ay of the #orld John 7ryden ? All for Lo"e 1!iver Go!dsmith ? *he *toops to Con9uer S)30*,+. %i!!iam %ycher!ey ? The Country #ife M596-) R)?60+)9 R),90*/. 7anie! 7efoe ? +obinson Crusoe 9ichardson ? )amela 8a rence Sterne ? Tristram *handy Cenry Aie!ding ? Tom .ones S)30*,+. Corace %a!po!e ? Castle of Otranto M596-) ! R)?60+)9 R),90*/. John Bunyan ? )ilgrim-s )rogress John 8oc&e ? An Essay Concerning Human 1nderstanding 7r. Johnson ? (reface to Sha&espeare Mary %o!!stonecraft ? # :indication of the 9ights of %oman S)30*,+. Thomas Cobbes ? Le"iathan B,8@/+56*9 R),90*/. Basi! %i!!ey Basi! %i!!ey T % #dorno James Schmidt ? *e"enteenth Century Bac$ground ? Eighteenth Century Bac$ground ? 0ialectic of Enlightenment ? #hat is EnlightenmentN

14 (eter Gray $nrst Cassirer ? The Enlightenment An (nterpretation' The *cience of ,reedom ? )hilosophy of Enlightenment

MA E*/-012 S)3)14)+ 1 C5+) C56+1) . PC 7L04)+,+A C+0408013 ,*9 A8,9)308 W+040*/ O;<)840=)1? To fami!iariGe the students ith the &ey concepts and te"ts of !iterary criticism ever since its emergence, and to provide practica! and theoretica! fami!iarity ith the range, approaches, and mechanics of academic riting C56+1) D)18+0>405*. The course shou!d he!p the student to recogniGe the historica!, po!itica! and aesthetic dimensions of the gro th of !iterary criticism. 5ssues !i&e canon formation, evo!ution of the genres, methods of !iterary ana!ysis i!! a!! be discussed in the different modu!es. Concepts being discussed inc!ude c!assica! estern criticism from #ristot!e Corace and 8onginus, $ng!ish 9enaissance and neoc!assica! criticism, the *< th century trends, the romantic revo!t, the :ictorian tradition, the ne critics, Chicago schoo! and the

15 modernist movements, $!iotHs critica! positions, (sychoana!ysis, myth criticism, 9ussian Aorma!ism, Mar"ist criticism and 9eader response theories. 1ne modu!e has been set apart for the study of academic riting hich is e"pected to enhance the abi!ity of the student to attempt critica! appreciation, !iterary criticism, revie s, and other modes of academic riting. Three revie artic!es have been inc!uded to provide a samp!ing of the or& being done and the debates that inform Te"tua! Scho!arship, 5nterpretation, and Cistorica! Scho!arship. Students are e"pected to &eep trac& of other forms of scho!arship that inform the discip!ine. The se!ection from the M8# Candboo& discusses the tas&s and methodo!ogy of identifying a topic, deve!oping it through research, or&ing ith sources, the mechanics of academic prose, and documentation sty!e. The modu!e introduces the student to the scho!ar!y e"pectations of semester assignments and the fina! dissertation. M596-) 1 R)?60+)9 R),90*/. #ristot!e? )oetics 8onginus? On the *ublime Horace Ars )oetica M596-) 2 R)?60+)9 R),90*/. (hi!ip Sidney 7ryden? Co!eridge? Matthe #rno!d? S)30*,+. %ords orth? M596-) 3 R)?60+)9 R),90*/. $!iot? C!eanth Broo&s? Borthrop Arye? $rich #uerbach? S)30*,+. 9.S. Crane?

#po!ogie for (oetry $ssay on 7ramatic (oesy '$"tract O !ines *93 + *033) Biographia Literaria 'Ch. *3) *tudy of )oetry (reface to Lyrical Ballads

Tradition and the 5ndividua! Ta!ent The 8anguage of (arado" #rchetypes of 8iterature 1dysseusH Scar The Concept of (!ot and the (!ot of Tom .ones

M596-) R)?60+)9 R),90*/. Georg 8u&acs ? The 5deo!ogy of Modernism %o!fgang 5ser? The 9o!e of the 9eader in Aie!dingHs .oseph Andrews and Tom .ones 9oman Ja&obson? %hat is (oetryN S)30*,+. 8ione! Tri!!ing? Areud and 8iterature M596-) ! A8,9)308 W+040*/ R)?60+)9 R),90*/. 8eah S. Marcus? KTe"tua! Scho!arshipL 'pp *.-+*/9 of KSection Three? 9eading 8iterature and Cu!tureL (ntroduction to *cholarship in !odern Languages and Literatures ed. 7avid G. Bicho!s, -rd ed. Jerome McGann? K5nterpretationL 'pp *00D*30 of 7avid G. Bicho!s)

16 Catherine Ga!!agher? KCistorica! Scho!arshipL 'pp *3*+*9- of 7avid G. Bicho!s) Chapters -,/, and 0 of !LA Handboo$ for #riters of +esearch )apers, Seventh $d. S)30*,+. Catherine Be!sey? K#ddressing the Sub4ectL ' Critical )ractice) B,8@/+56*9 R),90*/. 7. #. 9usse!! and %interbottom 'eds.)? $nright and Chic&era 'eds.)? 7avid 8odge 'ed.)? :.S. Seturaman 'ed.)? I. (omors&a and 9. 9udy 'eds.)? Carry B!amires? %imsatt and Broo&s? Classical Literary Criticism. P1U(Q English Critical Texts' P1U(Q Twentieth Century Literary Criticism A +eader P8ongmanQ Contemporary Criticism An Anthology PMacmi!!anQ Language and Literature' PCU(Q A History of Literary Criticism Literary Criticism A *hort History

MA E*/-012 S)3)14)+ 1 C5+) C56+1) !. PC !7 I*90,* E*/-012 L04)+,46+) O;<)840=)1. The course is designed to fami!iarise the students ith one of the most significant !iteratures produced in the $ng!ish !anguage from the non $ng!ish spea&ing cu!tures. 6uestions of !anguage, nation, and aesthetics figure prominent!y among the ob4ectives of this course. C56+1) D)18+0>405*. The student has to be made conscious of the co!onia! conte"t in hich 5ndian $ng!ish deve!oped as a !anguage and !iterature. Bineteenth century attempts at poetry, the emergence of 5ndian $ng!ish fiction and drama, the differences in the thematic and sty!istic aspects bet een the pre independence and post independence periods, the impact of historica! situations !i&e the $mergency, and the inf!uence of estern modernism and postmodernism on 5ndian riting are to receive centra! focus. 5ssues re!ating to the use of the co!oniserHs !anguage, the diverse ramifications of po er in the 5ndian subcontinent, features of 7iaspora riting, the nature of the 5ndian rea!ity ref!ected in a non 5ndian tongue, the socio+cu!tura!

17 economic, and gender concerns addressed in these te"ts etc. Cave to be broached in the pedagogica! conte"t. Some ma4or or&s of 5ndian !iterature trans!ated into $ng!ish a!so are to be introduced to give a smac& of 5ndianness. M596-) 1 R)?60+)9 R),90*/. #.I. 9amanu4an ? 5s there an 5ndian %ay of thin&ingN Gauri :is anathan ? 5ntroduction to !as$s of Con9uest Meena&shi Mu&her4ee? KBation, Bove!, 8anguageL in The )erishable Empire T.M. Resudasan ? KTo ards (ro!ogue to 7a!it StudiesL in /o Alphabet in *ight M596-) 2 R)?60+)9 R),90*/. Toru 7utt Saro4ini Baidu Tagore Sri #urobindo $Ge&ie! Gieve (ate! Jayanta Mahapatra Su4ata Bhatt S)30*,+. #I Mehrotra M596-) 3 R)?60+)9 R),90*/. Girish Iarnad :i4ay Tendu!&ar S)30*,+. Man4u!a (admanabhan? M596-) R)?60+)9 R),90*/. 9 I Barayan? Sa!man 9ushdie? #mitav Ghosh Susan :is anathan S)30*,+. #rundhati 9oy

? ? ? ? ? ? ? ? ?

The 8otus 6ueenHs 9iva! The chi!d, Gitan4a!i 'section -/) Thought the (arac!ete # Time to Change 1n Ii!!ing a Tree # Monsoon 7ay Aab!e Mu!iebrity Continuities

? ?

:ayati Ghasiram ;ot"al Har"est !an Eater of !algudi !idnight-s Children Hungry Tide *omething Barely +emembered God of *mall Things

? ?

M596-) ! R)?60+)9 R),90*/. Ban&im Chandra Chatter4ee? Sara Joseph? Bama? U 9 #nanthamurthy? S)30*,+. Iama!a 7as? B,8@/+56*9 R),90*/. Sa!man 9ushdie

Ananda !ath Gift in Green *angati *ams$ara Honour ? (maginary Homelands

18 S ati Joshi 9a4es ari Sunder 9a4an Susie Tharu #shish Bandi G B 7evy Meena&shi Mu&her4ee Su4it Mu&her4ee I 9 Sreenivasa 5yengar 9. (arthasarathy, ed. # I Mehrotra, ed. $unice 7HSouGa, ed. ? +ethin$ing English ? Lie of the Land ? *ub3ect to Change ? The (ntimate Enemy ? After Amnesia ? )erishable Empire ? Translation as 0isco"ery ? Golden treasury of (ndian #riting ? Ten Twentieth Century (ndian )oets ? An (llustrated History of (ndian Literature in English ? /ine (ndian #omen )oets an Anthology

MA E*/-012 S)3)14)+ 2 C5+) C56+1) $. PC $ BB L04)+,46+) 5: 42) N0*)4))*42 C)*46+A O;<)840=)1. To fami!iariGe the students ith t o prominent eras in $ng!ish !iterature, name!y the !atter ha!f of the *< th century, first ha!f of the *9th century and the !atter ha!f of the *9 th century. The romantic sensibi!ity that reigned supreme for more than ha!f a century needs to be driven home to the students. Simi!ar!y the changed out!oo& of the riters in the a&e of industria!ism is a!so to be imparted e!!. 1n!y $ng!ish authors have been inc!uded in the paper. C56+1) 9)18+0>405*. Begin ith the precursors to 9omanticism ++ Gray, B!a&e. The 9omantic movement+significance of *39<.The #merican revo!ution *330 and the Arench revo!ution*3<9.#ge of upheava!s in po!itica!, economic and socia! traditions. 5magination, nature, symbo!ism and myth, emotion, !yric and the se!f. Contrast ith neo c!assicism, individua!ism. The everyday and the e"otic + spread of the 9omantic spirit, e"oticism, etc.

19 :ictorian period '*<-3+*90*). The continuance and dec!ine of the romantic sensibi!ity. The emergence of machines and industries. #scent of materia!ism. Uti!itarian phi!osophy. 8oss of faith. 7ominance of scientific temperament. (re+9aphae!ite poetry specimen. The tradition of rea!ism in nove! riting. #!! riters from $ng!and. M596-) I R)?60+)9 R),90*/ . M C #brams? KChapter 555? 9omantic #na!ogues of #rt and Mind.L The !irror and the Lamp 9aymond %i!!iams? KThe 9omantic #rtist.L Culture and *ociety< 4786%4=>6 5sobe! #rmstrong? K5ntroduction? 9ereading :ictorian (oetry.L &ictorian )oetry )oetry< )oetics< )olitics. 8ondon,*99M596-) 2 R)?60+)9 R),90*/ . %i!!iam B!a&e? %i!!iam %ords orth? S.T.Co!eridge? (.B.She!!ey? John Ieats? S)30*,+. 8ord Byron? M596-) 3 R)?60+)9 R),90*/ . 8ord Tennyson? 9obert Bro ning? Matthe #rno!d? 7.G.9ossetti? S)30*,+. Arancis Thompson?

#uguries of 5nnocence The Tintern #bbey 8ines Iub!a Ihan 1de to the %est %ind 1de on a Grecian Urn The (risoner of Chi!!on

U!ysses Ara 8ippo 8ippi 7over Beach The B!essed 7amoGe! The Cound of Ceaven

M596-) R)?60+)9 R),90*/ . Jane #usten? )ride and )re3udice Char!es 7ic&ens? A Tale of Two Cities $mi!y Bronte? #uthering Heights Thomas hardy? Tess of the d-1urber"illes S)30*,+. George $!iot? Adam Bede M596-) ! R)?60+)9 R),90*/ . Char!es 8amb? %i!!iam CaG!itt? John Stuart Mi!!? 1scar %i!de? S)30*,+. Car!y!e?

7ream Chi!dren My Airst #c@uaintance ith (oets The *ub3ection of #omen 'Chapter*) The (mportance of Being Earnest Cero as (oet

20 B,8@/+56*9 R),90*/. M C #brams? The !irror and the Lamp #rno!d Iett!e? An (ntroduction to the English /o"el 9aymond %i!!iams? /o"el from 0ic$ens to Lawrence C M Bo ra? The +omantic (magination %a!ter #!!en? The English /o"el George 8u&acs? The Historical /o"el

MA E*/-012 S)3)14)+ 2 C5+) C56+1) %. PC % C M59)+*013 0* C5*4)D4 O;<)840=)1. To fami!iariGe the students ith the !iterary trends of the ear!y t entieth century in the conte"t of the sensibi!ity of !iterary modernism in the a&e of the %or!d %ar.

21 C56+1) 9)18+0>405*. The course inc!udes an introduction to the changed !iterary perspectives in the t entieth century, a!ong ith the socia!, economic and po!itica! bac&ground. 5mperia! e"pansion hich had reached a boi!ing point, the onset of the %or!d %ar 5 coup!ed ith the attempts at creating a ne or!d order remained some of the &ey issues. The impact of the Soviet e"periment at the g!oba! !eve! that needs to be read against the bac&drop of the spread and inf!uence of Mar"ism on a g!oba! sca!e ca!!s for a radica! revie of or!d po!itics. This as fo!!o ed by the rise of Aascism and BaGism, fo!!o ed curious!y by the shado of doubt cast over communism. 5n the !iterary fie!d reaction against 9omanticism and :ictorianism !ed to e"perimentation in riting in a!! genres. Starting from the poetry of %or!d %ar 5 the movement traverses a ide range of concerns topics and forms of riting. The discussion a!so inc!udes movements !i&e the avant garde, the (in& 7ecade and so forth.

M596-) I R)?60+)9 R),90*/ . :irginia %oo!f? KModern AictionL'The Common +eader OAirst Series) Ma!co!m Bradbury and James McAar!ane? KThe Bame and Bature of ModernismL 'Chapter * of !odernism? A Guide to European Literature*<90+*9-0) 7avid Carvey? KModernity and ModernismL Pin 7avid Carvey? The Condition of )ostmodernity ? An En9uiry into the Origins of Cultural Change'B!ac& e!!)M a!so avai!ab!e in Tim Midd!eton 'ed.)? !odernism ? Critical Concepts in Literary and Cultural *tudies '9out!edge)Q M596-) 2 R)?60+)9 R),90*/ . G.M.Cop&ins? The %indhover %i!fred 1 en? 7u!ce et 7ecorum est %.B.Reats? ByGantium %.C.#uden? Musee des Beau" #rts S)30*,+. 7y!an Thomas? Aern Ci!! M596-) 3 R)?60+)9 R),90*/ . T.S.$!iot? The #aste Land S)30*,+. $Gra (ound? Hugh *elwyn !auberley 'Sections 5 to :) M596-) R)?60+)9 R),90*/ . Bernard Sha ? *aint .oan T.S. $!iot? !urder in the Cathedral S)30*,+. J.M.Synge? +iders to the *ea M596-) ! R)?60+)9 R),90*/ . 7.C.8a rence? *ons and Lo"ers James Joyce? A )ortrait of the Artist as :oung !an Graham Greene? The )ower and the Glory :irginia %oo!f? To the Lighthouse S)30*,+.

22 Joseph Conrad? Heart of 0ar$ness

B,8@/+56*9 R),90*/. James AraGer? The Golden Bough Aran& Iermode? The *ense of an Ending *tudies in the Theory of ,iction Ma!co!m Bradbury and James McAar!ane? !odernism 48=6%4=@6 7. C. 8a rence? *elected Literary Criticism G M Cop&ins? The %rec& of the 7eutsch!and George 1r e!!? 4=8A 8ouis MacBiece? *now Tim Midd!eton 'ed.)? !odernism ? Critical Concepts in Literary and Cultural *tudies :o!s. *+/ '9out!edge)Q

MA E*/-012 S)3)14)+ 2 C5+) C56+1) '. PC ' BB D03)*105*1 5: 42) P514359)+* O;<)840=)1. To introduce the student to the deve!opments in !iterature ritten in $ng!ish since the *900s. 9epresentative or&s from e"perimenta! and metropo!itan !iterature are inc!uded

23 C56+1) D)18+0>405*. This course invo!ves a discussion of the (ostmodernism2post+modernism debate and the prob!ematics of definition. 5t sub4ects to ana!ysis poetry hich as anti+s&eptica! and sensitive to the rea!ities of re!igion and metaphysics. The se!ected te"ts create an a areness of the suspect nature of !anguage, the manipu!ative po er of art, the fragi!ity of character, the re!ativity of va!ue and perception and the co!!apse of the abso!ute. 5rish voices, fema!e perspectives and pub!ic engagement of poetry a!so come in for discussion. 5n the fie!d of fiction too typica! postmodern features and devices !i&e se!f+ref!e"ivity and mu!ticu!tura!ism need to be focused. 7rama? theatre of the absurd, (sychodrama and e"perimenta! theatre i!! be some of the features ca!!ing for discussion. M596-) I R)?60+)9 R),90*/ . 8inda Cutcheon? Cistoriographica! Metafiction? The (astime of (ast Time 'in The )oetics of )ostmodernism) Stuart Sim? (ostmodernism and )hilosophy 'in +outledge Companion to )ostmodernism. $d. Stuart Sim) Michae! %. Messmer? KMa&ing Sense of2 ith (ostmodernismL Pin :ictor $. Tay!or > Char!es $. %in@uist 'eds.)? )ostmodernism ? Critical Concepts :o!ume 555 '9out!edge)Q M596-) 2 R)?60+)9 R),90*/ . (hi!ip 8ar&in? Church Going Ted Cughes? Jaguar Sy!via (!ath? 7addy $!iGabeth Jennings? The Chi!d Born 7ead Char!es Tom!inson? (rometheus S)30*,+. Geoffrey Ci!!? Genesis M596-) 3 R)?60+)9 R),90*/ . John Ao !es? The ,rench Lieutenasnt-s #oman 5an Mc$ an? Atonement #nge!a Carter? /ights at the Circus Ju!ian Barnes? ,laubert-s )arrot S)30*,+. Canif Iureishi? The Buddha of *uburbia M596-) R)?60+)9 R),90*/ . Samue! Bec&ett? #aiting for Godot John 1sborne? Loo$ Bac$ in Anger S)30*,+. John #rden? *ergeant !usgra"e-s 0ance M596-) ! R)?60+)9 R),90*/ . Bond? Lear Stoppard? .umpers S)30*,+. #rno!d %es&er? Chic$en *oup with Barley

24

B,8@/+56*9 R),90*/. Jean+Arancois 8yotard ? The )ostmodern Condition A +eport on ;nowledge Susan Sontag? Against (nterpretation 5hab Cassan? The 0ismemeberment of Orpheus Towards a )ostmodern Literature Brian McCa!e? )ostmodernist ,iction 8inda Cutcheon? A )oetics of )ostmodernism History< Theory< ,iction Aredric Jameson? )ostmodernism or the Cultural logic of Late Capitalism Steven Connor? )ostmodernist Culture An (ntroduction to the Theories of the Contemporary

MA E*/-012 S)3)14)+ 2 C5+) C56+1) (. PC (7 L,*/6,/) ,*9 L0*/6014081 O;<)840=)1. To incu!cate in the pupi!s a areness about the basic concepts of !inguistics, the scientific study of !anguage.

25 C56+1) D)18+0>405*. The course, divided into five modu!es covers the important areas in !inguistics and updates the pupi! on the most recent advances in the theory of !anguage study. This shou!d idea!!y prepare the student at one !eve! ith modern notions and concerns in the fie!d of !inguistics. M596-) 1 P25*)4081 ,*9 P25*5-5/A. Genera! (honetics, Cardina! :o e!s, Consonants, (honetic Transcription The phonemic theory? (honeme, a!!ophones, contrastive and comp!ementary distribution, free variation, phonetic simi!arity, pattern congruency (!ura!s > past tense in $ng!ish as e"amp!es for phono!ogica!!y conditioned a!ternation, 9u!es and ru!e ordering in phono!ogy 'some e"amp!es) Sy!!ab!e, onset nuc!eus and coda, foot, prosody, stress, stress ru!es, intonation, rhythm M596-) 2 M5+>25-5/A. The notion of a morpheme, a!!omporphy, Gero morph, portmanteau morph 5nf!ection and derivation, !eve! 5 and 8eve! 55 affi"es in $ng!ish, ordering bet een derivation and inf!ection, S boundary 'morpheme !eve!) and T boundary ' ord !eve!) in affi"ation, Stem a!!omorphy, ord !eve! and morpheme !eve! constraints Morphophono!ogica! pheneomena Compounds, criteria for compound formation 'de!etion of inf!ection, 4unction phenomena !i&e vo e! e!ongation, gemination, etc.) sub compounds and co compounds 'tatpurusha2d and a) ord formation techni@ues? b!ending, c!ipping, bac& formation, acronyms, echo ord formation, abbreviation etc. S)30*,+. The notion of a !e"icon, nature of a !e"ica! entry M596-) 3 SA*4,D Traditiona! grammar O fa!!acies O Saussure , system and structure, !anguage as a system of signs, Saussurean dichotomies? synchronic +diachronic , signifier+ signified, syntagmatic O paradigmatic, !angue O paro!e, form O substance, Structura!ism? Contributions of B!oomfie!d O 5C #na!ysis O disambiguation using 5C ana!ysis, !imitations of 5C ana!ysis O (S grammar O (S ru!es? conte"t free and conte"t sensitive ru!es, optiona! and ob!igatory ru!es TG Grammar Components O transformationa! and generative OOGB Theory? U bar theory, case fi!ter, theta criterion, pro4ection princip!e, $((, binding theory, move a!pha. S)30*,+. K#spectsL mode! O transformations? passivisationOdo support O affi" hoppingO%C movement M596-) S)3,*4081 8e"ica! semantics? antonymy Osynonymy O hyponymy O homonymy 'homophony and homography ) O po!ysemy O ambiguity Semantic re!ations Componentia! ana!ysis, prototypes, 5mp!ication, entai!ment, and presupposition Semantic theories? sense and reference, connotation and denotation, e"tension and intension, Truth Conditiona! semantics? propositions, truth va!ues, determining the semantic va!ue of a proposition, compositiona! procedure, terms and predicates, predicate !ogic, possib!e or!ds semantics.

26 S)30*,+. 8anguage, metaphor, figures of speech M596-) ! B+,*82)1 5: L0*/6014081 *. (sycho!inguistics? 7efinition and scope + chi!d !anguage ac@uisition O 5nnateness hypothesis O speech production, speech recognition O aphasia O s!ips O gaps 2. Socio 8inguistics? definition and scope O structura! and functiona! approach O speech community O speech situation O speech event O speech act O !anguage p!anning O bi!ingua!ism+ mu!ti!ingua!ism+ dig!ossia + '8anguage and gender > 8anguage and po!itics + overvie ) #pp!ied !inguistics? 7efinition and scope O !anguage teaching and !earning O contrastive ana!ysis O error ana!ysis O Trans!ation Computationa! !inguistics. S)30*,+. Bi!ingua!ism, mu!ti!ingua!ism, dia!ect, idio!ect, pidgin, creo!e, !anguage varieties. B,8@/+56*9 R),90*/. S I :erma and B Irishnas amy? Cenry %iddo son? 8 B!oomfie!d? J 7 Aodor? J 8yons? $. Sapir? 7 5 S!obin? 8i!ian Caegaman? M. Chierchia and Mcdonne! Sa!!y? :. Arom&in et a!? Geoffrey 8each? Boam Choms&y? Steve (in&er? !odern Linguistics Explorations in Linguistics Language *emantics Theories of !eaning in Generati"e Linguistics 5ntroduction to Theoretical linguistics Language )sycholinguistics Go"ernment and Binding Language and !eaning Linguistics *emantics Cartesian Linguistics Language (nstinct

MA E*/-012 S)3)14)+ 2 C5+) C56+1) 10. PC 107 T2)5+0)1 5: K*5E-)9/) 1b4ectives? This course aims at introducing !iterary theory and its !atest deve!opments to students.

27 Course 7escription? Modu!e * e"amines the ma4or conceptua! frame or&s of !iterary theory from structura!ism to spectra! theory. This unit is intended to fami!iariGe students ith the ma4or deve!opments in theory from *900s to the present. Modu!e 2 begins ith an e"cerpt from Aerdinand deH SaussureHs Course in General Linguistics and introduces students to the ma4or !inguistic princip!es hich revo!utioniGed 20 th century phi!osophica! and !iterary thin&ing. This section a!so inc!udes 9o!and BarthesH essay KThe 7eath of the #uthorL hich mar&s a transition from structura!ism to poststructura!ism. Comi I BhabhaHs essay KThe commitment to TheoryL is a defense of theory and is inc!uded for seminar. Modu!e - begins ith 7erridaHs essay and it is important in t o ays? one, for its epistemo!ogica! brea& ith structura!ism and t o, for its inauguration of the poststructura!ist thought in phi!osophy and criticism. This section a!so introduces Jac@ues 8acan and thereby psychoana!ytic thought and criticism. M.C. #bramsH KThe 7econstructive #nge!,L is a criti@ue of deconstruction from the !ibera! humanist perspective and is inc!uded for seminar. Modu!e . introduces the Aoucau!dian notions of archaeo!ogy and genea!ogy through his essay KBietGsche, Cistory and Genea!ogy.L The notions of truth, po er, biopo!itics, biopo er etc suggested by Aoucau!tHs essay are further deve!oped in Georgio #gambanHs boo& Homo *acer' #gambanHs boo& points to theoryHs engagement after poststructura!ism and Bicho!as 9oy!eHs introduction to his boo& The 1ncanny further suggests the contemporary post+theoretica! engagements. Modu!e / continues ith the post+theoretica! engagements and the postmodern turn ith t o essays? one semina! essay by 8yotard fo!!o ed by one by 7e!euGe hi!e an essay by ViGe& has been prescribed for seminar. M596-) 1 R)?60+)9 R),90*/. #n overvie of Structura!ismO (oststructura!ism O (o!itica!2ethica! turn O Be Materia!ism O (ost+theory O Spatia! theory O $cocriticism. M596-) 2 R)?60+)9 R),90*/. Aerdinand de Saussure? 9o!and Barthes? S)30*,+. Comi I. Bhabha? M596-) 3 R)?60+)9 R),90*/. Jac@ues 7errida? Jac@ues 8acan? S)30*,+. M.C. #brams? M596-) R)?60+)9 R),90*/. Miche! Aoucau!t? Giorgio #gamben? S)30*,+. Bicho!as 9oy!e? M596-) ! R)?60+)9 R),90*/. Jean+Arancois 8yotard ? Gi!!es 7e!euGe ? S)30*,+.

Cistoricism OCu!tura!

Bature of the 8inguistic Sign Pfrom 7avid 8odgeQ The 7eath of the #uthor The Commitment to Theory Structure, Sign and (!ay in the 7iscourse of the Cuman Sciences The 5nsistence of the 8etter in the Unconscious The 7econstructive #nge! BietGsche, Cistory and Genea!ogy Homo *acer (art 5 The Uncanny? an 5ntroduction (( *+-<

from )ostmodern Condition in Martin Mc@ui!!an ed. /arrati"e +eader */3+*0* K9epetition for 5tse!fL Ch 2 of 0ifference and +epetition

28 S!avo4 ViGe&? K7ead!oc& of 7esub!imationL from !etastases of En3oyment :erso 3+2< !odern Criticism and Theory A +eader Literary Theory An (ntroduction Literary Theory PThe Basics seriesQ Critical )ractice Beginning Theory +oland Barthes !ichel ,oucault 0econstruction Theory and )ractice )rofessing Literature *tructuralism and *emiotics /ew Historicism and Cultural !aterialism A +eader !arxism and Literature After Theory life'after'theory

B,8@/+56*9 R),90*/. 7avid 8odge ed.? Terry $ag!eton? Cans Bertens? Catherine Be!sey? (eter Barry? Graham #!!en? Sara Mi!!s? Christopher Borris? Gera!d Graff? Terence Ca &es? Iiernan 9yan? 9aymond %i!!iams? Terry $ag!eton? Michae! (ayne > John Schad 'eds)?

MA E*/-012 S)3)14)+ 3 C5+) C56+1) 11. PC 11 C A3)+08,* L04)+,46+) O;<)840=)1. The ob4ectives of the course inc!ude an introduction to the most important branch of $ng!ish !iterature of the non British tradition. 5t see&s to provide an overvie of the processes and te"ts that !ed to the

29 evo!ution of #merican !iterature as an independent branch or schoo! of !iterature. C56+1) D)18+0>405*. The course covers the entire period from the time of ear!y sett!ers, through the est ard movement to the contemporary period. #merican !iterature is integra!!y connected ith the e"periences of a peop!e strugg!ing to estab!ish themse!ves as a nation. 6uestions of individua!ism, @uest for identity, po!itica! freedom from Britain and cu!tura! freedom from the $uropean tradition have mar&ed #merican !iterature from time to time. The emergence of b!ac& !iterature and other ethnic traditions is another ma4or ha!!mar& of #merican riting. #!! these i!! form the basic ana!ytica! component of this course. #merican 9enaissance, #merican %ar of 5ndependence, Transcendenta!ism, #merican 9omanticism, 7ar& 9omanticism, Arontier $"periences, the Civi! %ar, Modernism, Aeminism, 9egiona! patternsDSouthern %ritersDBe $ng!and %ritersD%estern %ritersDMid+%estern %riters, $thnicityDJe ish, Bative, Mountain 8iterature, Great 7epression and the Great 7ust+bo ! disaster ou!d be some of the thematic concerns of the course. M596-) I R)?60+)9 R),90*/ . 9obert $ Spi!!er? 9usse!! J. 9eising? John (au! (ritchard? M596-) 2 R)?60+)9 R),90*/ . $dgar #!!en (oe? %a!t %hitman? $mi!y 7ic&inson? 9obert Arost? %a!!ace Stevens? 5mamu #miri Bara&a? Marge Tinda!? (au!a Gunn #!!en? Rahuda #michai? 7avid Berman? S)30*,+. $dgar #!!en (oe? M596-) 3 R)?60+)9 R),90*/. #rthur Mi!!er? $d ard #!bee? S)30*,+. Tennessee %i!!iams? M596-) R)?60+)9 R),90*/. Cermann Me!vi!!e? Bathanie! Ca thorne? %i!!iam Aau!&ner? Mar& T ain?

K#rchitects of Cu!ture? $d ards, Aran&!in, JeffersonL 'Chapter * of The Cycle of American Literature) KThe Unused (ast? Theorists of #merican 8iterature and the (rob!em of $"c!usivityL 'Chapter * of The 1nusable )ast Theory and *tudy of American Literature ) The $ar!y Bineteenth Century Cu!tura! Scene Chapter * of Criticism in America '-+*-) K9avenL KThere %as a Chi!d %ent AorthL K5 fe!t a funera! in my brainLM KTe!! a!! the truth but te!! it s!antL KBirchesL KThe $mperor of 5ce+CreamL KIa WBaL KChero&ee 9oseL KBativeL KTry to 9emember Some 7etai!sL KSe!f (ortrait at 2<L K(hi!osophy of CompositionL 0eath of a *alesman #ho-s Afraid of &irginia #oolfN A *treetcar /amed 0esire KBart!eby the ScrivenerL 'short story) KRoung Goodman Bro nL 'short story) KBearL 'short story) Ad"entures of Huc$leberry ,inn

30 $rnest Ceming ay? Carper 8ee? John Steinbec&? S)30*,+. Toni Morrison? M596-) ! R)?60+)9 R),90*/. 9.%. $merson? %$B 7uBois? S)30*,+. C.7. Thoreau? B,8@/+56*9 R),90*/. 9obert $. Spi!!er? A.1. Matthiessen? Marcus Cun!iffe? 5hab Cassan? (au! C. Con&ins? C.%.Bigsby? 8es!ie #. Aied!er? The Old !an and the *ea To ;ill a !oc$ing Bird Grapes of #rath *ula

K#merican Scho!arL KCuman 9ights for a!! MinoritiesL #alden 'Chapters -, .) The Cycle of American Literature The American +enaissance The Literature of the 1nited *tates +adical (nnocence )uritans and )ragmatists !odern American 0rama 4=A>%B666 Lo"e and 0eath in the American /o"el

MA E*/-012 S)3)14)+ 3 C5+) C56+1) 12. PC 12 C C6-46+,- S4690)1 O;<)840=)1. To introduce students to the terms, ana!ytica! techni@ues, and interpretive strategies common!y emp!oyed in Cu!tura! Studies. $mphasis is on overt interdiscip!inary approaches to e"p!oring ho

31 cu!tura! processes and artefacts are produced, shaped, distributed, consumed, and responded to in diverse ays. C56+1) D)18+0>405*. The fie!d of Cu!tura! Studies has been described as a Xsimmering ste of ideas, voices and !ives of peop!e a!! over the or!d. K5t is Xa tendency across discip!ines rather than a discip!ine itse!f.L By transgressing discip!inary boundaries, Cu!tura! Studies suggests a Kremapping of the humanities.L The content, focus and approach determine the methodo!ogy of the fie!d. The first modu!e charts out the terrain of Cu!tura! studies through t o semina! artic!es from the founding figures 9aymond %i!!iams and Stuart Ca!!M and a discussion of the nature of cu!ture, and high and !o cu!ture by Simon 7uring. The second modu!e focuses on issues of hat constitutes cu!ture, as it is discussed in the academia. The focus is on ho different versions and formu!ations as to hat cu!ture is get accommodated in Cu!tura! Studies. The third modu!e frames the ays in hich the too!s that Cu!tura! Studies provides are specifica!!y dep!oyed to ana!yse specific WartefactsW that circu!ate in society. The fourth modu!e offers samp!es that revea! ho Cu!tura! Studies has been adapted into the broad 5ndian conte"t. The fina! modu!e attempts a !oca!isation of the insights gained in the preceding modu!es. 5t situates Cu!tura! Studies in the conte"t of Iera!a, to sho ho such ana!yses can broaden our insight into our immediate !ife+ or!d. M596-) I R)?60+)9 R),90*/. 9aymond %i!!iams? KCu!ture is 1rdinaryL '+esources of Hope Culture< 0emocracy<*ocialism, 8ondon, :erso, *9<9) Stuart Ca!!? KCu!tura! Studies? T o (aradigmsL '!edia< Culture and *ociety vo!.2,pp./3O32) Simon 7uring? K:a!ueL 'in Simon 7uring? Cultural *tudies A Critical (ntroduction. 9out!edge. 200/. '(art 3 of the vo!ume inc!uding 3.* Cu!ture Cigh and 8o M 3.2 The Bature of Cu!ture) M596-) 2 R)?60+)9 R),90*/. Theodor % #dorno? KCu!ture 5ndustry 9econsidered.L 'pp 9<+*03 in The Culture (ndustry *elected Essays on !ass Culture, J M Bernstein 'ed), 9out!edge, 200*) John Storey? K%hat is (opu!ar Cu!tureNL 'pp *+*0 in Cultural Theory and )opular Culture) S)30*,+. 9ichard Coggart? KSuperstition.L 'pp */*+*// in E"eryday Language C E"eryday Life, Transaction (ub!ishers, 200-) M596-) 3 R)?60+)9 R),90*/. 9o!and Barthes? KToysL 'Arom !ythologies, se!ected and trans!ated by #nnette Iavers, 8ondon, Jonathan Cape, *932) Jean Baudri!!ard? KThe Gu!f %ar %i!! Bot Ta&e (!aceL 'pp 2-+2< in The Gulf #ar 0id /ot Ta$e )lace, 5ndiana University (ress, *99/) #!so in Jean Baudri!!ard? *elected #ritings '$d. Mar& (oster) Stanford S)30*,+. 7ona!d Brenneis? KGossipL 'pp */0+*/- in ,ol$lore< Cultural )erformances< and)opular Entertainments A Communications%centered Handboo$ , 9ichard Bauman 'ed), 1U(, *992) M596-) R)?60+)9 R),90*/. Bhas&ar Mu&hopadhyay? KCu!tura! Studies and (o!itics in 5ndia Today,L Theory Culture *ociety, 2000 'S#G$, 8ondon, Thousand 1a&s and Be 7e!hi), :o!. 2-'3O<)? 239O292 #shis Bandy? K5ntroduction? 5ndian (opu!ar Cinema as a S!umWs $ye :ie of

32 (o!iticsL 'pp *+*< in The *ecret )olitics of Our 0esires (nnocence Culpability and (ndian )opular Cinema, #shis Bandy 'ed) 7e!hi? 1U(, *99<) S)30*,+. Gayatri Cha&ravorty Spiva&? M596-) ! R)?60+)9 R),90*/. Udaya&umar? KThe Be Suba!tern? # Si!ent 5ntervie L in Chaturvedi, :inaya&, ed. !apping *ubaltern *tudies and the )ostcolonial'8ondon? :erso, 2000) K#utobiography as a %ay of %riting Cistory? (ersona! Barratives from Iera!a and the 5nhabitation of ModernityL 'in History in the &ernacular, eds. (artha Chatter4ee and 9aGiuddin #@ui!, 7e!hi? (ermanent B!ac&, 200<.) K$ngendering (opu!ar Cinema in Ma!aya!amL 'in #omen in !alayalam Cinema /aturalising Gender Hierarchies , ed. Meena T. (i!!ai, 1rient B!ac&S an, 20*0) KThe Missing Ma!e? The Aema!e Aigures of 9avi :arma and the Concepts of Aami!y, Marriage and Aatherhood in Bineteenth+ century Iera!aL '*outh (ndian *tudies, Bo.*, Jan+June, *990) The Culture (ndustry *elected Essays on !ass Culture 'ed., ith intro.), J.M. Bernstein. 8ondon? 9out!edge '*99*) (ntroducing Cultural *tudies' Be Ror&? (earson2(rentice Ca!! '200.) !ythologies' 8ondon? (a!adin'*93-) Culture and the +eal Theori2ing Cultural Criticism 8ondonM Be Ror&? 9out!edge '200/) (lluminations. Be Ror&? Schoc&en Boo&s '*90<) /ew ;eywords A +e"ised &ocabulary of Culture and *ociety. Ma!den, M#? B!ac& e!! '200/) Outside Literature. 8ondon? 9out!edge '*990) The ,ield of Cultural )roduction. Cambridge? (o!ity (ress '*99-) The Cultural *tudies +eader. 8ondon? 9out!edge '*99-) Cultural *tudies A Critical (ntroduction. 8ondonM Be Ror&? 9out!edge '200/) Literary into Cultural *tudies. 8ondon? 9out!edge '*99*) A Critical and Cultural Theory +eader. Mi!ton Ieynes 1pen University (ress'*992) 1nderstanding )opular Culture. Boston, M#? Un in Cyman'*9<9) Cultural *tudies. 9out!edge '*992) A Companion to Cultural *tudies. B!ac& e!! MA E*/-012 S)3)14)+ 3 C5+) C56+1) 13. PC 13 C G)*9)+ S4690)1 O;<)840=)1.

:.C. Carris? S)30*,+. 9 Banda&umar? B,8@/+56*9 R),90*/. #dorno, T.%.? Ba!d in, $.? Barthes, 9.? Be!sey, C.? Ben4amin, %.? Bennett T., 8. Grossberg, and M. Morris Bennett, T.? Bourdieu, (.? 7uring, S. 'ed.)? 7uring, S.? $asthope, #.? $asthope, #. > McGo an, I. 'eds.)? Ais&e, J.? Grossberg, Cary Be!son > (au!a Treich!er'ed)? Mi!!er, Toby 'ed) '200*)

33 The ob4ectives of this course inc!ude ma&ing the student fami!iar ith the emergence and gro th of the notion of gender as a concept centra! to the reading of !iterature. 5t introduces a ide variety of theoretica!, critica! and creative or&s that define and redefine the concept as it is understood in contemporary society. #t the comp!etion of the course, students shou!d be ab!e to understand gender as a comp!e" concept that is inf!uenced and 're) shaped by history, the current moment, cu!ture, and societyM and engage ith gender as a concept that is not fi"ed but f!uid. Students shou!d a!so be ab!e to cite and use important theories and methodo!ogies to ana!yGe te"ts. C56+1) D)18+0>405*. This course introduces students to modes of !iterary criticism and interpretation that focus on the representations of omen and men, constructions of femininity and mascu!inity, and se"ua! po!itics. Aeminist theorists identified the distinction bet een se" and gender and defined gender as a socia! rather than a bio!ogica! construct. Gender theory came initia!!y as part of feminist theory but no inc!udes the investigation of a!! gender and se"ua! categories and identities. # primary concern in gender studies is the manner in hich gender and se"ua!ity are discussed. Gender theory is postmodern in that it cha!!enges the paradigms and inte!!ectua! premises of inherited norms. 5t a!so ta&es an activist stance through interventions and a!ternative epistemo!ogica! positions meant to change the socia! order. Gender studies and @ueer theory e"p!ore issues of se"ua!ity, po er, and margina!iGed popu!ations in !iterature and cu!ture. Much of the or& in gender studies and @ueer theory, hi!e inf!uenced by feminist criticism, emerges from post+structura! interest in fragmented, de+centered identities, deconstruction of meaning and psychoana!ysis. M596-) I R)?60+)9 R),90*/. Iate Mi!!et? Sandra Gi!bert and Susan Gubar? Judith But!er? Moni@ue %ittig? M596-) 2 R)?60+)9 R),90*/. %i!!iam Sha&espeare? Gertrude Stein? Murie! 9u&eyser? Maya #nge!ou? #drienne 9ich? Iama!a 7as? Margaret #t ood? Caro! #nn 7uffy? 7uane Marchand? S)30*,+. #nn Snito ? M596-) 3 R)?60+)9 R),90*/. Char!otte Bronte? Michae! Cunningham? Jeanette %interson?

*exual )olitics 'Chapter 55) KThe (arab!es of the CaveL'(art - of Chapter * KTo ards a Aeminist (oeticsL in !ad #oman in the Attic Gender? The Circu!ar 9uins of Contemporary 7ebateL Gender Trouble 'Chapter 555) KThe Mar& of GenderL The *traight !ind and Other Essays

Sonnet 20 KThe 8ifting Be!!yL K1rpheusL K(henomena! %omanL KT enty+one 8ove (oemsL '(oems 5 and 55) K7ance of the $unuchsL KSe&hmet, The 8ion+headed Goddess of %arL K#nn Catha ayLM K8itanyL KTears from the $arthL KGender 7iaryL

.ane Eyre The Hours Oranges Are /ot the Only ,ruit

34 (hi!ip Censher? S)30*,+. 9ani 7har&er? M596-) R)?60+)9 R),90*/. Char!otte Ieat!ey? 7avid Cenry C ang? Man4u!a (admanabhan? S)30*,+. #Gar Bafisi? M596-) ! R)?60+)9 R),90*/. Maya #nge!ou? Meena #!e"ander? Simone de Beauvoir? S)30*,+. :irginia %oo!f? B,8@/+56*9 R),90*/. Tori! Moi? Simone de Beauvoir? Iate Mi!!et? $!aine Sho a!ter? 5sobe! #rmstrong? Judith But!er? Ce!ene Ci"ous? Susie Tharu > I. 8a!itha 'eds)? ;itchen &enom The &irgin *yndrome

!y !other *aid ( /e"er *hould ! Butterfly Lights Out +eading Lolita in Tehran

( ;now #hy the Caged Bird *ings ,aultlines !emoirs of a 0utiful 0aughter A +oom of One-s Own *exual DTextual )olitics The *econd *ex *exual )olitics A Literature of Their Own /ew ,eminist 0iscourses K5mitation and Gender SubordinationL in 7iana Auss 'ed.) (nside Out Lesbian Theories KThe 8augh of the MedusaL in $!aine Mar&s and 5sabe!!e de Courvitron 'eds.) /ew ,rench ,eminism #omen #riting in (ndia '2 :o!s)

MA E*/-012 S)3)14)+ 3 C5+) C56+1) 1 . PC 1 C M59)1 5: F08405* O;<)840=)1.

35 The main ob4ective of this course is to fami!iarise the student ith the various modes of narrative fiction attempted across centuries, continents and !anguages. 5t is e"pected that the pupi! i!! be introduced to the various schoo!s, inf!uences and narrative devices that shaped narrative fiction in its present form. C56+1) D)18+0>405*. The course inc!udes a reading of some of the ma4or theoretica! interpretations of the narrative, a!ongside a thorough reading of some of the most significant and path brea&ing or&s of creative !iterature. Barrative fiction had its origins in the fo!& story te!!ing tradition, even as in the present form the nove! in a!! its varied aspects to this day remains the most popu!ar and ide!y read !iterary form, than&s perhaps to the use of the medium of prose, the medium of everyday conversation. This apparent!y simp!istic e"p!anation need not deter us from ta&ing note of the more comp!e" and ideo!ogica! issues re!ating to form and the po!itica! import of the e"traordinary f!e"ibi!ity the nove! sho s at the thematic !eve!. 5n other ords the course shou!d teach the student hy 8ennard 7avis described nove! as a compu!sory addiction. The course offers a samp!ing of short fictionM the fo!& story+te!!ing traditionM and #sian, #frican, 8atin #merican, $uropean, British, and #merican fiction. 1ne modu!e comprises e"c!usive!y of fiction authored by omen riters M596-) I R)?60+)9 R),90*/. Terry $ag!eton? John Barth? Mi!an Iundera? M596-) 2 R)?60+)9 R),90*/. Short Aiction? Murie! Spar&? Cynthia 1Gic&? Arom #rabian Bights? %ashington 5rving? AranG Iaf&a? Jorge 8uis Borges? Stephen Crane? S)30*,+. Sa!man 9ushdie?

K%hat is a Bove!NL 'from The English /o"el An (ntroduction) K8iterature of $"haustionL KThe 7epreciated 8egacy of CervantesL '(art * of The Art of the /o"el)

The Couse of the Aamous (oet Sha ! The Go!dsmith and the Cashmere Singing+Gir! 9ip :an %in&!e The Country 7octor The Garden of Aor&ing (aths The 1pen Boat East< #est 'Short Story Co!!ection)

M596-) 3 R)?60+)9 R),90*/. Ayodor 7ostoyevs&y %i!!iam Aau!&ner? James Aennimore Cooper? 9a!ph $!!ison? S)30*,+. IaGuo 5shiguro? M596-) R)?60+)9 R),90*/. Migue! Cervantes? Mi!an Iundera?

The )ossessed EThe 0e"ilsD 0emonsF The *ound and the ,ury Last of the !ohicans The (n"isible !an +emains of the 0ay

0on Guixote The 1nbearable Lightness of Being

36 Cami!o Jose Ce!a? 5ta!o Ca!vino? S)30*,+. 1rhan (amu&? M596-) ! R)?60+)9 R),90*/. Chimamanda BgoGi #dichie? 5sabe! #!!ende? Vora Bea!e Curston? Jamaica Iincaid? S)30*,+. Badine Gordimer? The ,amily of )ascual 0uarte (f on a #inter-s /ight a Tra"eller *now

)urple Hibiscus 0aughter of ,ortune Their Eyes #ere #atching God The Autobiography of !y !other The Conser"ationist Theory of the /o"el Towards *ociology of the /o"el The Art of ,iction The +hetoric of ,iction !etafiction *tudying the /o"el /arrati"e ,iction Contemporary )oetics Telling *tories ? An Anthology for #riters A )oetics of )ostmodernism History< Theory< ,iction The 0ialogic (magination *hort *tory Theory at a Crossroads )ortrait in *epia

B,8@/+56*9 R),90*/. Georg 8u&acs? 8ucien Go!dmann? 7avid 8odge? %ayne C. Booth? (atricia %augh? Jeremy Ca thorn? Sh!omith 9immon+Ienan? Joyce Caro! 1ates? 8inda Cutcheon? Mi&hai! Ba&htin? Susan 8ohafer > $!!yn C!arey 'eds)? 5sabe! #!!ende?

MA E*/-012 S)3)14)+ 3 C5+) C56+1) 1!. PC 1! C T)D41 ,*9 P)+:5+3,*8) O;<)840=)1.

37 The ob4ectives of the course inc!ude faci!itating an understanding of the basic structura! and thematic patterns that govern the poetic process, especia!!y in its re!ation to the performative or the theatrica!. C56+1) D)18+0>405*. The interface bet een the verba! and the visua! is the area under discussion here. 7rama, Theatre, (erformance and performativity need to undergo c!ose scrutiny here. 1ne cannot disregard the cinematic medium in a study of performance. Margina!iGed theatres, dea!ing ith issues !i&e gender, ethnicity, etc. need to be introduced. The deve!opment of theatre from c!assica! times, #nti+#ristote!ian notions !i&e #!ienation $ffect, the 5ndian notion of 9asa etc. are to be discussed in connection ith the te"ts. Though seeming!y different, $"pressionism and simi!ar modes of theatrica! performance shou!d be made part of c!assroom discussion. M596-) I R)?60+)9 R),90*/ . S. S. Bar!ingay? K:arious Senses of the %ord 9asaL ' A !odern (ntroduction to (ndian Aesthetic Theory Ch. ., <.+*02) Iaren Co!!inger? KThe Co!!y ood Star++ #ctress and Studies of #ctingL ' The Actress Hollywood Acting and the ,emale *tar Ch *,((. -+23) 8iGbeth Goodman? KContemporary Aeminist TheatresL 'Contemporary ,eminist Theatre To Each Her Own Ch*, ((. *.+-3) M596-) 2 R)?60+)9 R),90*/. #ristophanes? Lysistrata Ia!idasa? Abhi3nana *ha$untalam S)30*,+. Berto!t Brecht? !other Courage and her Children M596-) 3 R)?60+)9 R),90*/. $ugene 1WBei!!? Emperor .ones Co ard Brenton? Hitler 0ances S)30*,+. #nthony Bei!son? +ealism '!ethuen 0rama Boo$ of B4st Century )lays) M596-) R)?60+)9 R),90*/. %omenHs Theatre Group '%TG) > $!aine Aeinstein? Lear-s 0aughters 'Adaptations of *ha$espeare A Critical Anthology of )lays from the *e"enteenth Century to the )resent 'eds) 7anie! Aisch!in, Mar& Aortier) Mahas eta 7evi2Usha Gangu!i? +udali ,rom ,iction to )erformance 'Seagu!!) S)30*,+. 9ustom Bharucha? K(ebet? # (erformance Te"tL ' The Theatre of ;anhailal? )ebet and !emoirs of Africa .*+02) M596-) ! R)?60+)9 R),90*/. 9obert Scho!es et. a!. 'ed)? KThe $!ements of Ai!mL Elements of Literature #ndre 7i"? KAi!ms and 5deo!ogyL 'Ch < of Beginning ,ilm *tudies 220+0<) Ai!ms ? 1rson %e!!es? Citi2en ;ane 9oberto Benigni? Life is Beautiful S)30*,+.

38 Sha4i B. Iarun? B,8@/+56*9 R),90*/. Ieir $!am? #!e" Siers $d.? Shohini Cho dhuri? $ric 8ane $d.? Ienneth (ic&ering? Christian MetG? Cenry Bia! 'ed)? Ju!ie Sanders? Marvin Car!son? Johan CuiGinga? &aanaprastham *emiotics of Theatre and 0rama The !etheun 0rama Boo$ of Twenty%,irst Century )lays ,eminist ,ilm Theorists Laura !ul"ey< ;a3a *il"erman< Terese de Lauretis< Barbara Creed Telling Tales /ew One Act )lays *tudying !odern 0rama ,ilm Language The )erformance *tudies +eader Adaptation and Appropriation )erformance A Critical (ntroduction Homo Ludens

M A E*/-012 S)3)14)+ 1 PC 1 C C2,68)+ ,*9 42) R5541 5: E*/-012 T03) 3 256+1 M,D0363 W)0/24 30

39 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ The WSatemL and the WCentumH !anguages %hat do you mean by WUm!autHN 1!d $ng!ish 7ia!ects Iing #!fred 1!d $ng!ish (rose Midd!e $ng!ish Grammar Trans!ate into idiomatic Modern $ng!ish? KTo finne ha! es, &no the in sondry !ondes #nd specia!!y from every shires ende. 1f $nge!and, to Caunturbury they ende The hoo!y b!issfu! martir for to se&e. ChaucerHs $ast Mid!and 7ia!ect (!D1F!) 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ The Ce!tic inf!uence on $ng!ish $"p!ain :ernerHs 8a and sho ho it is re!ated to GrimmHs 8a . 1!d $ng!ish 8iterature Aeatures of Midd!e $ng!ish #ttempts at trans!ating the Bib!e Chiva!ric romances The Inight ChaucerHs 8anguage (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ 8atin inf!uence on 1!d $ng!ish 5s WBeo u!fL a ref!ection of the then $ng!ish societyN $!ucidate. 8inguistic and !iterary imp!ications of the various invasions during the o!d $ng!ish (eriod Trace the descent of $ng!ish 8anguage. %hat do you mean by renaissanceN 5nf!uence of $uropean renaissance on $ng!ish 8iterature. %hat is Wsound shiftHN #ttempt an essay on the various sound shifts in $ng!ish. (!D3F1!)

5. *. 2. -. .. /. 0. 3.

<.

M A E*/-012 S)3)14)+ 1 PC 2 W+040*/1 5: 42) R)*,011,*8)

40 T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ 7o!!imoreHs chief ob4ection to $.M.%.Ti!!yardHs The Eli2abethan #orld )icture (hi!ip SidneyHs Kaesthetic condemnationL of the theatre of his day $!ements of the beast fab!e in &olpone The vu!nerabi!ities of Sha&espeareHs Caesar AaustusHs pact ith 8ucifer The structure of )rothalamion BaconHs observations on parents and chi!dren The historica! conte"t of Marve!!Hs Y#n Coratian 1de upon Crom e!!Zs 9eturn from 5re!andY (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ $"p!ain hat Greenb!att means by Kse!f+fashioningL. The features of Sha&espeareHs sonnets The ghosts in Hamlet and .ulius Caesar (!ay+ ithin+the+p!ay in Hamlet and A !idsummer /ight-s 0ream %ebsterHs treatment of marriage in The 0uchess of !alfi The po!itica! organiGation of Thomas MoreHs Utopia KTo Cis Coy MistressL and the carpe diem tradition 7o!!imoreHs account of the Kpo!itics of 9enaissance theatreL (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ %ith reference to the essays of Jonathan 7o!!imore and Stephen Greenb!att, discuss the impact of Be Cistoricism2Cu!tura! Materia!ism on our perceptions of the ritings of the renaissance. To hat e"tent does Hamlet transcend the c!assica! or medieva! notions of tragedyN 7iscuss your response to Catherine Be!seyHs description of The 0uchess of !alfi as Ka fab!e of emergent rea!ismL. Based on Ben JonsonHs &olpone and Thomas MoreHs 1topia, ou!d it be correct to say that both riters consider the Kperversity of individua!sL to be the cause of socia! ma!aiseN %ou!d you agree that 7octor Aaustus is the Karchetypa! 9enaissance man, transfigured by ne &no !edge and ne discoveriesLN Co ou!d you position the poetry of 7onne and Marve!! ith reference to the canon's) of $ng!ish poetryN (!D3F1!)

55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22.

M A E*/-012 S)3)14)+ 1 PC 3 C R)=5-6405* ,*9 42) E*-0/24)*3)*4

41 T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ %hat ro!e did re!igion p!ay during restoration and revo!utionN %hat as nove!Hs engagement ith historica! rea!ity according to 5an %attN The e!ement of se"ua!ity in KTo the Aair CorindaL 5magery in K1de to $veningL Se"ua! hypocrisy in %ycher!yHs Country #ife The neoc!assica! confining of taste in 7rydenHs All for Lo"e %rite a note on the episto!ary method emp!oyed in )amela' #!!egory in )ilgrim-s )rogress (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ %hat according to Goring as the ro!e phi!osophy p!ayed in the eighteenth centuryN 7iscuss K$pist!e to 7r. #rbuthnotL as a p!ea for genuine poetry. The note of socia! protest in Mary 9obinsonHs or& 7iscuss ho dia!ogues assist in characterisation in *he *toops to Con9uer. Comment on the biographica! method emp!oyed in +obinson Crusoe' Co does %a!po!e e"p!ore the unconscious in Castle of OtrantoN Critica!!y eva!uate 7r. JohnsonHs discussion of Sha&espeareHs scho!arship. 5s 8oc&eHs system founded on the instincts and desires of the average manN %hyN (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ Co according to Aoucau!t are en!ightenment and humanism in a state of tensionN Congreve is more of the true cynic than %ycher!eyDdiscuss. Critica!!y e"amine the vie that Mi!ton had sympathy for Satan. 7o you agree ith the vie that Aie!dingHs nove! is a natura! outcome of the mora! instincts of the dayN %hyN K5n Cobbes a fear!ess reason is combined ith practica! rea!ismLD discuss. Mary %o!!stonecraft combines po!itica! ana!ysis ith ca!! for individua! rightsDe"amine ith reference to the essay you have studied. (!D3F1!)

M A E*/-012 S)3)14)+ 1

42 C L04)+,+A C+0408013 ,*9 A8,9)308 W+040*/ M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ CoraceHs concept of decorum 7rydenHs vie s on tragicomedy $"p!ain the touchstone method of Matthe #rno!d. #ccording to #uerbach, hat is the narrative strategy emp!oyed in the Comeric epicsN $"p!ain the neo+#ristote!ianism of the Chicago critics. %hat is socia!ist rea!ismN 9ef!e"ive nove! 7efine the term stemmatics. (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ $!ucidate 8onginusHs concept of the sub!ime. Can e ca!! Sidney a typica! renaissance criticN %hyN Summarise Co!eridgeHs notions regarding the !anguage of poetry. Trace the e!ements of Be Criticism in KThe 8anguage of (arado"L. Summarise Tri!!ingHs concepts regarding !iterature. $va!uate Ja&obsonHs ideas regarding poetry. Co does Jerome CcGann sho that every interpretation is an abstract reduction dra n out of the origina! or& or ob4ect of attentionN State the ma4or categories on hich Catherine Ga!!agher tac&!es the sub4ect of historica! scho!arship. (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ #na!yse #ristot!eHs refashioning of (!atonic ideas regarding art. Can e consider %ords orthHs K(reface to 8yrica! Ba!!adsL the manifesto of 9omanticismN %hy is $!iotHs theory of impersona!ity considered anti+romanticN $"p!ain the ays in hich Arye traces the emergence of !iterature from pre+!iterary categories. Co does Catherine Be!sey present the concept of the sub4ectN Sumarise the ma4or things to be &ept in mind in the preparation of an academic or&. (!D3F1!) PC

T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0.

555. *3. *<. *9. 20. 2*. 22.

M A E*/-012

43 S)3)14)+ 1 PC ! C I*90,* E*/-012 L04)+,46+) T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ The notion of $arma discussed by 9amanu4an Be brahminism or Hindutwa as discussed by Resudasan The e!ement of subsumed irony in K1n Ii!!ing a TreeL Si!ence in MahapatraHs K # Monsoon 7ay Aab!eL Cistory as emp!oyed in Ghasiram ;otwal The @uestion of identity addressed in !idnight-s Children Use of Ma!aya!am in God of *mall Things The ro!e of Chandri in *ams$ara (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ Co does Meena&shi Mu&her4ee theorise on the introduction of the nove! into 5ndiaN The ro!e of education in co!onia! con@uest as discussed by Gauri :is anathan Comment on the incantatory tone in the poetry of Tagore. 9ead the K6ueensHs 9iva!L by Saro4ini Baidu as a poem that dramatises the conf!ict bet een the physica! and the emotiona!. 9ead Har"est as a criti@ue of neo+co!onia! domination. The use of pub!ic and private spaces in !an Eater of !algudi Co does #mitav Ghosh integrate inte!!ectua! discourse ith the fictiona!N The structure of KSomething Bare!y 9ememberedY (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ The minutes on education and its impact on !iterature as discussed by Meena&shi Mu&her4ee Comment on the use of myth by Iarnad in :ayati' Co does Susan :is anathan evo&e the cu!tura! ethos ith the inter!in&ed storiesN %hat are the pertinent issues that come up in considering the !iterature of the margina!isedN 7o the 5ndian riters create ne idioms in their !iteratureN Justify your ans er. Co do postco!onia! nove!ists address the @uestion of nation in their or&sN (!D3F1!)

M A E*/-012

44 S)3)14)+ 2 PC $ L04)+,46+) 5: 42) N0*)4))*42 C)*46+A T03) 3 256+1 (art # 5. #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ *. %hy does 5sobe! #rmstrong observe that the :ictorian poets have been Kconsigned to sepiaLN 2. %hat ana!ogica! and metaphorica! use is made by M.C. #brams of the figures of the mirror and the lampN -. Se!f+pity in K1de to the %est %indL .. The theme of Kthe permanence of artL in K1de on a Grecian UrnL /. The night batt!e in K7over BeachL 0. Medieva! sacramenta! symbo!ism in KThe B!essed 7amoGe!L 3. The pathos of 8ambHs K7ream Chi!drenL <. Theme of socia! 4ustice in A Tale of Two Cities (!D1F!) (art B M,D0363 W)0/24 30

55. %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 9. 7oes K#uguries of 5nnocenceL have structura! and thematic unityN %ou!d it be correct to ca!! the poem Ka string of aphorismsLN *0. %hat does 5sobe! #rmstrong mean by Kdoub!e poemLN Co does this app!y to :ictorian poetryN **. John Ste art Mi!!Hs comparison of the sub4ection of omen ith conditions of s!avery *2. 9e!igious intensity and the metaphor of the chase in Arancis ThompsonHs KCound of CeavenL *-. Co does CardyHs Tess cha!!enge the :ictorian se"ua! moresN *.. Car!y!eHs assessment of Sha&espeare */. 9e!igious trends in $ng!and as represented in Adam Bede *0. The (mportance of Being Earnest as Comedy of Manners (!D2F10) (art C 555. %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ *3. #ttempt a critica! ana!ysis of 9aymond %i!!iamsHs observations on the conte"t and nature of Kthe 9omantic #rtistL. *<. %ords orthHs KTintern #bbey 8inesL is rooted in K!ived e"perienceLM Co!eridgeHs KIub!a IhanL is pure imaginative frenGy. %ith reference to the poems, discuss the modes of romanticism represented by the t o poets. *9. $"amine the features of the persona! essay of the nineteenth century, ith specia! reference to those of 8amb and CaG!itt. 20. )ride and )re3udice is a socia! comedy based on the interaction of !ove and money O 7iscuss. 2*. K#uthering Heights is a i!d ta&e+off from the comfortab!e or!d of :ictorian fictionL O 7o you agreeN 22. %ith reference to KAra 8ippo 8ippi,L KU!ysses,L 7over Beach,L and KThe (risoner of Chi!!on,L consider the 7ramatic Mono!ogue as a poetic form that found fu!! maturity in the Bineteenth Century. (!D3F1!)

45 M A E*/-012 S)3)14)+ 2 PC % M59)+*013 0* C5*4)D4 T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ Comment brief!y on the term, KGreat 7ivide,L ith reference to the essay by Ma!co!m Bradbury and James McAar!ane. %hich riters does :irginia %oo!f ca!! Kmateria!istsLN %hyN %hat does %i!fred 1 en describe as Ko!d !ieLN %hyN (nscape in Cop&ins The p!ight of the Cumaean Sybi! in the epigraph to The #aste Land #udenHs poetic use of Brueghe!Hs (carus The Unities in +iders to the *ea $"p!ain Epiphany ith reference to JoyceHs A )ortrait of the Artist as a :oung !an' (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ %ith reference to 7avid CarveyHs essay, ou!d you agree that modernism, after *<.<, as an Kurban phenomenonLN Ce!ebration of art in KByGantiumL The themes of chi!dhood and death in KAern Ci!!L %hat poetic use does $!iot ma&e of the Grai! 8egendN %hat is Mauber!eyHs missionN %hy is he described as being Kout of &eyL ith his timeN Chorus in !urder in the Cathedral The socio+economic conte"t of *ons and Lo"ers Consider The )ower and the Glory as a parody of the idea!istic concept of martyrdom. (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ 7avid CarveyHs observations on Kthe pro4ect of modernityL. KThe unity of The #aste Land is not !ogica!, metaphysica!, anthropo!ogica! or narrative, but musica!L O 7o you agreeN Cop&ins, Reats, #uden, and 7y!an Thomas ere innovative in different ays. Substantiate. Compare the treatment of re!igious heroism and martyrdom by Bernard Sha and T.S.$!iot in *aint .oan and !urder in the Cathedral respective!y. %ou!d you 4ustify Chinua #chebeHs condemnation of ConradHs Heart of 0ar$nessN 7o you find evidences of racism in the nove!N 7iscuss the features of modernism as e"emp!ified in the prescribed nove!s of 8a rence, %oo!f and Joyce (!D3F1!)

46 M A E*/-012 S)3)14)+ 2 PC ' C D03)*105*1 5: 42) P514359)+* T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ Co does Stuart Sim identify the e!ement of scepticism in postmodernism as a phi!osophica! movementN The postmodern cha!!enge to separation of the !iterary and the historica! Cumour in KChurch GoingL :io!ence in Cughes ith reference to KJaguarL Metafictiona! e!ements in ,rench Lieutenant-s #oman Magica! e!ements in /ights at the Circus The ro!e of the boy2s in #aiting for Godot 7ep!oyment of crue!ty in BondHs Lear (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 7iscuss ho Messmer cha!!enges the separate status of aesthetics in the socia! sphere. 9ead K7addyL as an indictment of patriarchy. $"amine KThe Chi!d Born 7eadL for metrica! patterning and order!iness, a characteristic of $!iGabeth Jennings. (o!itica! overtones in Tom!insonHs K(rometheusL 7oes KGenesisL suggest that creation and fa!! are one and the sameN 7oes criticism of !iterary criticism ma&e ,laubert-s )arrot any more se!f consciousN Justify. 9ead Jimmy (orterHs ambiva!ent attitude to the society and his ife as indicative of the turmoi! of the fifties. 9ead Chic$en *oup with Barley as an indictment of the !oss of !ong he!d va!ues. (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ (ostmodernism is a post+humanist phase in !iteratureDdiscuss. (ostmodernist poetry is mar&ed by a departure from pathos and drama. 7iscuss. $"amine ho postmodernist fiction cha!!enges conventiona! modes of representation. Co does postmodernist drama cha!!enge notions of individua!ity and sub4ectivityN $"p!ore the rationa!e of the absurd in postmodernist !iterature. %hat are the imp!ications of interte"tua!ity in postmodernist !iteratureN 7iscuss ith reference to the te"ts you have studied. (!D3F1!)

47 M A E*/-012 S)3)14)+ 2 PC ( C L,*/6,/) ,*9 L0*/6014081 T03) 3 256+1 5. *. 2. -. .. /. 0. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ # sy!!ab!e Cyponymy Creo!e Ao!& etymo!ogy 7ig!ossia Transcribe the fo!!o ing ords phonetica!!y and mar& the primary stress? :ehic!e (restige Aorehead Cupboard Chasm Chassis 9estaurant 7ebut (rototype 5dio!ect (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 7erivationa! and inf!ectiona! morpho!ogy (attern congruity Morphophono!ogy Sub+compounds and co+compounds Socio!inguistics Speech+act %h+movement 8eve!* and !eve! 2 affi"es in $ng!ish (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ C!assify the vo e! and consonant phonemes in 9( 7escribe TG Grammar 7escribe the importance of psycho!inguistic ana!ysis. %rite a note on truth conditions and possib!e or!ds semantics $!ucidate Saussurian contribution to !inguistic studies 7escribe the ma4or ord formation techni@ues. (!D3F1!)

3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22.

48 M A E*/-012 S)3)14)+ 2 PC 10 C T2)5+0)1 5: K*5E-)9/) T03) 3 256+1 5. *. 2. -. .. /. 0. 3. <. 55. 9. *0. **. *2. *-. *.. */. *0. 555. *3. *<. *9. 20. 2*. 22. M,D0363 W)0/24 30 (art # #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ 7efine *tructure. %hat does Saussure mean by the 8inguistic SignN Comment on the remar& about the birth of the reader that Barthes ma&es. %hat does 7errida imp!y by )layN 1n hat grounds does #brams @uarre! ith modern theoryN #ccording to Aoucau!t, hy does BietGsche cha!!enge the pursuit of originsN The state of e"ception as #gamben defines it Change and contemp!ation of change propounded by 7e!euGe (!D1F!) (art B %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ Co i!! you historica!!y p!ace post theoryN Justify your ans er. Co does Bhabha differentiate bet een cu!tura! diversity and cu!tura! differenceN Co does Barthes cha!!enge the notion of inspiration in K7eath of the #uthorLN #ttempt a critica! reading of 8acanHs division of the human psyche. Co does #brams react to e@uivoca! and une@uivoca! meaningsN The uncanny ithin the !iterary frame or& %hat significance does 8yotard attributes to &no !edgeN Co does ViGe& interpret the attac& on psychoana!ysis in the matter of causa!ityN (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ Trace the interface bet een !iterary theory and !inguistics. 7iscuss ho KtheoryL has dea!t ith history. 7iscuss the ro!e of narration in the discourse of Theory. Trace the tra4ectory of Grand Barratives in Theory, ith regard to Aoucau!t, 7errida and 8yotard. The border bet een phi!osophy and theory is fast disappearing + discuss. Critica!!y e"amine resistance to KtheoryL. (!D3F1!)

49 M A E*/-012 S)3)14)+ 3 C5+) C56+1) 11. PC 11 BB A3)+08,* L04)+,46+) T03) 3 256+1 (art # 5. *. 2. -. .. /. 0. 3. <. #ns er any FIVE of the fo!!o ing, each in a paragraph of about !0 E5+91?+ $ar!iest !etters home ritten from the #merican soi! The e"c!usive category of #merican !iterature The p!ay of contraries ithout contradiction in KThe $mperor of 5ce creamL Symbo!ism of the Chero&ee rose in KChero&ee 9oseL The source for the tit!e of #ho-s Afraid of &irginia #oolfH #ccount for Bart!ebyHs depression. Comment on the visua! @ua!ity of Carper 8eeHs narration in To ;ill a !oc$ing Bird. 7u BoisH interpretation of democracy (!D1F!) (art B 55. %rite short essays of about 100 E5+91 on any FIVE of the fo!!o ing?+ 9. %hat is an #merican authorN *0. %hitmanHs poetry is studded ith miniatures D discuss the statement ith reference to KThere as a Chi!d %ent AorthL. **. 7o the birches in KBirchesL signify the desire to escape from rea!ityN Justify your ans er. *2. Co does KIa BaL modify and ma&e use of the re!igious imageryN *-. 0eath of *alesman is about the crisis in capita!ismDdiscuss. *.. The theme of gui!t in KThe BearL */. The theme of heterose"ua! institutions is the dominant one in *ulaDdiscuss. *0. The apoca!yptic vision in Grapes of #rath (!D2F10) (art C M,D0363 W)0/24 30

555. %rite essays of about 300 E5+91 on any THREE of the fo!!o ing?+ *3. 5n the !ight of the prescribed te"ts, e"amine the coming of age of #merican 8iterature. *<. $"amine the charge that (oeHs poetry tended to move c!oser to mechanica! forma!ism in the !ight of K9avenL and the K(hi!osophy of CompositionL. *9. 7iscuss the main thematic concerns of the poets outside the mainstream #merican tradition. 20. 5n the !ight of the nove!s prescribed attempt e!ucidate the significance of the individua! in #merican fiction. 2*. Co do $merson and Thoreau under!ine the transcendenta!ist spirit in their ritingsN 22. Cuc&!eberry AinnHs 4ourney is bet een the 4ung!e and civi!isationDdiscuss. (!D3F1!)

50 M A E*/-012 S)3)14)+ 3 C5+) C56+1) 12. PC12 BB C6-46+,- S4690)1 T03) 3 256+1 (art # 5. *. 2. -. .. /. 0. 3. <. #ns er any A5:$ of the fo!!o ing, each in a paragraph of about !0 E5+91?+ %hat are the t o senses of the ord Cu!ture that 9aymond %i!!iams dis!i&esN Co does Simon 7uring reassess the notion of W:a!ueH in 8iteratureN Co does Barthes discuss toys as a form of mytho!ogyN 7efine the notion of The Bationa! (opu!ar. S!um as defining metaphor in #shis BandyHs discussion of 5ndian popu!ar cinema. The Be Suba!tern Iera!a Modernity $ngendering Ma!aya!am Cinema (!D1F!) (art B 55. %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 9. Co does 9aymond %i!!iams disagree ith the idea of cu!ture uphe!d by A.9. 8eavis and the Mar"istsN *0. Co does Stuart Ca!! distinguish bet een Cu!tura!ist and Structura!ist paradigmsN **. #ccording to John Storey %hat are the si" definitions of (opu!ar Cu!tureN *2. %hat criti@ue of contemporary cu!ture is attempted through 9ichard CoggarthHs WSuperstitionNH *-. %hat does the !in& bet een s!ums and fi!ms te!! us about midd!e c!ass desires and about the e"pression of a nationa! cu!tureN *.. %hat does 7r. Udaya&umar imp!y by the formu!ation W5nhabitation of ModernityNH */. Connotations of the phrase WThe Missing Ma!e.H *0. 7iscuss the differing notions of the ord WCu!ture.H (!D2F10) (art C 555. %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ *3. %ith reference to 9aymond %i!!iams and Stuart Ca!!, de!ineate ho Cu!tura! Studies differs from 8iterary Studies. *<. The consumer is certain that media is adapted to his needs hi!e in fact the cu!ture industry produces this sentiment in order to strengthen its inf!uence. O 7iscuss ith reference to Theodor % #dornoHs WCu!ture 5ndustry 9econsidered.H *9. 5n his artic!e on the Gu!f %ar, ho does Baudri!!ard dra s on his concepts of simu!ation and the hyperrea! to argue that ar did not ta&e p!ace but as a carefu!!y scripted media eventDa Yvirtua!Y arN 20. 5n the !iterature about gossip, it is often defined as being by nature trivia!, as dea!ing ith sma!! incidents, and ith things that are orthy of ridicu!e. But gossip in the ordinary sort of day+to+ day sense is often rea!!y about issues that e care the most about. O 7iscuss ith reference to BrenneisH artic!e. 2*. $!aborate ho Bhas&ar Mu&hopadhyay !in&s Cu!tura! studies and W(o!itics in 5ndia today.H 22. Co does :. C. Carris situate the representation of omen in Ma!aya!am popu!ar cinemaN (!D3F1!) M,D0363 W)0/24 30

51 M A E*/-012 S)3)14)+ 3 C5+) C56+1) 13. PC 13 C G)*9)+ S4690)1 T03) 3 256+1 (art # 5. *. 2. -. .. /. 0. 3. <. #ns er any FIVE of the fo!!o ing, each in a paragraph of about !0 E5+91?+ Co does Iate Mi!!et define the ord Wpo!iticsHN Co is gender socia!!y constructedN $!ements of autobiography in Sonnet 20 The centra! symbo!s in K7ance of the $unuchsL Co does #t ood portray ma!e gods in KS&hemetLN Co does Stein intert ine ar ith homoeroticismN To hich dramatic genre does the p!ay Lights Out be!ongN Mu!tip!e ro!es in ;itchen &enom (!D1F!) (art B 55. %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 9. #ccording to Gi!bert and Gubar hat is the significance of the Wcave 4ourneyH for the feminist criticN *0. KThe body is a passive medium on hich cu!tura! meanings are inscribedL $!aborate ith reference to feminist theory. **. K# verb dancing in the centre of a nounL. %hat does this !ine revea! about the man oman re!ationship in K#nn Catha ayLN *2. 7iscuss K(henomena! %omanL as a dramatic poem. *-. Co does the myth of 1rpheus re!ate to the fate of the artistN *.. KBertha is JaneHs truest and dar&est doub!eL. 7o you agreeN */. #na!yse !y !other *aid ( /e"er *hould from the perspective of fema!e re!ationships. *0. 7iscuss Lights Out as a criti@ue of urban hypocrisy. (!D2F10) (art C %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ K%omen are a !inguistic absenceL. 7iscuss K5n Hours the va!ue of !iving is determined by interpretationL. $!aborate. Oranges Are /ot the Only ,ruit concerns itse!f ith the very act of te!!ing stories. Comment. ! Butterfly is a disordered co!!ection of facts. 7o you agreeN ,ault Lines is an attempt to spe!! out fragments of a bro&en geography. 7iscuss #na!yse !emoirs of a 0utiful 0aughter as an autobiography. (!D3F1!) M,D0363 W)0/24 30

555. *3. *<. *9. 20. 2*. 22.

52 M A E*/-012 S)3)14)+ 3 C5+) C56+1) 1 . PC 1 C M59)1 5: F08405* T03) 3 256+1 (art # 5. *. 2. -. .. /. 0. 3. <. #ns er any FIVE of the fo!!o ing, each in a paragraph of about !0 E5+91?+ %hy does $ag!eton ca!! the nove! a mongre!N 5n Cynthia 1Gic&Hs story hy is the sha ! referred to as the magic sha !N Bring out the fo!& dimension in K9ip :an %in&!eL. Justify the tit!e The (n"isible !an. Moc&ery of the chiva!ric tradition attempted by Cervantes 5nterface bet een secu!arism and re!igion in *now Aee!ing of mother!essness depicted in Autobiography of !y !other IunderaHs discussion of CervantesH contribution to the modern era (!D1F!) (art B 55. 9. *0. **. *2. *-. *.. */. *0. %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ Critica!!y eva!uate the mu!tip!e imp!ications John Barth attributes to being technica!!y up+to+date. Co does Murie! Spar& invo&e memories of ar in YThe Couse of the Aamous (oetYN Bring out the symbo!ic significance of the ound in KThe Country 7octorL. Co does Ca!vino prob!ematise the very concept of representation in (f on a #inter-s /ight a Tra"ellerN 7iscuss ho the fema!e body becomes a metaphor of po er ith reference to KThe Go!dsmith and the Cashmere Singing+gir!L. Co does Ce!a emp!oy vio!ence as a so!ution to prob!ems faced by 7uarte in The ,amily of )ascual 0uarteN 7iscuss )urple Hibiscus as a coming of age nove! in a postco!onia! conte"t. Conservationist crisis in apartheid (!D2F10) (art C M,D0363 W)0/24 30

555. %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ *3. %ith reference to the te"ts you have studied ou!d you consider the nove! as embodying emancipatory po!itica! potentia!N Justify your ans er. *<. %ou!d you agree ith the vie that The )ossessed is 7ostoyev&syHs Keeri!y prophetic po!itica! vision of the transformation of idea!s into tyrannica! ideo!ogyLN *9. 7o you agree ith the vie that short fiction is structured !i&e a paintingN 7iscuss ith the he!p of e"amp!es. 20. K5n The 1nbearable Lightness of Being there is no homogeneous, centered p!ot, but instead a ca!cu!ated tang!e of semi+independent story+!inesL ++ 7iscuss 2*. Comment on the use of a!!egory as a narrative mode. 22. %hat are the sa!ient features of a non $uropean tradition in fiction ritingN (!D3F1!)

53 M A E*/-012 S)3)14)+ 3 C5+) C56+1) 1!. PC 1! C T)D41 ,*9 P)+:5+3,*8) M,D0363 W)0/24 30 (art # 5. *. 2. -. .. /. 0. 3. <. #ns er any FIVE of the fo!!o ing, each in a paragraph of about !0 E5+91?+ #!ienation effect $"pressionism (oor theatre *utradhara Montage Comedy Gender and performance Ao!& traditions and theatre (!D1F!) (art B 55. %rite short essays of about 100 E5+91 on any A5:$ of the fo!!o ing?+ 9. $!ucidate the concept of rasa as a theory of performance. *0. %hat is 8iGbeth GoodmanHs estimate of the inf!uence of Aeminist Studies on contemporary theatreN **. Trace the rhetoric of participatory theatre in Hitler 0ances. *2. $va!uate Lear-s 0aughters as a radica! adaptation of ;ing Lear. *-. 5n hat ay does the trauma of the ho!ocaust find e"pression in Life is BeautifulN *.. Survey the efficacy of the inter eaving of the performance te"t of the $atha$ali into &anaprastha' */. Co far does +ealism become an ironic tit!e for a representation of the interp!ay bet een conscious and unconscious mindsN *0. $!ucidate ho the fo!&ta!e of K(ebetL becomes a comment on the po!itics and cu!ture in the theatrica! adaptations. (!D2F10) (art C

T03) 3 256+1

555. %rite essays of about 300 E5+91 on any TC9$$ of the fo!!o ing?+ *3. %hat ideo!ogica! changes do you notice hen Ia!idasa refashioned the narrative from the !ahabharata for his Abhi3nanasa$untalamN *<. Co does !other Courage and Her Children enact the anti+ ar themeN *9. Co does +udali represent 7a!it omanhood in its fictiona!, dramatic and cinematic versionsN 20. #na!yse ho #ristophanes emp!oys comedy to present the batt!e bet een the se"es in a !arger po!itica! conte"t. 2*. Give an account of the reasons for the theatrica! greatness of Emperor .ones. 22. %hy do critics say that Citi2en ;ane is one of the finest fi!ms everN (!D3F1!)