ENBAMJ2001

BA English II Semester
Major
English Prose and Fiction upto 19th Century
Course Code: ENBAMJ2001 Credits-04
Course outcomes:
By the end of this course, the students will be able to
● Develop the ability to critically analyze representative prose and fiction from Sixteenth to
Nineteenth-century Britain.
● Examine various literary, political, cultural, and social developments and their influence on
the way prose and fiction were written from the Sixteenth to the Nineteenth century.
● Appreciate and historicise prose and fiction of the period using critical tools not limited to
the period.
Unit I:
● Francis Bacon. ‘Of Marriage and Single Life’ (1625)
● Joseph Addison. ‘Sir Roger and Will Wimble’ (1711)
● Oliver Goldsmith. ‘On the Use of Language’ (1759)
● Charles Lamb. ‘Detached Thoughts on Books and Readings’ (1822)
● William Hazlitt. ‘The Indian Jugglers’ (1828)
Unit II:
● Daniel Defoe. Robinson Crusoe (1719)
● Jane Austen. Pride and Prejudice (1813)
Unit III:
● George Eliot. Silas Marner (1861)
● Emily Bronte. Wuthering Heights (1847)
Unit IV:
● Charles Dickens. Hard Times (1854)
● Thomas Hardy. The Mayor of Casterbridge (1886)
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Suggested Readings:
Paulson, Ronald. Satire and Novel in Eighteenth-Century England. Yale: Yale University Press, 1968.
Currie, Gregory. Narratives and Narrators: A Philosophy of Stories. NY: OUP, 2010.
Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction. 3 rd ed. New Jersey: Prentice Hall
Inc, 1979.
Forster, E.M. Aspects of the Novel. London: Mariner Books, 1956.
Daiber, Jergen, et al, ed. Understanding Fiction: Knowledge and Meaning in Fiction. Verlag: Menstis
Munster, 2012.
Regan, Stephen. The Nineteenth-Century Novel: A Critical Reader. London: Routledge, 2015.
Bloom, Edward A. and Lillian D. Bloom. ed. Joseph Addison and Richard Steele: The Critical
Heritage. London: Routledge, 2013.
Assessment Plan:
End Semester: 70 Marks
Sessional: 30 Marks
NB: Teaching and assessment to be made flexible to facilitate remedial learning and disability
accommodation.
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BA ENGLISH II SEMESTER
(MAJOR)
English Drama Upto 19th Century
Course Code: ENBAMJ2002 Credits: 02
Background of the Course/Paper:

Drama as one of the genres of literature has multifarious facets when it comes to looking at it as a
text. There is a performance text as well as the text written on pages; both are incomplete without
each other. In fact, some drama scholars believe that major part of a drama text lies outside the
written script. A literature classroom always tends to incline towards the written text and thus drama
text gets under-discussed or misrepresented in the pedagogy. Thus, there is a need to look at the
teaching of drama as a specialised process wherein the elements of performance text are discussed
in balance with the written text.
Students will be initiated into an understanding of drama culture and its politics as a product of its time
and space. In the light of the essential readings, students will assess the field of dramatic writings
from beginning till 19th century drama as a blend of form-oriented upheavals, political ripostes,
ideological quests, artful resentments rather than merely a privileged indulgence of mirth and leisure.
Course Objectives:
The paper is aimed at providing students
● Grounding in the basic ingredients of drama through reading of various texts.
● Exposure to techniques of reading and analysis of drama as distinct from poetry and prose.
● Training to critique and assess the socio-political issues in dramatic writings.
● Instruct to appreciate the performance value of a play through tools of inquiry and demonstrate
it in real life situations.
Course Outcomes:
By the end of this course, the students will able to
● Demonstrate holistic comprehension of basic features of English drama and related topics.
● Acquire skills to critique drama as a distinct field of literature and performance studies.
● Independently assess and evaluate different drama texts highlighting the specific nature and
traits.
● Foreground the performance elements and appreciate its significance for the socio-cultural
purposes.
UNIT I
● Introducing Miracle, Mystery and Morality Plays
● Christopher Marlowe. Edward II
UNIT II
● William Shakespeare. Macbeth
UNIT III
● William Congreve. The Way of the World
UNIT IV
● G.B. Shaw. Arms and the Man
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Beyond the Classroom Activities:
Students may watch the theatre production/adaptations of the following plays
● William Shakespeare: As You Like It
● Ben Jonson: The Alchemist
● George Etherege: She Would If She Could
● Oscar Wilde: The Importance of Being Earnest
Suggested Readings
Cuddon, J.A. Dictionary of Literary Terms and Literary Theory. Penguin Books, 1998.
Golden, W.C. A Brief History of English Drama from the Earliest to the Latest Times. London, 2018.
M. H. Abrams, A Glossary of Literary Terms, 7th edition. Fort Worth: Harcourt Brace, 1999.
Nicoll, A. “A History of English Drama”. CUP, Cambridge 2009.
Tzachi Zamir, “Reading Drama”, The Journal of Aesthetics and Art Criticism. Vol. 70 No 2 (Spring
2012), 179-192.
Glossary of Dramatic Terms
Allardyce, Nicoll. History of English Drama
Styan, J. L.The English Stage: A History of Drama and Performance (Canto original series)
Assessment Plan:
End-Semester: 70 Marks
Sessional: 30 Marks
accommodation.
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MAJOR
WORLD CLASSICS
Course No.: ENBAMJ2003 Credits: 02
Background / Significance: Classical texts form a basis for modern knowledge and cultures. The
presence of the classical texts in the modern discourse is so latently pervasive that often one is not
even aware of the fact that many theories, literary cultures and techniques have directly descended to
us through a rigorous currency of the classical knowledge. This paper aims to introduce the students
to different classical texts of the world that represent different knowledge systems and literary
cultures. This will familiarize the students with the literatures of the present as products of the
interminable literary cultures that are thousands of years old. The paper will inculcate an intellectual
awareness of the world classics among the students. Through close reading and analysis of excerpts
and selections from ancient classics in a framework provided by essential readings, students will be
initiated into ancient literary cultures.
Course Outcomes: By the end of this course, students will be to:

● Develop an understanding of the variety and scope of Arabic, Chinese, Greek, Persian,
Sanskrit, and Tamil classical literature and their importance to the contemporary literary
traditions.
● Situate classical texts in a historical and cultural context.
● Understand a variety of critical approaches possibly applicable in the study of classical
literature and current trends in criticism.
● Practice literary and textual interpretation through ‘close reading’ of the classics.
Unit I: Fundamental Concepts/Texts:

Introduction:
● Introduction to the Classics
● Western Classical Tradition
● Eastern Classical Tradition
● Indian Classical Tradition
Unit II: Western Classics

Primary Texts:
● Homer. Odyssey (Excerpts) – Book I
● Sophocles. Oedipus the King (Excerpts)
● Plautus. Pot of Gold (Excerpts)
Unit III: Classics in The Eastern tradition

Primary Texts:
● Selections from Rumi’s Masnavi – Solomon & Hoopoe
● Selections from Omar Khayyam’s Rubaiyat – First Five Rubaiyat
● Selections from Arabian Nights – First Voyage
● Selections from Confucius – On Humaneness Analects
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Unit IV: Indian Classics
Primary Texts:
● Kalidasa. Abhijnana Shakuntalam (Last Act)
● Thiruvalluvar. Thirukkural (Excerpts) – Chapters 4 & 5
● Amir Khusrau. Nuh Siphir (Excerpts) – Chapter 5
Suggested Reading:
● William Allan. Classical Literature: A Very Short Introduction, OUP, 2014
● Italo Calvino “Why Read the Classics”
Assessment Plan:
Sessional: 30 Marks
accommodation.
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Minor
Understanding English Prose and Fiction
Course Code: ENBAMN2004 Credits-04

Course outcomes:
● Develop the ability to critically analyze representative prose and fiction from Sixteenth
toNineteenth-century Britain.
● Examine various literary, political, cultural, and social developments and their influence on
theway prose and fiction were written from the Sixteenth to the Nineteenth century.
● Appreciate and historicise prose and fiction of the period using critical tools not limited to
theperiod.
Unit I :
● Francis Bacon. ‘Of Marriage and Single Life’, (1625)
● Joseph Addison. ‘Sir Roger and Will Wimble’ (1711)
● Richard Steele. No.17, The Spectator (1711)
● Oliver Goldsmith. ‘On the Instability of World Grandeur’ (1759)
● Charles Lamb. ‘Dream Children: A Reverie’ (1823)
Unit II :
● Thomas Moore. Utopia (1516)
● Daniel Defoe. Robinson Crusoe (1719)
Unit III :
● Oscar Wilde. The Model Millionaire (1887)
● George Eliot. Silas Marner (1861)
Unit IV:
● Charlotte Bronte. Jane Eyre (1847)
● Thomas Hardy. The Return of the Native (1878)
Suggested Readings:
● Paulson, Ronald. Satire and Novel in Eighteenth-Century England. Yale: Yale University Press,
1968.
● Currie, Gregory. Narratives and Narrators: A Philosophy of Stories. NY: OUP, 2010.
● Daiber, Jergen, et al, ed. Understanding Fiction: Knowledge and Meaning in Fiction. Verlag:
Menstis Munster, 2012.
● Regan, Stephen. The Nineteenth-Century Novel: A Critical Reader. London: Routledge, 2015.
● Bloom, Edward A. and Lillian D. Bloom. ed. Joseph Addison and Richard Steele: The Critical
● Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction. 3rd ed. New Jersey: Prentice
Hall Inc, 1979.
● Forster, E.M. Aspects of a Novel. London: Mariner Books, 1956.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 7
BA (English) II Semester
(MINOR)
Reading English Drama
Course Code: ENBAMN2005 Credit: 2
Background:
Drama as one of the genres of literature has different facets when it comes to looking at it as a text.
There is a performance text as well as the text written on pages; both are incomplete without each
other. In fact, some drama scholars believe that major part of a drama text lies outside the written
script. A literature classroom always tends to incline towards the written text and thus drama text gets
under-discussed or mis-represented in the pedagogy. Thus, there is a need to look at the teaching of
drama as a specialised process wherein the elements of performance text are discussed in balance
with the written text.
Students will be initiated into an understanding of drama culture and its politics as a product of its time
and space. In the light of the essential readings, students will assess the field of dramatic writings
from beginning till 19th century drama as a blend of form-oriented upheavals, political ripostes,
ideological quests, artful resentments rather than merely a privileged indulgence of mirth and leisure.
Course Objectives:
The paper is aimed to provide students
● Exposure to the basic ingredients of drama through reading of various texts.
● Training on techniques of reading and analysis of drama as distinct from poetry and prose.
● Practice to critique and assess socio-political issues in dramatic writings.
● Skills to appreciate the performance value of a play through tools of inquiry and demonstrate it
in real life situations.
Course Outcomes:
By the end of this course, students will be able to
● Familiarise with the basic ingredients of drama through reading of various texts.
● Comprehend drama as a reading and analysis experience distinct from poetry and prose.
● Display knowledge of techniques to critique and assess the socio-political issues in dramatic
writings.
● Appreciate the performance value of a play through tools of inquiry and demonstrate it in real
life situations.
Unit I:
● Introducing Miracle, Mystery and Morality Plays
● Excerpts from The Castle of Perseverance
Unit II:
● Thomas Kyd. The Spanish Tragedy
● Christopher Marlowe. Edward II
Unit III:
● William Shakespeare. Othello
● John Dryden. All for Love
Unit IV:
● Oliver Goldsmith. She Stoops to Conquer
● G.B. Shaw. Candida
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Students will watch the following theatre production/adaptations of the following plays:
● William Shakespeare. As You Like It
● Ben Jonson. The Alchemist
● George Etherege. She Would If She Could
● Oscar Wilde. The Importance of Being Earnest
Suggested Readings:
● Cuddon, J.A. Dictionary of Literary Terms and Literary Theory. Penguin Books, 1998.
● Golden, W.C. A Brief History of English Drama from the Earliest to the Latest Times. London,
2018.
● M. H. Abrams, A Glossary of Literary Terms, 7th edition. Fort Worth: Harcourt Brace, 1999.
● Nicoll, A. “A History of English Drama”. CUP, Cambridge 2009.
● Tzachi Zamir, “Reading Drama”, The Journal of Aesthetics and Art Criticism. Vol. 70 No 2
(Spring 2012), 179-192.
● Glossary of Dramatic Terms
● Allardyce, Nicoll. History of English Drama
● Styan, J. L. The English Stage: A History of Drama and Performance (Canto original series)
Assessment Plan:
End-Semester: 70 Marks
Sessional: 30 Marks
accommodation.
Page | 9
Generic
English Poetry
Course Code: ENBAGE2006 Credits-04
Course Outcomes:
By the end of this course, students will be able to
● Demonstrate an appreciation of poetry from diverse historical, cultural, and social contexts.
● Compare and contrast the shifts in themes and forms of poetry through ases.
● Develop an understanding of significance of poetry as an expression of human beliefs
andvalues within the given historical, cultural, and social context.
● Appreciate poetry from various critical standpoints
Unit I:
● Edmund Spencer. ‘One Day I Wrote Her Name’ (1595)
● William Shakespeare. ‘Shall I compare thee to a Summer’s Day’ (1609)
● John Donne ‘The Sun Rising’ (1633)
● John Milton. ‘Lycidas’, (1637)
● Thomas Gray. ‘An Elegy Written in the Country Churchyard’ (1751)
Unit II:
● William Blake. ‘The Lamb’
● William Wordsworth. ‘The World is Too Much Us’ (1807)
● S.T. Coleridge. ‘Kubla Khan’ (1816)
● P.B. Shelley. ‘Ode to the West Wind’ (1819)
● John Keats. ‘Ode to Autumn’ (1819)
Unit III:
● Alfred Tennyson. ‘Ulysses’ (1842)
● Robert Browning. ‘My Last Duchess’ (1842)
● Dante Gabriel Rossetti. ‘The Blessed Damozel’ (1850)
● Matthew Arnold. ‘Dover Beach’ (1867)
● W.B. Yeats. ‘The Second Coming’ (1921)
Unit IV :
● Rabindranath Tagore. ‘I Am Like a Remnant of a Cloud of Autumn’
● Agha Shahid Ali. ‘Even the Rain’
● Mamang Dai. ‘Once Upon a Time in Pasighat’
● Maya Angelou. ‘Still I Rise’
● Margaret Atwood. ‘A Sad Child’
Suggested Readings:
• Cleanth Brooks and Robert Penn Warren: Understanding English Poetry
• Leech, Geoffrey N. A Linguistics Guide to English Poetry.
• Naik, Mk: Indian English Poetry: from Beginning upto 2000
• Eagleton, Terry: How to Read a Poem
Assessment Plan:
Sessional: 30 Marks
accommodation.
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BA English Semester IV
(Major)
Post 19th Century English Drama
Course Background:
Modern British drama refers to the oeuvre of some major drama exponents at the turn of the last
century in the UK. With Henrik Ibsen’s A Doll’s House, a major shift in the art and themes of European
drama-culture took place. The modern and modernity that have been evolving over the previous
centuries started meeting voices of unease, rejection and disillusionment in the later Nineteenth
century. It is important to note that modern drama in England and other European countries is a
consolidation of the voices born against modern/modernities that had culminated with industrial
revolution. That is how modernism emerged. Therefore, modern British drama is a manifestation of
major changes in art, themes and techniques: The stage gets converted into a drawing room of urban
middleclass families; the role of audience changes phenomenally and there is a chance of a bigger
space and responsibility for the audience in theatre-productions. All these creative under-currents
produce modern classics on stage as well as in print. The Modern crisis gave birth to a conducive
environment for creative experiments on stage which the course will foreground through works of
major British playwrights.
Objectives:
This course is aimed at providing the students with
● Grounding in substantial influences that a selection of the major literary and dramatic
movements of the 20th century had on the English theatre.
● Holistic exposure to foundation in the methodology of analyzing the plays.
● Assessment of the effect of the World Wars on English play of the twentieth century.
● Techniques and comparison of various productions with regard to their roles as cultural
manifestations.
Course Outcomes:
● Demonstrate an awareness of the influences that World War I and World War II had on English
theatre produced after the 19th century.
● Articulate and understanding of the concerns and characteristics of the twentieth century
English drama.
● Elucidate their comprehension of the influences that modernism and postmodernism had on
the English play of the 20th century.
● Display a foundational understanding of the method of analyzing plays and performances.
● Assess plays and their various performances as cultural representations.
● Provide critical analysis and commentary on the plays and playwrights being discussed.
Unit I:
● J.M. Synge. Riders to the Sea (1904)
● George Bernard Shaw. Pygmalion (1912)
Unit II:
● T.S. Eliot. Murder in the Cathedral
Unit III:
● Harold Pinter. Birthday Party (1957)
● John Osborne - Look Back in Anger (1956)
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UNIT IV
● Jez Butterworth. The Ferryman (2017)
● Samuel Beckett- Waiting for Godot. (1955)
Suggested Readings:
● “The Words Upon the Window Pane.” Prolegomena to the Study of Yeats's Plays, by George
Brandon Saul, University of Pennsylvania Press, Philadelphia, 1958, pp. 86–88. JSTOR,
www.jstor.org/stable/j.ctv51372p.24.
● Esslin, Martin.The Theatre of the Absurd, Anchor Books, New York, 1961
● Airth, Cathy. “Making the Least of Masculine Authority: Sean O'Casey's ‘Paycock’ and ‘Plough
and the Stars.’” The Canadian Journal of Irish Studies, vol. 32, no. 2, 2006, pp. 42–47. JSTOR,
www.jstor.org/stable/25515638.
● Styan J.L. ModernDrama in Theory and Practice, Cambridge University Press, Cambridge 1981
● Aston, Elaine. “Communities in Dramatic Dialogue” in Caryl Churchill. Liverpool University
Press, 2010. JSTOR, www.jstor.org/stable/j.ctv5rdts4.
● Bailar, Melissa Ann. “Names and Their Doubles: Shifting Signifiers in Pinter's Plays.” The
Harold Pinter Review, vol. 3, no. 1, 2019, pp. 66–74. JSTOR,
www.jstor.org/stable/10.5325/haropintrevi.3.1.0066.
● Ballard-Thomas, David. “Waiting for Godot.” Blackfriars, vol. 36, no. 428, 1955, pp. 439–
439. JSTOR, www.jstor.org/stable/43816817.
● BRANFORD, W. R. G. “MYTH AND THEME IN THE PLAYS OF T. S. ELIOT.” Theoria: A
Journal of Social and Political Theory, no. 7, 1955, pp. 101–110. JSTOR,
● Donoghue, Denis. “Synge: Riders to the Sea: A Study.” University Review, vol. 1, no. 5, 1955,
pp. 52–58. JSTOR, www.jstor.org/stable/25504329.
● Esslin, Martin Pinter: A Study of His Plays, Eyre Methuen, London, 1970
● Gooding-Williams, Robert. “Nietzsche's Pursuit of Modernism.” New German Critique, no. 41,
1987, pp. 95–108. JSTOR, www.jstor.org/stable/488277.
● Hoxby, Blair. “History, Myth, and Early Modern Drama.” History and Drama: The Pan-European
Tradition, edited by Joachim Küpper et al., 1st ed., De Gruyter, Berlin;Boston, 2019, pp. 38–
41. JSTOR, www.jstor.org/stable/j.ctvbkjx1b.6.
● Hunter, Frederick J. “The Value of Time in Modern Drama.” The Journal of Aesthetics and Art
Criticism, vol. 16, no. 2, 1957, pp. 194–201. JSTOR, www.jstor.org/stable/427599.
● Justice, John Galsworthy (1910)
● Kleinberg, Robert. “Seriocomedy in ‘The Wesker Trilogy.’” Educational Theatre Journal, vol. 21,
no. 1, 1969, pp. 36–40. JSTOR, www.jstor.org/stable/3205775.
● Kleinberg, Robert. “Seriocomedy in ‘The Wesker Trilogy.’” Educational Theatre Journal, vol. 21,
● Lukács, George, and Lee Baxandall. “The Sociology of Modern Drama.” The Tulane Drama
Review, vol. 9, no. 4, 1965, pp. 146–170. JSTOR, www.jstor.org/stable/1125039.
● Maura, Sister. “Explication.” The English Journal, vol. 57, no. 1, 1968, pp. 20–20. JSTOR,
● Nellis, Mike. “JOHN GALSWORTHY'S JUSTICE.” The British Journal of
● Potter, Rosanne G. “Toward a Syntactic Differentiation of Period Style in Modern Drama:
Significant Between-Play Variability in 21 English-Language Plays.” Computers and the
Humanities, vol. 14, no. 3, 1980, pp. 187–196. JSTOR, www.jstor.org/stable/30207335.
● ROTHBERG, ABRAHAM. “East End, West End: Arnold Wesker.” Southwest Review, vol. 52,
● Sato, Yoko. “‘The Words upon the Window-Pane’: From Spiritualism to 'Noh' to Acoustic
Images.” Journal of Irish Studies, vol. 22, 2007, pp. 105–115. JSTOR,
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● SCHOENE, BERTHOLD. “The Union and Jack: British Masculinities, Pomophobia, and the
Post-Nation.” Across the Margins: Cultural Identity and Change in the Atlantic Archipelago,
edited by GLENDA NORQUAY and GERRY SMYTH, Manchester University Press,
Manchester; New York, 2002, pp. 83–98. JSTOR, www.jstor.org/stable/j.ctt155j6f1.10.
● Sternlicht, Sanford. Modern Irish Drama: W. B. Yeats to Marina Carr, Second Edition. Syracuse
University Press, 2010. JSTOR, www.jstor.org/stable/j.ctt1j5d9wk.Shaw's ‘Pygmalion.’” Irish
University Review, vol. 29, no. 2, 1999, pp. 294–304. JSTOR, www.jstor.org/stable/25484816.
● Unwin, Stephen & Carole Woddis A Pocket Guide to 20th-Century Drama, London, Faber &Faber,
2001
● White, Harry. “IRELAND AND THE IRISH IN PINTER.” AAA: Arbeiten Aus Anglistik Und
Amerikanistik, vol. 14, no. 2, 1989, pp. 161–165. JSTOR, www.jstor.org/stable/43023500.
Assessment Plan:
Sessional: 30 Marks
accommodation.
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BA ENGLISH IV
SEMESTER
(Major)
20th Century Literary
Criticism
Course No: ENBAMJ4002 Credits: 02
Course Description:
This course explores the major developments and trends in literary criticism which have shaped
and sustained the study of literature in the first of half of the 20th century and beyond. Particular
attention will be paid to various kinds of formalism such as New Criticism, Russian Formalism
and Neo Aristotelianism which nonetheless existed alongside biographical, psychological,
sociological, and myth criticism. A varieties of formalism emerged in reaction against expressive
criticism, and among them New Criticism with its strict focus on “close reading” has enjoyed an
enduring status as the mostinfluential critical method in the literature classroom. Yet, appeal to
biography, the psyche, society, archetypes and myths in literary criticism have remained all
along. This course will examine all these issues in 20th century literary criticism through an
engagement with representative works of literary criticism that were produced in the first half of
the century.
Course Objectives:
This course will
● Introduce the students to the major developments and trends in literary criticism in the
first ofhalf of the twentieth century and beyond.
● Enhance the students’ critical vocabulary through close engagement with the
representativeworks of 20th century literary criticism.
● Train the students in the art of close reading focusing on various aspects and
properties ofliterary texts.
Course Outcomes:
By the end of the course, the students will be able to
● Acquire grounding in the major concepts and practices of 20th century literary criticism.
● Improve their critical vocabulary through a close engagement with works of literary criticism.
● Perform close reading of a wide range of literary texts, considering various
elements anddimensions of literary texts.
Unit I: New Criticism: Formative Texts

● T. S. Eliot. “Tradition and the Individual Talent”
● A. Richards. “The Four Kinds of Meaning,” from Practical Criticism
Unit II: New Critical Practice

● William Empson. Seven Types of Ambiguity (excerpts)
● Cleanth Brooks. “Irony as a Principle of Structure” and “The Heresy of Paraphrase”
● Wimsatt and Beardsley. “The Intentional Fallacy” and “The Affective Fallacy”
Unit III: Russian Formalism; Neo Aristotelianism

● Victor Shklovsky. “Art as Technique”
● Wayne C. Booth. “Emotions, Beliefs, and the Reader's Objectivity”
Unit IV : Archetypal/Myth Criticism; Sociological Criticism

● Northrop Frye. “The Archetypes of Literature”
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● M.M. Bakhtin. “Heteroglossia in The Novel”
Practice Activity:
Close reading (Students may be assigned short poems for close reading with an exclusive focus
on“words on the page” so as to appreciate literature as a special kind of language).
For sample analyses, consult Understanding Poetry, Cleanth Brooks and Robert Penn Warren.
Suggested Reading:
● Short “introductions” to critical approaches (Moral, Psychological, Sociological,
Formalistic, andArchetypal) from Wilbur Scott, Five Approaches of Literary Criticism: An
Arrangement of Contemporary Critical Essays, The Macmillan Company, 1962.
● As listed under Units
● Richter, David. The Critical Tradition: Classic Texts and Contemporary Trends. Bedford
Books,1998.
● Leitch, Vincent B. The Norton Anthology of Theory and Criticism, 2001.
● Newton, K. M. Twentieth-Century Literary Theory: A Reader. Macmillan Education, 1988.
● Wellek, Rene, and Austin Warren. Theory of Literature. Harcourt, Brace and World, 1949.
● Frye, Northrop. Anatomy of Criticism. Princeton UP, 1957.
● Lukács, Georg. The Meaning of Contemporary Realism. Merlin Press, 1962.
● Holquist, Michael. Dialogism: Bakhtin and His World. Routledge, 2002.
Assessment Plan:
End Semester: 70
MarksSessional:
30 Marks
accommodation.
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BA ENGLISH IV SEMESTER
(Major)
Modern Classics
Course Description:
This paper aims to familiarize the students with some of the groundbreaking literary works that have
shaped and captured the impulse of the last two centuries. They have come to be considered
‘classics’ based on the strength of their literary merit and enduring appeal and anticipating the
contours of literary fiction. The selection aims to impart a wide variety of thematic concern that
underline the ‘modern’ life such as alienation, existential angst, individualism, mysticism and the quest
for an authentic life, etc. These texts also open the doors to the contemporary critical discourse about
reading and understanding literary works in conjunction with the socio-cultural shifts, modes of telling
stories and the relationship between art and life.
Course Objectives:
This course aims to
● Introduce the students to influential literary classics that foreground the “modern” experience.
● Examine a wide variety of thematic concerns that underline the ‘modern’ life such as alienation,
existential angst, individualism, mysticism and the quest for an authentic life, etc.
● Explore the contemporary critical discourse about reading and understanding literary works in
conjunction with the socio-cultural shifts, modes of telling stories and the relationship between
art and life.
Course Outcomes:
● Appreciate influential literary classics that foreground the “modern” experience.
● Analyze a wide variety of thematic concerns that underline the ‘modern’ life such as alienation,
existential angst, individualism, mysticism and the quest for an authentic life, etc.
● Read and understand literary works in conjunction with the socio-cultural shifts, modes of
telling stories and the relationship between art and life.
Unit I: Novels
● Hermann Hesse. Siddhartha
● Gabriel Garcia Marque. Chronicles Of A Death Foretold
Unit II: Short Stories

● Franz Kafka. ‘A Hunger Artist’
‘A Country Doctor’
● Jorge Louis Borges. ‘The Garden of Forking Path’
Unit III: Poetry

● Charles Baudelaire. “Spleen” I, II, III, IV
Unit IV: Drama

● Samuel Beckett. Krapp's Last Tape
Suggested Reading:
● Selections from The Modern Tradition (Oxford: OUP, 1965)
● “Why Read the Classics?” by Italo Calvino
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● Selections from “Alienation” by Robert Schatch
● “Dostoyevsky's Notes from Underground: The Form of the Fiction” by Thomas M Kavanagh
● “Transparency and Illusion in Garcia Marquez' "Chronicle of a Death Foretold" by
Randolph DPope
● “Franz Kafka: A Hunger Artist” by William C. Rubinstein
● “A Problem in Analysis: Franz Kafka’s “A Country Doctor”” by Louis H. Leiter
● “A Labyrinth of Symbols Exploring ‘The Garden of Forking Paths” by Ethan Weed
● “An Artist, Man Of The World, Man Of Crowds, And Child” by Charles Baudelaire
● "Krapp's Last Tape: The Evolution of a play", James Knowlson
Assessment Plan:
End Semester Examination: 70
MarksSessional: 30 Marks
accommodation.
Page | 7
BA (English) Semester IV
(MINOR)
Modern English Drama
Course Code: ENBAMN4004 Credits: 04
Course Background:
Modern British drama refers to the oeuvre of some major drama exponents at the turn of the last
century in the UK. With Henrik Ibsen’s A Doll’s House, a major shift in the art and themes of European
drama-culture took place. The ‘modern’ and modernity that have been evolving over the previous
centuries started meeting voices of unease, rejection and disillusionment in the later Nineteenth
century. It is important that modern drama in England and other European countries is a consolidation
of the voices born against modern/modernities that had culminated with industrial revolution. That is
how modernism emerged. Therefore, modern British drama is a documentation of major changes in
art, themes and techniques. The stage gets converted into the drawing room of urban middle class
families. The role of audience changed phenomenally and there was a bigger space and responsibility
for the audience in theatre-productions. All these creative under-currents product formidable modern
classics on stage as well as on page. This paper deals with modern British plays and playwrights in
the backdrop of the aforementioned paradigm. The modern crisis gave birth to a very conducive
environment for creative experiments on stage and the paper will foreground these through works of
major British playwrights.
Course Objectives:
This course is aimed to provide the students with
● Training to appreciate intellectual and philosophical debates of the 20th century and the
beginning of the 21st century.
● Grounding in the recent trends and breakthroughs in the modern English drama and theatre
scene.
● Analytical skills, modernist aesthetics, ideologies, and philosophical paradigms in modern
British drama.
● Exposure to performance potential of a play by using different instruments of inquiry, and then
illustrating it in real-life scenarios.
Course Outcomes:
● Demonstrate an understanding of the impact of World Wars I and II on English theatre.
● Display a strong awareness of the modern and postmodern issues and characteristics of
English play.
● Articulate their grasp of the effects of modernism and postmodernism on the English drama of
the 20th century and early 21st century.
● Exhibit a fundamental awareness of the most recent trends and innovations in modern English
drama and theatre.
● Evaluate plays and their diverse performances in terms of cultural representation.
● Describe and discuss the plays and playwrights under consideration.
Unit I:
● J.M. Synge. Riders to the Sea (1904)
● George Bernard Shaw. Pygmalion (1912)
Unit II:
● Sean O Casey: Juno and the Paycock (1924)
● Harold Pinter. The Homecoming (1964)
Page | 8
Unit III:
● John Arden: Serjeant Musgrave's Dance, An Un-historical Parable (1959)
● Edward Bond. Lear (1961)
Unit IV:
● Nina Raine: Rabbit (2006)
● Jez Butterworth. Jerusalem (2009)
Suggested Readings:
(Note: Related chapters from books and excerpts from articles)
● Artaud, Antonin. Theatre of Cruelty.
● Camus, Albert. The Myth of Sisyphus
● Esslin, Martin. Modern Theatre 1890 - 1920. In John Russell Brown. 1995. The Oxford Illustrated
History of Theatre. Oxford: Oxford University Press. ISBN0-19-212997-X.
● Esslin, Martin. The Field of Drama, Methuen, London and New York, 1987
● Esslin, Martin. The Theatre of the Absurd, Anchor Books, New York, 1961
● Eyre, Richard and Nicholas Wright. Changing Stages: A View of British and American
● Gassner, John. “Forms of Modern Drama.” Comparative Literature, vol. 7, no. 2, 1955, pp.
129–143. JSTOR, www.jstor.org/stable/1769127.
● Innes, Christopher. Modern British Drama: 1890-1990, Cambridge University Press,Cambridge,
1992.
● Nicoll, Allardyce. The Theory of Drama
● Styan J.L. Modern Drama in Theory and Practice, Cambridge University Press, Cambridge 1981
● Tynan, Joseph L. “A History of Modern Drama.” CEA Critic, vol. 10, no. 4, 1948, pp. 4–
● “The Words Upon the Window Pane.” Prolegomena to the Study of Yeats's Plays, by George
Brandon Saul, University of Pennsylvania Press, Philadelphia, 1958, pp. 86–88. JSTOR,
www.jstor.org/stable/j.ctv51372p.24.
● Airth, Cathy. “Making the Least of Masculine Authority: Sean O'Casey's ‘Paycock’ and ‘Plough
and the Stars.’” The Canadian Journal of Irish Studies, vol. 32, no. 2, 2006, pp. 42–47. JSTOR,
● Aston, Elaine. “Communities in Dramatic Dialogue” in Caryl Churchill. Liverpool University
Press, 2010. JSTOR, www.jstor.org/stable/j.ctv5rdts4.
● Bailar, Melissa Ann. “Names and Their Doubles: Shifting Signifiers in Pinter's Plays.” The
Harold Pinter Review, vol. 3, no. 1, 2019, pp. 66–74. JSTOR,
www.jstor.org/stable/10.5325/haropintrevi.3.1.0066.
● Ballard-Thomas, David. “Waiting for Godot.” Blackfriars, vol. 36, no. 428, 1955, pp. 439–
● BRANFORD, W. R. G. “MYTH AND THEME IN THE PLAYS OF T. S. ELIOT.” Theoria: A
Journal of Social and Political Theory, no. 7, 1955, pp. 101–110. JSTOR,
● Donoghue, Denis. “Synge: Riders to the Sea: A Study.” University Review, vol. 1, no. 5, 1955,
pp. 52–58. JSTOR, www.jstor.org/stable/25504329.
● Esslin, Martin Pinter: A Study of His Plays, Eyre Methuen, London, 1970
● Gooding-Williams, Robert. “Nietzsche's Pursuit of Modernism.” New German Critique, no. 41,
Page | 9
● Hoxby, Blair. “History, Myth, and Early Modern Drama.” History and Drama: The Pan-
EuropeanTradition, edited by Joachim Küpper et al., 1st ed., De Gruyter, Berlin;Boston,
2019, pp. 38–
41. JSTOR, www.jstor.org/stable/j.ctvbkjx1b.6.
● Hunter, Frederick J. “The Value of Time in Modern Drama.” The Journal of Aesthetics
and ArtCriticism, vol. 16, no. 2, 1957, pp. 194–201. JSTOR,
● Justice, John Galsworthy (1910)
● Kleinberg, Robert. “Seriocomedy in ‘The Wesker Trilogy.’” Educational Theatre Journal,
vol. 21,no. 1, 1969, pp. 36–40. JSTOR, www.jstor.org/stable/3205775.
● Kleinberg, Robert. “Seriocomedy in ‘The Wesker Trilogy.’” Educational Theatre Journal,
vol. 21,no. 1, 1969, pp. 36–40. JSTOR, www.jstor.org/stable/3205775.
● Lukács, George, and Lee Baxandall. “The Sociology of Modern Drama.” The Tulane
DramaReview, vol. 9, no. 4, 1965, pp. 146–170. JSTOR, www.jstor.org/stable/1125039.
● Maura, Sister. “Explication.” The English Journal, vol. 57, no. 1, 1968, pp. 20–20.
JSTOR,www.jstor.org/stable/812514.
● Nellis, Mike. “JOHN GALSWORTHY'S JUSTICE.” The British Journal of
● Potter, Rosanne G. “Toward a Syntactic Differentiation of Period Style in Modern Drama:
Significant Between-Play Variability in 21 English-Language Plays.” Computers and the
Humanities, vol. 14, no. 3, 1980, pp. 187–196. JSTOR, www.jstor.org/stable/30207335.
● ROTHBERG, ABRAHAM. “East End, West End: Arnold Wesker.” Southwest Review, vol.
52, no. 4, 1967, pp. 368–378. JSTOR, www.jstor.org/stable/43467923.
● Sato, Yoko. “‘The Words upon the Window-Pane’: From Spiritualism to 'Noh' to Acoustic
Images.” Journal of Irish Studies, vol. 22, 2007, pp. 105–115. JSTOR,
● SCHOENE, BERTHOLD. “The Union and Jack: British Masculinities, Pomophobia, and
the Post-Nation.” Across the Margins: Cultural Identity and Change in the Atlantic
Archipelago, edited by GLENDA NORQUAY and GERRY SMYTH, Manchester
University Press, Manchester; New York, 2002, pp. 83–98. JSTOR,
www.jstor.org/stable/j.ctt155j6f1.10.
● Sternlicht, Sanford. Modern Irish Drama: W. B. Yeats to Marina Carr, Second Edition.
Syracuse University Press, 2010. JSTOR, www.jstor.org/stable/j.ctt1j5d9wk.Shaw's
‘Pygmalion.’” Irish University Review, vol. 29, no. 2, 1999, pp. 294–304. JSTOR,
● Unwin, Stephen & Carole Woddis A Pocket Guide to 20th-Century Drama, London, Faber
&Faber,2001
● White, Harry. “IRELAND AND THE IRISH IN PINTER.” AAA: Arbeiten Aus Anglistik Und
Amerikanistik, vol. 14, no. 2, 1989, pp. 161–165. JSTOR, www.jstor.org/stable/43023500.
Assessment Plan:
End Semester: 70
MarksSessional:
30 Marks
accommodation.
Page | 10
(Minor)
English Literary Criticism
Course Codes: ENBAMN4005 Credits: 02
Background/ Introduction:
The paper is an assemblage of readings on the major point of departures in the journey of criticism and its
evolution into modern theory. The paper is designed to make the students understand a mapping of the major
postulations in the field of criticism through an exposure to the extracts from the seminal works.
Objectives:
Students will be:
● Given grounding in the major postulations of literary criticism through reading and discussion ofseminal
works since antiquity.
● Trained in connecting the ideological dots of thesis, antithesis and synthesis in the emergenceof
literary criticism and theory with the help of elaborations provided in the essential readings.
Course Outcomes:
By the end of the course, the students will be able to:
● Explain and discuss the different ideologies and trends as distinct from each other.
● Display grounding in the canonical concepts of criticism and theory.
● Independently use the concepts of criticism in correlation to analysis of literature.
List of Contents:
(IMPORTANT NOTE: Excerpts are to be selected and taught from the indicated topics/authors by the teacher/s
concerned. An excerpt should not exceed two pages. Rest of the texts are for reading/discussion through
presentation, paper-writing and other similar activities in classroom or in internal assessments.)
Unit I:
• Sidney. Apologie for Poetry: Poetry as Divine Force, Poet as Maker: (excerpt)
Unit II:
● Edmund Burke. Sublime and Beautiful (A Philosophical Enquiry into the Origin of Our Ideas of theSublime
and Beautiful)
Unit III:
● PB Shelley. Defence of Poetry
● Matthew Arnold. Function of Criticism; Disinterestedness, Touchstone method (excerpt)
Unit IV :
● TS Eliot. Objective correlative; Dissociation of sensibility; Impersonality of art (excerpt)
● IA Richards. Practical Criticism (excerpt)
Suggested Readings:
● M. A. R. Habib A History of Literary Criticism: From Plato to the Present
● M. A. R. Habib Modern Literary Criticism and Theory: A History
● Julie Rivkin and Michael Ryan (Edited), Literary Theory: An Anthology, Second Edition
● Michael Ryan (Edited), Literary Theory: A Practical Introduction, Second Edition
● Michael Ryan, Gregory Castle, Robert Eaglestone and M. Keith Booker (Edited), The Encyclopediaof
Literary and Cultural Theory
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 11
(Generic)
English Prose and Fiction

Course Code: ENBAGE4006 Credits: 04
Introduction: This paper aims to introduce the students with some great works of prose: fiction and non-fiction.
It contains essays, novels and short stories reflecting evolution of different literary forms and language. The
students will be initiated into different types of prose writings.
Course outcomes:
By the end of this course, the students will be able to:
● Develop the ability to critically analyse representative prose and fiction in English.
● Examine various literary, political, cultural, and social developments and their influence on theways
prose and fiction was written in different literary and cultural settings.
● Historicise and criticize prose and fiction of the period using critical tools not limited to the period.
Unit I:
● E.V. Lucas. ‘Third Thoughts’
● Francis Bacon. ‘Of Studies’
● Aldous Huxley. ‘Pleasures’ (1923)
Unit II:
● Katherine Mansfield. ‘The Garden Party’
● Ruskin Bond. ‘The Night Train at Deoli’
● Raja Rao. ‘Javni’
● James Joyce: Araby
Unit III:
● Mulk Raj Anand: Untouchable
● Charles Dickens: Great Expectations
Unit IV:
● Floyd Stokes. The Story of Nelson Mandela
● M. K. Gandhi. An Autobiography: The Story of My Experiments with Truth (1927)
Suggested Readings:
● Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction. 3rd ed. New Jersey: PrenticeHall
Inc, 1979.
● Paulson, Ronald. Satire and Novel in Eighteenth-Century England. Yale: Yale University Press,1968.
● Daiber, Jergen, et al, ed. Understanding Fiction: Knowledge and Meaning in Fiction. Verlag:Menstis
Munster, 2012.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 12
BA ENGLISH V SEMESTER
(Major)
Post 19th Century English Prose and Fiction
Course Description:
English prose and fiction post-nineteenth century has undergone changes to accommodate
contemporaneity. These aspects need to be studied with the help of new paradigms. This course aims
to expose the students to post-nineteenth-century English prose and fiction through the seminal works
of significant novelists, short story writers, and prose writers of the time. The students will get
acquainted with the idea of modernism, postmodernism, and European and Non-European literary
cultures. The students will also be familiarized with the idea of psychoanalysis, and stream of
consciousness through a close reading of some of these experimental works. In this course, the
students will move from the dark world of Conrad to the tolerant world of Mantel covering a wide
range of authors in between.
Course Objectives:
This course aims to
● Enable students to critically analyse representative works of prose and fiction written in post
nineteenth-century Britain.
● Familiarize learners with various literary, political, cultural, and social developments and their
influence on the ways prose and fiction has been written in post nineteenth-century Britain.
● Encourage the learners to historicize and criticize prose and fiction of the period using various
critical tools not limited to the period.
Course outcomes:
● Develop the ability to critically analyze representative works of prose and fiction written in post
nineteenth-century Britain.
● Examine various literary, political, cultural, and social developments and their influence on the
ways prose and fiction has been written in post nineteenth-century Britain.
● Historicise and criticize prose and fiction of the period using critical tools not limited to the
period.
Unit 1:
● Joseph Conrad. Heart of Darkness (1902)
● James Joyce. ‘The Dead’ (1914)
● E.V. Lucas. ‘Third Thoughts’
● Robert Morris Lynd. ‘The Student’ (1922)
Unit 2:
● E. M. Forster. A Passage to India (1924)
● Aldous Huxley. ‘Pleasures’ (1923)
● G. K. Chesterton. ‘On the Pleasures of No Longer Being Young’ (1931)
● Doris Lessing. ‘To Room Nineteen’ (1963)
Unit 3:
● Virginia Woolf. Mrs. Dalloway (1925)
● Graham Greene. The Quiet American (1955)
● Lynn Doyle. ‘Banking Without Blarney’ (1946)
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Unit 4:
● Kazuo Ishiguro. Never Let me Go (2005)
● Hilary Mantel. Wolf Hall (2009)
● Oliver Sacks. ‘Recalled to Life’ (2010)
● Jeanette Winterson. Why be Happy When You Could be Normal? (2012)
Essential Reading:
Listed under Units
Suggested Reading:
● Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction. 3rd ed.New Jersey: Prentice
Hall Inc, 1979.
● Paulson, Ronald. Satire and Novel in Eighteenth-Century England. Yale: Yale University Press,
1968.
● Daiber, Jergen, et al, ed. Understanding Fiction: Knowledge and Meaning in Fiction. Verlag:
Menstis Munster, 2012.
● Armstrong, Tim. Modernism: A Cultural History. Cambridge, Mass.: Polity Press, 2005.
● Bradbury, Malcolm. The Modern British Novel, Penguin, 2001.
Assessment Plan:
Sessional: 30 Marks
NB Teaching and evaluation to be made flexible to facilitate remedial education and disability
accommodation.
Page | 57
(Major)
Introduction to Literary Theory
Course Description:
Literary Theory is a body of interdisciplinary writing offering valuable insights into literature as both art
and socio-cultural institution. It focuses on the production, circulation and reception of literature,
among other things. The critical questions of why, what and how we read and interpret literature lies
at the heart of contemporary literary theory. It draws its concepts and tools from a wide range of
disciplines, including linguistics, psychology, philosophy, sociology, history, and anthropology. This
course will introduce the students to important developments in contemporary literary theory through
excerpts from the influential works of major theorists and critics from the early Twentieth century
onwards.
Course Objectives:
The course aims to
● Introduce the basic concepts, debates, and developments of contemporary literary theory through
close readings of relevant texts.
● Offer perspectives on the production, circulation and reception of literature, among other things.
● Encourage an interdisciplinary approach to the study and appreciation of literary works.
Course Outcomes:
● Display familiarity and grounding in seminal works on literary theory.
● Compare and contrast theoretical ideas and examine their connections and points of divergence.
● Analyse literary and other critical texts and reflect on them in a theoretically informed manner.
Unit 1: Structuralism; Marxism/Neo-Marxism

● Structuralism:
Concepts: Sign, Signifier, Signified; Langue/Parole; Synchronic/Diachronic;
Syntagmatic/Paradigmatic
● Marxism/Neo-Marxism:
Concepts: Base, Superstructure, Dialectical Materialism, Organic Intellectual, Hegemony,
Ideology
Unit 2: Modernism and Postmodernism; Psychoanalytical Criticism

● Modernism and Postmodernism:
Concepts: Modernism and Postmodernism, Collage, Bricolage, Imagism, Cubism, Dadaism,
Border Crossing, Self Reflexivity, Grand Narratives, Little Narratives
● Psychoanalytical Criticism:
Concepts: Id, Ego, Super Ego; Oedipus Complex, Electra Complex, Death Drive, Mirror Stage
of Development
Unit 3: Deconstruction; Postcolonial/Decolonial Studies

● Deconstruction:
Concepts: Logocentrism, Phonocentrism, Trace, Differánce, Death of the Author, Play
● Postcolonial Studies:
Concepts: Colonialism, Imperialism, Commonwealth Literature and Postcolonial Literature,
Adopt, Adapt, Adept; Othering, Hegemony, Imagined Communities, Race/Ethnicity,
Page | 58
Ambivalence, Hybridity, Identity, Metanarrative, Mimicry, Nation, Critique of Nation, Subaltern,
Diaspora Identity
Unit 4: Gender and Queer Studies; Cultural Materialism/New Historicism;

Reader-Response Criticism
● Gender and Queer Studies:
Concepts: Patriarchy, Misogyny, Waves of Feminism
● Cultural Materialism/New Historicism:
Concepts: Anecdote, Context, Co-text, Questioning History, Expropriation, Panoptic, Notions of
Culture
● Reader-Response Criticism:
Concepts: Phenomenology, Hermeneutics, Implied Reader, Narratee, Affective Stylistics,
Interpretive Communities, Open and Closed Texts (Readerly Text, Writerly Text)
Essential Readings:
(Short excerpts of not more than one page from the following works)
● Barthes, “The Death of the Author”; and “From Work to Text”
● Baudrillard, Jean, “The Precession of Simulacra”, Simulation and Simulacra
● Benedict, Anderson, Imagined Communities, “Introduction” and “The Origins of National
Consciousness”.
● Conrad, Joseph, Heart of Darkness. (Pp 197-203) from Michael Ryan, Literary Theory: A
Practical Introduction. Blackwell Publishing, 2007 (Indian Reprint by Atlantic Publishers)
● Derrida, “Structure, Sign, and Play in the Discourse of the Human Sciences”; and “Différance”
● Edward Said, Orientalism, “Introduction”.
● Eichenbaum, “The Theory of the Formal Method”
● Ferdinand Saussure, from Course in General Linguistics
● Frantz Fanon, The Wretched of the Earth, “On National Culture”.
● Freud, from The Interpretation of Dreams, “The Uncanny,” and “Fetishism”]
● Hutcheon, Linda. “Postmodernism” A Routledge Companion to Critical Theory. Pp. 115-
125
● Iser, “The Interaction between Text and Reader,”
● Revisiting Hirsch, “Objective Interpretation”
● Roman Jakobson, from Linguistics and Poetics
● Selden, Raman. Practicing Theory and Reading Literature.
● Stanley Fish, (1976). “Affective Stylistics”. Critical
● Inquiry. 2:3. 465-485.
● Stephen Greenblatt, “Shakespeare Bewitched”
● Vladimir Lenin, “Three Parts and Three Components”
● William Shakespeare, King Lear (Pp 101-103) from Michael Ryan, Literary Theory: A Practical
Introduction. Blackwell Publishing, 2007 (Indian Reprint by Atlantic Publishers)
● King Lear (Pp 120-123) from Michael Ryan, Literary
● Theory: A Practical Introduction. Blackwell Publishing, 2007 (Indian Reprint by Atlantic
Publishers)
● King Lear (Pp 136-145) from Michael Ryan, Literary Theory:
● Practical Introduction. Blackwell Publishing, 2007 (Indian Reprint by Atlantic Publishers)
● King Lear (Pp 4-7) from Michael Ryan, Literary Theory: A Practical Introduction. Blackwell
Publishing, 2007 (Indian Reprint by Atlantic Publishers)
Page | 59
● Williams, Raymond, “The Analysis of Culture”
● Woolf, Virginia, A Room of One’s Own
Suggested Reading:
● Abrams. M.H. A Glossary of Literary terms. 7th ed. 1999.
● Bill Ashcroft and et al, Postcolonial Studies: The Key Concepts.
(New York: Routledge, 2013).
● Cullar, Jonathan. Literary in Theory.
● Edward Said, Orientalism (New York: Vintage Books, 1978) • Fish, Stanley. Is there a Text in
this Class? 1982.
● Frantz Fanon, Black Skin White Masks (New York: Grove Press, 1967)
● Kristeva, J. “The Semiotic and the Symbolic”, in Revolution in Poetic Language. 1984.
● Lane, Richard J. Fifty Key Literary Theorists. New York: Routledge, 2006.
● Lodge, David. Modern Criticism and Theory.
● Ryan, Michael. Literary Theory: A Practical Introduction. Blackwell Publishing, 2007 (Indian
Reprint by Atlantic Publishers)
Waugh, Patricia. Literary Theory: An Introductory Reader.
● Literary Theory and Criticism.
Assessment Plan:
Sessional: 30 Marks
NB Teaching and assessment to be made flexible to facilitate remedial education and disability
accommodation.
Page | 60
(Major)
Shakespeare
Course Description:
This course is aimed to interpret, analyze, and perform the works of William Shakespeare. The study
here offers reading, interpretation and assessment of the conventions of Shakespearean tragedies,
comedies, histories, romances, problem plays and poetry. The study will be complemented with
literary criticism and literary theory. This course will not only facilitate the students in achieving a
much stronger understanding of the language of Shakespeare’s works, but will also enrich inquiry by
making them participate in literary debates on Shakespeare and drama. Furthermore, students will
have the opportunity to hone themselves as public speakers and team workers as they work in
groups to direct, stage, and perform scenes from Shakespeare’s drama. Students will approach their
interpretation of Shakespeare’s texts and the literary criticism as they do through specialized training
offered in varied perspectives of criticality.
Course Objectives:
This course is aimed at providing students
● Grounding in the making of Shakespearean canon.
● Holistic discussions on thematic content, image patterns, and structures of Shakespeare’s
plays and poems.
● Shakespearean drama as a varied world of tragedy, comedy, romance, history and problem
plays.
● Exposure to the traditions and trends in Shakespearean criticism.
● Training in articulation of viewpoints through presentations and research papers on
Shakespeare.
Course Outcomes:
● Describe Shakespearean canon and its varied impacts on the literature and drama studies.
● Exhibit comprehension about the characteristics and salient features of different aspects of
the plays and poems.
● Discern plays and poems within historical, social, cultural, theoretical, and philosophical
contexts.
● Display autonomy in framing arguments and critiques on plays, poems and critical insights.
Unit I:
Tragedy
● Macbeth
● Julius Caesar
Unit II:
Comedy
● A Midsummer Night’s Dream
Romance
● Tempest
Unit III:
History
● Henry IV
Problem Play
Page | 61
● All's Well That Ends Well
Unit IV:
Sonnet
● Sonnet 27 — “Weary with toil, I haste me to my bed”
● Sonnet 116 — “Let me not to the marriage of true minds”
● Sonnet 130 — “My mistress' eyes are nothing like the sun”
● Sonnet 129 — “The expense of spirit in a waste of shame”
● Sonnet 106 — “When in the chronicle of wasted time”
Critical Essays (On Shakespeare)

● Johnson, Samuel. “Miscellaneous Observations on the Tragedy of Macbeth” (1745) from
Johnson on Shakespeare.
● L.C. Knight’s, “How Many Children Had Lady Macbeth?”, 1933, Cambridge
● Patricia Parker’s Shakespeare from the Margins: Language, Culture, Context (1996)
Beyond the Classroom:

● Students will watch adaptations of Lawrence Olivier, Akira Kurosava, Gulzar and Vishal
Bharadwaj.
● Students will perform, record and share scenes, monologues and soliloquies on the class groups
of WhatsApp or google classroom.
Organise discussions of Shakespeare’s plots and the influence on 21st century performance
culture
Essential Reading:
● Coleridge, S. T. “On The Characteristic Excellencies of Shakespeare’s Plays”, 1813 Bradley, A. C.
Shakespearean Tragedy. (1904)
● Brook, Peter. King Lear, A Midsummer Night’s Dream
● Dryden, John. “Of Dramatick Poesie” (1668)
● Dowden, Edward. Shakespeare: A Critical Study of His Mind and Art (1875)
● Hazlitt, William. Characters of Shakespeare’s Plays. (1817)
● Knights, L. C. Hamlet and other Shakespearean Plays. (1979)
● Theobald, Lewis. Shakespeare Restored (1726).
● Greenblatt, Stephen. Renaissance Self-Fashioning (1980)
● Knight, G. Wilson. The Wheel of Fire. Routledge. 2001.
Suggested Reading:
● Greenblatt, Stephen, Shakespearean Negotiations: The Circulation of Social Energy in
Renaissance England (Berkeley: University of California Press, 1988)
● “‘Fair Is Foul and Foul Is Fair’: The Radical Ambivalence of Macbeth.” Ambivalent Macbeth, by
R.S. White, Sydney University Press, AUSTRALIA, 2018, pp. 33–58. JSTOR,
www.jstor.org/stable/j.ctv19x5cq.6.
● “AN ESSAY BY HAROLD BLOOM.” Hamlet, by William Shakespeare et al., Yale University Press,
New Haven; London, 2003, pp. 229–244. JSTOR, www.jstor.org/stable/j.ctt1njkw8.6.
● “Cosmetics and Poetics in Shakespearean Comedy.” Cosmetics in Shakespearean and
Renaissance Drama, by Farah Karim-Cooper, Edinburgh University Press, Edinburgh, 2006, pp.
132–151. JSTOR, www.jstor.org/stable/10.3366/j.ctt1r2572.10.
● “Hamlet.” How Shakespeare Put Politics on the Stage: Power and Succession in the History Plays,
by PETER LAKE, Yale University Press, NEW HAVEN; LONDON, 2016, pp. 511–533. JSTOR,
www.jstor.org/stable/j.ctt1gxxpsd.28.
● “Performance: Macbeth.” Shakespeare, by Gabriel Egan, Edinburgh University Press, Edinburgh,
2007, pp. 180–202. JSTOR, www.jstor.org/stable/10.3366/j.ctt1g0b374.12.
Page | 62
● “Shakespeare and His Stage.” Shakespeare Quarterly, vol. 48, no. 5, 1997, pp. 548–550. JSTOR,
● Barroll, Leeds. “A New History for Shakespeare and His Time.” Shakespeare Quarterly, vol. 39,
no. 4, 1988, pp. 441– 464. JSTOR, www.jstor.org/stable/2870707.
● Bate, Jonathan, and Dora Thornton (eds), Shakespeare: Staging the World (London: British
Museum, 2012)
● Briggs, Julia, This Stage-Play World: English Literature and its Background, 1580-1625 (Oxford:
Oxford University Press, 1983)
● Crawforth, Hannah.et all. Shakespeare in London (London: Bloomsbury Arden Shakespeare,
2015)
● Dent, Robert W. “Shakespeare in the Theater.” Shakespeare Quarterly, vol. 16, no. 3, 1965, pp.
154–182. JSTOR, www.jstor.org/stable/2867593.
● Farrelly, James P. “Johnson on Shakespeare: ‘Othello.’” Notre Dame English Journal, vol. 8, no. 1,
● Holland, Peter, ‘Shakespeare, William (1564–1616)’, Oxford Dictionary of National Biography
(Oxford: Oxford University Press, 2004; online edn, Jan 2013)
● Hunter, G.K. English Drama 1586-1642: The Age of Shakespeare.1997.
● Tebbetts, Terrell L. “Shakespeare's Henry V: Politics and the Family.” South Central Review, vol.
7, no. 1, 1990, pp. 8–19. JSTOR, www.jstor.org/stable/3189210.
● Weis, René, Shakespeare Revealed: A Biography (London: John Murray, 2007)
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 63
(Elective)
Language through Literature
Course No: ENBAXO5004 Credits: 04
Course Description:
The Course aims to develop literary and language competence by focusing on aspects related to both
language and literature where students read and engage with works of English literature representing
various literary genres through select texts. Teaching language through literature will allow students to
understand and appreciate beliefs, cultures and ideologies which are different from their own. The
Teaching methodology will involve a wide variety of student-centered activities based on integrated
skills including discussions, debates, role play, improvisation, presentations, adaptations and pair and
group work to stimulate students’ desire to read, provide them with skills and tools to engage with a
wide variety of texts, and to encourage their oral and written response.
Course Objectives:
● To develop an appreciation for the aesthetic principle guiding or governing works of literature.
● To demonstrate awareness of the scope and variety of works in literature.
● To understand literary works in relation to historical and social contexts.
● To appreciate and respond critically to various literary genres through integrated activities.
● To evaluate literary texts and attempt suitable rewritings and modifications.
Course Outcomes:
By the end of the course, students would be able to
● Understand and appreciate literary works across genres.
● Develop brevity, clarity, depth and complexity in their use of language.
● Critically analyze works of literature to produce logical interpretations.
● Use language to recreate their own life experiences.
Unit 1: Introduction to the Language of Literary Text

● Definitions of Literature; Language and Literature; Characteristics of Literary Language;
Constituents of Literary Passage; Contexts of Literature.
● Levels of meaning in literary passage: Denotative and Connotative; Literary/Rhetorical devices
Unit 2: Language through Poetry

● Reading a poem aloud: patterns of sounds, words and structures -- articulation, stress,
intonation; lexical sets; syntactic patterns – parallelism, inversion, enjambment; rhythm and
rhyme
● Vocabulary in context: literal versus metaphorical meaning; extended meanings through
context
● Reading for comprehension: theme, tone, setting
● Writing to summarize, paraphrase and analyze poems for meaningful interpretations
● Critical awareness – drawing inferences from poetic diction, deviational patterns, tone and
imagery
● William Shakespeare. “Shall I compare thee to a summer’s day?”
● William Wordsworth. “The Solitary Reaper”
● Robert Frost. “Fire and Ice”
● E. E. Cummings. “anyone lived in a pretty how town”
Activity for Students:

Design Language Tasks on Listening, Speaking, Reading, Writing, Vocabulary and Grammar using
the texts.
Page | 64
Unit 3: Language through Drama
● Exploring language patterns in plays through dramatic language – Monologue, dialogue,
soliloquy/ Interior monologue, Asides
● Use of language in Tragedy, Comedy, Historical plays
● Enhancing Speaking skills -- Roleplay: enacting a character; dialogue delivery;
● Reading for comprehension -- Identifying different elements of plot, setting, characterization,
conflict
● Significance of wordplay in drama – pun and wit
● Dialogue based writing: writing situational dialogues, skits, rewriting dialogues for particular
situation or character: writing alternative scripts for particular situation, scene or character
● Adaptation: converting prose text into a play and vice versa
● Video clippings of select plays/extracts
● Ambai. Crossing the River (One Act play)
● G. B. Shaw. Arms and the Man (Excerpts)
● William Shakespeare. Macbeth (excerpts particularly the Dagger scene)
● Poile Sengupta. Keats was a Tuber (excerpts)

the texts.
Unit 4: Language through Fiction

● Reading to identify formal features of Fiction: Story and Plot – Themes, characterization,
setting; Discourse
● Discussing literary and fictional devices used by authors: Narrative Voice; Narrative Situation;
Narrative Modes; Time, Space, Representations.
● Writing (free/controlled) – reviewing and summarizing; describing characters, place or setting
● Rewriting short story from another perspective to redevelop plot and character.
● Creative/Interpretational skills -- Debates and discussions on alternative endings, new versions
to the original text, sharing life experiences similar to literary texts
● Listening to Audio clips of authors reading their own work.
● Ruskin Bond. “Night Train at Deoli”
● James Joyce. “Araby”
● Charles Dickens. The Tale of Two Cities: opening paragraph
● Ernest Hemingway. A Farewell to Arms: Opening chapter
● Joseph Conrad. Heart of Darkness (excerpts)

the texts.
Essential Reading:
Listed under Units
● Suggested Readings:
B.Prasad, A Background to the Study of English Literature (Rev. Ed.), Macmillan Publishers
India Limited, 1999
● M.H. Abrams, A Glossary of Literary Terms, Seventh Edition, Cornell University, 1999
● Simpson, Paul. Language through Literature: An Introduction. London: Routledge, 1996.
Ronald, Carter and Michael N. Long. The Web of Words: Exploring Literature through
Language. Cambridge: Cambridge U P, 1987.
Page | 65
● Peter Falvey; Peter Kennedy; Learning Language Through Literature: A Sourcebook for
Teachers of English in Hong Kong; Hong Kong University Press, 1997
● Susan Bassnett, Language through Literature, Pearson Education Limited, 1993
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 66
(Elective)
Children’s Literature
Course Description:
This course gives an introduction to “Children’s Literature” from nursery rhymes and picture books to
the stories, myths and legends, which are not defined by period or genre, for example, rather by their
audience: children. The course begins with an exploration of the early sources of children’s literature
in folk and fairy tales and then moves on to Twentieth and Twenty-first century children’s literature,
paying particular attention to the role of gender in rites of passage, coming of age stories, fantasy, and
critical approaches to children’s literature.
Course Objectives:
The course aims to
● Familiarize students with the historical and literary development of children’s literature.
● Build an understanding of the international development of the folk and fairy tale in relation to
children’s literature.
● Probe children’s literature dominated by male heroes.
● Explore children’s literature vis-à-vis female representation.
● Examine the social, political and literary issues raised by children’s literature.
Course Outcomes:
● Identify the historical and literary development of children’s literature.
● Chart the international development of the folk and fairy tale in relation to children’s literature.
● Appreciate how children’s literature and adult literature are marginally different and also equal
in psychological and social dimensions.
● Explore children’s literature as a major resource for literary inventiveness and creation of adult
literature.
Unit 1: Introduction to Children’s Literature

● Historical roots, development, and continuing motivations
● Fear, pleasure and moral instruction: Puritans and Beyond
● John Bunyan. Pilgrim’s Progress (excerpts)
● Mary Sherwood. Fatal effects of Disobedience (excerpts)
Unit 2: Folk and Fairy Tales: Excerpts

● Characteristics of the folk tale, fairy tale, myth, fable, epic and legend.
● “Little Red Riding Hood”
● “Hansel and Gretel”
● “Cinderella”
● “Puss in Boots”
● “The Frog King or Iron Heinrich”
● The Arabian Nights
● The Complete Fairy Tales of Brothers Grimm: Wilhem and Jacob Grimm
● William F. Russell. Classic Greek myths to read aloud
● “The Origin of the Seasons”
● “Cupid and Psyche”
● The Sword of Damocles
● Film: Frozen
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Class activity: Group Discussions and presentation
Unit 3: Fantasy and Adventure Literature

● Enid Blyton. The Secret Seven and The Famous Five
● R L Stevenson. Treasure Island
● Mark Twain. The Adventures of Tom Sawyer
● James Barrie. Peter Pan
● Lewis Carroll. Alice in Wonderland
● Ruskin Bond. The Room on the Roof
● Movie: Alladdin
Class activity: Group Discussion and presentation
Unit 4: Classics
● Rudyard Kipling. Jungle Book
● J K Rowling. Harry Potter and the Sorcerer’s Stone
● J RR Tolkien. The Fellowship of the Ring
● Johanna Spyri. Heidi
● Louisa May Allcott. Little Women
● Movie: Charlie and the chocolate factory
Class activity: Group Discussion and presentation
Essential Reading:
Listed under Units
Suggested Reading:
● Zena Sutherland. Children and Books
● Peter Hunt. Children’s Literature: An Illustrated History
● The Day my Butt went Psycho!
● Uri Shulevitz. Snow
● CS Lewis. The Lion, The Witch and The Wardrobe
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 68
(Elective)
Introduction to African Literature
Course Description:
This course will introduce students to the history and culture of Africa by way of literature and
discourse. It will provide students with the fundamental tools they need to comprehend and evaluate
creative works from the continent. Using a range of sources from literature (fiction, autobiography,
poetry, drama, etc.), the course will explore a number of recurring themes or tensions, such as
Tradition and Modernity; Colonialism, Power and Politics; Gender and Sexuality; Memory and
Trauma; Postcolonial Identities; and Migration and Globalization. We will explore the ways in which
African images produced by Africans compete with or echo each other in their effort to represent their
respective societies and experiences. The core objective of this course is for students to learn to think
critically and globally about Africa, beyond some of the ubiquitous stereotypes that still determine the
continent and its people till date.
Course Objectives:
This course is aimed to provide the students:
● Introduction to the foundational concepts of African literature.
● Grounding in the identity-based discourses rooted in heterogeneity of Africanism.
● Exposure to cultural, linguistic and socio-political debates relevant to assessment of literature.
● Training in critical analysis of literary texts and mapping distinct literary traditions.
Course Outcomes:
By the end of this course, the student will be able to:
● Identify characteristics of various African literary traditions, cultures and their historical and
comparative contexts and recognize those cultures’ contributions to world literature.
● Articulate a critical understanding of the richness and variety of African literary works and the
issues of colonialism, racism and gender inequities in African contexts.
● Demonstrate responses to texts with sensitivity to the established and evolving literary forms.
● Analyze literature in writing, demonstrating an understanding of diverse cultures and using
varied critical approaches.
Unit 1: Introduction to Africa & African Literature

● What is African Literature? (Historical surveys on the scope and subjects covered within
African Literature.)
● Oral traditions (excerpts to demonstrate trickster tales, liberation songs etc.)
● Slave Narratives
● Important movements: Apartheid, Negritude, Harlem Renaissance, Black Aesthetic Movement
● An overview of the colonial encounters of Africanness.
Unit 2: Poetry and Drama

Poems:
● Gabriel Okara, “Once upon a time”
● Okot p‘Bitek (1931-1982), “The Graceful Giraffe Cannot Become A Monkey”
● Henry Barlow, “Building the Nation”
● Lenrie Peters, “The Fence”
Plays:
● Wole Soyinka, The Lion and the Jewel
● Athol Fugard, My Children! My Africa!
● Adong Judith, Silent Voices
Page | 69
Unit 3: Fiction
Short Story:
● Alan Paton, “Death of a Tsotsi”
● Doris Lessing, “A Mild Attack of Locusts”
Novel:
● Chinua Achebe, Things Fall Apart
● Alan Paton, Cry, The Beloved Country
● Nadine Gordimer, The Conservationist
● Buchi Emecheta, The Joys of Motherhood
Unit 4: Prose
● Chinua Achebe, “An Image of Africa: Racism in Conrad's Heart of Darkness” (Critique of
Fiction)
● Ngugi wa Thiongo, “Language of African literature” (From Ngugi’s autobiography Decolonising
the Mind)
● Bessie Head, A Woman Alone (Autobiography)
● Frantz Fanon, “The Negro and Language” (From Fanons’s Autoethnography Black Skin, White
Masks)
● Aime Cesaire, “Discourse on Colonialism” (Postcolonial Writing)

Students will watch the following lectures and films:
● https://www.youtube.com/watch?v=HxyigzfSyBY
● https://www.youtube.com/watch?v=A9iNMIG5TH8
● https://www.youtube.com/watch?v=TUxkPINiimg
● https://www.youtube.com/watch?v=Uys3XuJBnro
● Mandela: Long Walk To Freedom (2013) ...
● Out of Africa (1985)
Essential Reading:
● Chinua Achebe, “An Image of Africa,” in Research in African Literatures, Vol. 9, No. 1, Special Issue on
Literary Criticism (Spring, 1978), 1- 15. Available at: http://www.jstor.org/ stable/3818468
● Paul Zeleza, “The Inventions of African Identities and Languages: The Discursive and Developmental
Implications.” pp 1-26.
● Binyanvanga Wainana, “How to Write about Africa” available on YouTube http://www.youtube.
com/watch?v=cjSQD5FVxE
● Chinua Achebe, “English and the African Writer”
● Mukoma wa Ngugi, “Toward a Rooted Transnational African Literature:Politics of Naming and Imaging”
in The Rise of African Novel
Suggested Reading:
● Wa Thiongo, Ngugi. Decolonising the Mind
● Booker, Keith M. 1998. The African novel in English: An Introduction. Portsmouth, NH,
Oxford: Heinemann, James Curry.
● Ibironke, Olabode. 2018. Remapping African literature. Cham, Switzerland: Palgrave
Macmillan.
● Krishnan, Madhu. 2018. Contingent Canons: African literature and the Politics of Location.
Cambridge: Cambridge University Press.
● Ojaide, Tanure and Joseph Obi. 2002. Culture, Society, and Politics in Modern African literature:
Texts and Contexts. Durham N.C.: Carolina Academic Press.
Assessment Plan:
Page | 70
Sessional: 30 Marks
accommodation.
Page | 71
(Elective)
Graphic Novels
Course Background: Graphic novels are prominent modes of visual culture representation today.
Through intersection between the visual medium and text it provides representations of hegemonic
values as well as the nuances of culture, race, gender and ethnic struggles.
Course Objectives:
The course aims to:
1. Introduce learners to graphic narratives
2. Expose learners to contemporary issues & history to enable understanding of popular cultures.
3. Aid learners awareness of literacy of visual texts.
Course Outcomes:
1. Acquire visual literacy and understand culture, gender, race, ethnicity based issues through the
visual medium.
2. Apply critical reading & thinking faculties to analyse, interpret and evaluate visual texts; and
generate critical and creative responses to visual texts.
Unit 1: Introduction
● Concepts
● History of Graphic novels
● Genres and Sub genres
● Writers and illustrators – Techniques and Collaboration
● Comics to Manga vs Manga to Graphic Novels
Unit 2: Classics
● Starting the Graphic novel trend
● Significant contributions to growth of genre
Texts:
The Contract with God, Will Eisner
The River of Stories, Orijit Sen
Unit 3: Representation
● Super Hero/ Heroine/ Anti Hero
Texts:
Watchmen – Alan Moore & Dave Gibbons
● Biography/ Autobiography
Texts:
Maus , Arts Spiegelman
Pashmina , Nidhi Chanani
● Moving through history
Texts:
The League of Extraordinary Men, Alan Moore and Kevin O’ Neill
Wake: The Hidden History of Women- Led Slave Revolts, Rebecca Hall
● Everyday Life skill Issues
● Texts:
Kid Gloves – Nine months of Careful Chaos, Lucy Knisley
American Born Chinese , Gene Luen Yang
Page | 72
Corridor, Sarnath Banerjee
Unit 4: Adaptations from Literature

● Converting literature classics into Art forms
● Creating a new discourse
Texts:
Meg, Jo, Beth and Amy: A Graphic Novel: A Modern Retelling of Little Women, Ray Terciero
and Bre Indigo
The Handmaid’s Tale (Graphic Novel) – Magaret Atwood and Renee Nault
The Odyssey - Gareth Hinds
Essential Reading:
Listed under Units
Suggested Reading:
● McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Perennial, 1993.
● Wolk, Douglas. Reading Comics: How Graphic Novels Work and What They Mean.
Philadelphia: Da Capo Press, 2007. Print.
● K Kukkonen. Studying Comics and Graphic Novels.
● Mirzoeff, N. (1998). What is visual culture? In N. Mirzoeff (Ed.), The Visual Culture Reader
(selected pages). New York: Routledge.
● Barthes, R. (1998). Rhetoric of the image. In N. Mirzoeff (Ed.), The Visual Culture Reader (p.
70-73). New York: Routledge.
● Carter, James Bucky (2009). “Going Graphic: Understanding What Graphic Novels Are – and
Aren’t – Can Help Teachers Make the Best Use of this Literary Form.” Education Leadership, 66 (6),
68-73.
● Chute, Hillary. “Comics as Literature? Reading Graphic Narrative.” PMLA. 123.2 (2008): 452-
465. JSTOR. Web. 19 May 2017.
● Cohn, Neil. The Visual Language of Comics: Introduction to the Structure and Cognition of
Sequential Images. London: Bloomsbury, 2013. Print.
● Meskin, Aaron. “Defining Comics?” The Journal of Aesthetics and Art Criticism. 65.4 (2007):
369-379. JSTOR. Web. 2 August 2017.
● Uchmanowicz, Pauline. “Graphic Novel Decoded: Towards a Poetics of Comics.” International
Journal of Comic Art. 11.1 (2009) 363-385. Web. 18 June 2017.
● V for Vendetta (2006). Starring Hugo Weaving, Natalie Portman. Directed by James
McTeigue. Written by the Wachowski Brothers.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 73
(Elective)
Literature and other Art Forms
Course Description:
This course identifies the relationship between art and literature in Romantic, Victorian, Modern and
contemporary era. The course content focuses on the understanding of literary sensibility in the light
of artistic ability to appreciate. It will cover the issues and discussions related to classical
developments in the field of art vis-a-vis developments in the field of literature. The purpose of this
course is to inculcate critical ability to appreciate and approach a work of art in a systematic and
consistent way, and to develop an intellectual understanding of the relationship between literature and
other allied arts.
Course Objectives:
This course aims to:
● Make students familiar with representative artistic works with particular focus on the
relationship between art and literature.
● Help students to apply their knowledge and understanding of critical, theoretical, and technical
traditions for the assessment and appreciation of original artistic works.
● Make students familiar with the development in different fields of arts.
Course Outcomes:
By the end of this course, students will be able to:
● Highlight the major developments in the discipline of art, music, painting and Dance.
● Discuss the relationship between major trends of literature and different forms of art.
● Identify and discuss themes and concerns of different artistic movements and their influence of
literature.
● Develop an understanding of the differences and similarities between representational,
recording and narrative form of art.
● To understand the principles, meaning and value of appreciating a work of art.
Unit 1: Literature and Cinema
Key Concepts: Montage, French New Wave, Auteur Theory, Mise En Scène, Soviet Socialist
Realism, Italian Neorealism, German Expressionism, Documentary, Silent Cinema, Slapstick
Comedy, using Excerpts from the following:
● "The Language Of Cinema: Then And Now" By Sayajit Ray (From Speaking Of Films By
Satyajit Ray, Translated From Bengali By Gopa Majumdar)
● “Through Theatre To Cinema” By Sergei Eisenstein (From Film Form By Sergei Eisenstein)
● “Cinema’s Destined Role” By Andrei Tarkovsky (From Sculpting In Time By Andrei
Tarkovsky)
● “New Visions In Indian Cinema: Interviews With Mrinal Sen, Girish Karnad, And Ketan
Mehta” By Udayan Gupta, Mrinal Sen, Girish Karnad And Ketan Mehta. Cinéaste, Vol. 11,
No. 4 (1982), Pp. 18-24
Unit 2: Painting and Poetry
Key concepts: dadaism, surrealism, symbolism, expressionism, impressionism, post-impressionism,
cubism, naturalism, pre-raphaelites, ekphrasis aestheticism and decadence, using the Excerpts from
the following:
● “The Conception Of Artistic Beauty” By G.W.F. Hegel (From Introductory Lectures On Aesthetics)
● Selections From Modern Painters By John Ruskin
● D.G. Rosseti: Select Poems And Paintings—‘The Blessed Demozel’, ‘Beata Beatrix’, ‘Ecce Ancilla
Domini’, ‘The Tune Of Seven Towers’
● Tagore: Select Poems And Painting—‘Landscape’, ‘Woman’s Face’, Dancing Woman’, ‘Veiled Woman’,
‘Head Study’
Page | 74
● Basho: Select Haikus With Sketches
Unit 3: Dance, Music and Literature

Key concepts: Beat Poetry, Jazz Poetry, Blues Poems, Operas, Country, Folk, Classical Rock,
Psychedelic Rock, Indian Classical (Nrittya, Natya, Abhinaya, Tandavavidhi, Atodya), using
Excerpts from the following:
● Bharata. Natysasatra, Chapter Iv: Class Dance. (Manmohan Ghosh, Trans.) (3rd Ed),
West Bengal,Wb: Miscellany Incorporation, 1995.
● Monroe Beardsley, “What Is Going On in A Dance?” Aesthetics 282-288
Unit 4: Discussing Films, Music and Dance:

● “throne of blood” by Akira Kurosawa (a filmic adaptation of Shakespeare’s Macbeth)
● “four hundred blows” by François Roland Truffaut (1959 drama film in french)
● Richard Wagner: “Ride Of The Valkyrie” (Opera)
● Beatles: “A Day In The Life”, “Yesterday” (Song)
● Bob Dylan: “Blowing In The Wind” (Ballad)
● Christopher Wheeldon:“The Winter’s Tale”(Ballet)
● Satumedia–“Sendratari Ramayana” (Indonesian Dance Drama)
Essential Readings (Excerpts:

● Bharata. Natysasatra, Chapter XXIII: Costume and Make Up. (Manmohan Ghosh, Trans.) (3rd ed), West
Bengal,WB: Miscellany Incorporation, 1995.
● Bharata. Natysasatra, Chapter II: Playhouse (Manmohan Ghosh, Trans.) (3rd ed), West Bengal,WB: Miscellany
Incorporation, 1995.
● Ray, Satyajit. Speaking of Films. Trans. GopaMajumdar. New Delhi: Penguin, 2005.
● Eisenstein, S. (1949). Film form: Essays in film theory. New York: Harcourt, Brace & World.
● Film Language by Christian Metz, tr. Michael Taylor. Oxford University Press, 1974.
● Satyajit Ray. Satyajit Ray's 'Our Films, Their Films' (1976, Orient Longman)
● Documentary: A History of the non-fiction Film by Erik Barnouw
● Bharata. Natysasatra, Chapter IV: Class Dance. (Manmohan Ghosh, Trans.) (3rd ed), West Bengal,WB:
Miscellany Incorporation, 1995.
Suggested Readings (Books, Magazines, Websites, Blogs, Articles):
● http://www.danceandliterature.com/
● Monaco, J. (1977). How to read a film: The art, technology, language, history, and theory of film and media. New
York: Oxford University Press.
● Film Art: An Introduction by David Bordwell& Kristin Thomson
● Filmmaker’s Handbook by Steven Ascher& Edward Pincus
● Grammar of the Shot by Roy Thompson & Christopher J. Bowen
● Grammar of the Edit by Roy Thompson & Christopher J. Bowen
● History of Narrative film by David A. Cook
● Beauquel, J., 2013, “Physical and Aesthetic Properties in Dance,” in Thinking Through Dance: The Philosophy of
Dance Performance and Practices, J. Bunker, A. Pakes and B. Rowell (eds.), Hampshire: Dance Books Ltd., pp.
165–184.
● Best, D., 1974, Expression in Movement and the Arts: A Philosophical Inquiry, London: Lepus Books, Henry
Kimpton Ltd.
● Bresnahan, A., 2013, “The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding by
Graham McFee (review),” Dance Research Journal, 45 (2): 142–145.
● Bharata. The Natyasastra (Manmohan Ghosh, Trans.) (3rd ed), West Bengal,WB: Miscellany Incorporation, 1995.
(Select chapters)
● Hume. "Of the Standard of Taste" appeared in 1757 in Hume's Four Dissertations.
● An Introduction to Dance Aesthetics Author(s): Adrienne L. Kaeppler Source: Yearbook for Traditional Music
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 75
(Elective)
Literature of the Marginalized
Course Description:
Marginalization, a process of discriminating against people based on their caste, race, class, religion,
region, body, gender, and sexuality, has always been a part of human culture and social practices.
India, a land of diverse cultures, languages, regions, religions, and castes, is, indeed, no exception to
the practices of marginalization. By validating majoritarian culture and notion, marginalization
excludes those who do not fit into the definition of any form of majority by creating boundaries. The
boundary that has been constructed on the line of caste, religion, body, gender, and sexuality
continues to be an oppressive structure by forcibly keeping certain sections of people in the periphery.
This constructed oppressive structure has been and is challenged by those in the margin through
social and literary movements. This course designates the consolidation of those who have been
confined to the margin owing to their subject position in Indian society as marginalized. By positioning
the literary writings of the marginalized against their social movements, the course will attempt to
study how literary writings participate in the larger social movement against social exclusion and
counterchallenge marginality.
Course Objectives:
The course aims to:
● Examine marginalization in its various forms and contexts through a critical reading of a wide
range of literary texts produced in India.
● Encourage the students to explore “marginal writing” from an intersectional standpoint.
● Explore the possibilities of literature as social transformative practice in the fight against the
evils of social exclusion and marginalities.
Course Outcomes:
● Demonstrate knowledge of the alternative literary tradition of the marginalized in India.
● Discuss the intersectionality of different marginalities.
● Infer the self-representation of the marginalized through the literature of their own.
● Display knowledge of the identity construction of the marginalized through their writings.
Unit 1: Introduction: Understanding Marginalized and Their Literature

● The process of marginalization: a sociological analysis of caste, region, religion, body, gender
and sexuality.
● Literature of the marginalized: Dalit, Tribal, Religious and Sexual Minorities, and Disabled.
Unit 2: Poetry
● One True Name’ by Krishna Kumar (visually impaired)
● Loitering’ by Asiya Zahoor (Kashmiri Muslim)
● Kinnaras of the Dark World’ by Shilok Mukkati (transgender) -
https://shilokgowda.wordpress.com/2016/01/05/eunuchs-of-dark-world/
● Deivangal by Ku Uma Devi (Dalit) - https://www.firstpost.com/long-reads/politics-of-dalit-
identity-revealed-through-poetry-3483287.html
● The Mystery of the Forest Bamboos by Jacinta Kerketta (tribal)
Unit 3: Short Stories
● ‘Mother’ Baburao Bagul (Dalit)
● ‘The Last Song’ Temsula Ao (tribal) - https://www.readersdigest.co.in/books-and-culture/story-
the-last-song-temsula-ao-breaching-the-citadel-zubaan-books-book-extract-124716
● ‘The Game’ NabanitaSengupta (hearing impaired)
Page | 76
● ‘Bicycle Riding’ Vasudhendra (gay)
● ‘Condolence Visit’ Rohinton Mistry (Parsi)
Unit 4: Life Narratives and Novels

Life Narratives
● Joothan by Omprakash Valmiki (Dalit)
● I Am Vidya by Living Smile Vidya (transgender)
Novels
● The Araya Woman by Narayan (tribal)
● The Half Mother by Shahnaz Bashir (Kashmiri Muslim)
Essential Reading:
Agoramoorthy, Govindasamy, and Minna J. Hsu. “Living on the Societal Edge: India’s Transgender
Realities.” Journal of Religion and Health, vol. 54, no. 4, 2015, pp. 1451–59.
● “Constructing Normalcy” Davis, Lennard J. Enforcing Normalcy: Disability, Deafness, and the
Body. First Edition, Verso, 1995.
● Deo, Veena, and Eleanor Zelliot. “DALIT LITERATURE - TWENTY-FIVE YEARS OF
PROTEST? OF PROGRESS?” Journal of South Asian Literature, vol. 29, no. 2, 1994, pp. 41–
67. JSTOR.
● Guru, Gopal. “Dalits from Margin to Margin.” India International Centre Quarterly, vol. 27, no. 2,
2000, pp. 111–16. JSTOR.
● “Literature and Disability” Hall, Alice. Literature and Disability. 1 edition, Routledge, 2015.
● Heredia, Rudolf C. “Interrogating Integration: The Counter-Cultural Tribal Other.” Economic and
Political Weekly, vol. 37, no. 52, 2002, pp. 5174–78. JSTOR.
● Jan Mohamed, Abdul R. “Humanism and Minority Literature: Toward a Definition of Counter-
Hegemonic Discourse.” Boundary 2, vol. 12/13, 1984, pp. 281–99. JSTOR, JSTOR,
doi:10.2307/302818.
● Reddy, Gayatri. “Paradigms of Thirdness: Analyzing the Past, Present, and Potential Futures of
Gender and Sexual Meaning in India.” QED: A Journal in GLBTQ Worldmaking, vol. 5, no. 3,
2018, pp. 48–60. JSTOR.
● Sharma, Hari. “Centralised State Power and Threat to Minorities in India.” Economic and
● Xaxa, Virginius. “Politics of Language, Religion and Identity: Tribes in India.” Economic and
Suggested Reading:
● Ali, Ahmed. Twilight in Delhi. Rupa Publications India, 2008.
● Ashfaq, Saman. “Representing the ‘Other’: Minority Discourse in the Postcolonial Indian
English Novel.” South Asian Review, vol. 39, no. 3–4, Oct. 2018, pp. 370–82. Taylor and
Francis+NEJM, doi:10.1080/02759527.2018.1538731.
● Chib, Malini. One Little Finger. 1 edition, Sage Publications India Private Limited, 2015.
● Dangle, Arjun. Poisoned Bread: Translations from Modern Marathi Dalit Literature. Edited by
Arjun Dangle, Orient BlackSwan, 1992.
● Devy, G. N., editor. Painted Words: An Anthology of Tribal Literature. Penguin Books India,
2003.
● Engineer, Asghar Ali. Lifting the Veil: Communal Violence and Communal Harmony in
Contemporary India. Sangam Books, 1995.
● Ghosh, Nandini, editor. Interrogating Disability in India: Theory and Practice. 1st ed. 2016
edition, Springer, 2016.
● Goodley, Dan. Disability Studies: An Interdisciplinary Introduction. 2 edition, SAGE Publications
Ltd, 2016.
Page | 77
● Gregory, Robert J. “Tribes and Tribal: Origin, Use, and Future of the Concept.” Studies of
Tribes and Tribals, vol. 1, no. 1, July 2003, pp. 1–5. Taylor and Francis+NEJM,
doi:10.1080/0972639X.2003.11886479.
● Hosain, Attia. Sunlight on a Broken Column. Penguin India, 2009.
● Kamble, Baby. The Prisons We Broke. Orient Blackswan Private Limited, 2018.
● Kanga, Firdaus. Trying to Grow. First edition, Bloomsbury Pub Ltd, 1991.
● Limbale. Towards an Aesthetic of Dalit Literature. Orient BlackSwan, 2004.
● Disability in South Asia: Knowledge and Experience. Edited by Anita Ghai, 1 edition, Sage
Publications Pvt. Ltd, 2018.
● Mal. The Hijras of India: A Marginal Community with Paradox Sexual Identity.
http://www.indjsp.org/article.asp?issn=0971-
9962;year=2018;volume=34;issue=1;spage=79;epage=85;aulast=Mal. Accessed 8 May 2019.
● Mistry, Rohinton. Tales from Firozsha Baag. New Ed edition, Faber & Faber, 2008.
● Monga, Preeti, and Radhika Kapoor Mitra. The Other Senses. Reado, 2012.
● Pelc, Stanko. “Marginality and Marginalization.” Societies, Social Inequalities and
Marginalization, Springer, Cham, 2017, pp. 13–28. link.springer.com, doi:10.1007/978-3-319-
50998-3_2.
● Sonowal, C. J. “Indian Tribes and Issue of Social Inclusion and Exclusion.” Studies of Tribes
and Tribals, vol. 6, no. 2, Dec. 2008, pp. 123–34. Taylor and Francis+NEJM,
doi:10.1080/0972639X.2008.11886586.
● Valmiki, Omprakash, and Arun Prabha Mukherjee. Joothan: A Dalits Life. Third Reprint Edition
edition, Bhatkal & Sen, 2007.
● Vasudhendra, and Rashmi Terdal. Mohanaswamy. HarperPerennial, 2016.
● Vidya, Living Smile. I Am Vidya. Rupa Publications India, 2013.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 78
BA ENGLISH VI SEMESTER
(Major)
American Literature
Course Description:
This paper aims to familiarize students with some essential aspects of American Literature right from
its beginning to the 20th century. Focusing on important 19th and 20th century texts of poetry, drama,
fiction and short stories, the students will also be imparted background knowledge of the intellectual
and cultural contexts of American Literature. At the end of the course, students will be expected to not
only have the knowledge of prescribed texts, but also that of some key intellectual currents in
American Literature like Puritanism, Frontier Experience, Race Relations in America and American
experiments with literary forms.
Course Objectives:
The course aims to:
1. Familiarize the students with some essential aspects of American Literature right from its
beginning to the 20th century.
2. Acquaint the students with background knowledge of the intellectual and cultural contexts of
American Literature.
3. Offer close readings of important 19th and 20th century texts of American poetry, drama, fiction
and short stories.
Course Outcomes:
o Offer close readings of prescribed literary texts and attend to their literary and cultural
dimensions.
o Follow important intellectual currents in American Literature.
o Establish the relationship between American history and its literature.
Unit 1
Herman Melville: Moby-Dick (1851)
Stephen Crane: The Red Badge of Courage (1895)
F. Scott Fitzgerald: This Side of Paradise (1920)
Unit 2
Edgar Allan Poe: ‘Berenice’ (1835)
Mark Twain: ‘The Celebrated Jumping Frog of Calaveras County’ (1865)
O. Henry: ‘The Gift of the Magi’ (1905)
Ernest Hemingway: ‘Indian Camp’ (1924)
Unit 3
Walt Whitman: ‘O Captain! My Captain! (1865)
Ezra Pound: ‘In a Station of the Metro’ (1913); ‘Hugh Selwyn Mauberley’ (1920)
Robert Frost: ‘Stopping by Woods on a Snowy Evening’ (1922), ‘Acquainted with the Night’
(1928)
Sylvia Plath: ‘Tulips’ (1965); ‘Daddy’ (1965)
Unit 4
Eugene O’Neill: The Hairy Ape (1922)
Tennessee Williams: A Streetcar Named Desire (1947)
Arthur Miller: Death of a Salesman (1949)
Essential Reading:
A.N. Kaul: The American Vision (Excerpts)
Page | 79
Richard Chase: American Novel and Its Tradition (Excerpts)
Ezra Pound
https://www.poetryfoundation.org/poets/ezra-pound
Robert Frost: Darkness or Light?
https://www.newyorker.com/books/page-turner/robert-frost-darkness-or-light
Sylvia Plath’s Joy
https://www.newyorker.com/books/page-turner/sylvia-plaths-joy
Death of a Salesman’s Dreams
https://www.nytimes.com/2012/05/03/opinion/death-of-a-salesmans-dreams.html
What They Left Undone on Summer Vacation
https://www.nytimes.com/2007/08/22/theater/reviews/22gard.html
Suggested Reading:
⮚ Campbell, Neil and Alasdair Kean. American Cultural Studies. London: Routledge. 1997.
⮚ Cohen Henning: Landmarks of the American Writing
⮚ Roy Bennett Pace: American Literature and Readings in American Literature
⮚ Spiller E. Robert: The Cycle of American Literature
⮚ Giles, Paul. The Global Remapping of American Literature. Princeton University Press, 2011.
⮚ Godden, Richard. Fictions of Capital: The American Novel from James to Mailer. Cambridge
University Press, 1990.
⮚ Graham, Maryemma and Jerry Ward (eds). Cambridge History of African American Literature.
Cambridge, 2011.
⮚ Gray, Richard.A History of American Literature. Wiley-Blackwell, 2004.
⮚ Levander, Caroline F. Where is American Literatures. Manchester University Press, 2001.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 80
(Major)
Postcolonial Literature
Course Description:
Before the world got globalised, one major territorial binary that identified the globe was colonized and the
colonizer. This binary could be exposed as a contentious issue beyond geography only when the postcolonial
debates and writings began in the mid of the last century. A flurry of seminal works helped in retrospectively
searching the point of departures of colonial politics in histories, literatures and other related disciplines. This
paper introduces the students to this whole process. The paper will take up how the construction of
postcoloniality ignites the debates and revisits to the past of the colonies to assert that colonialism has done
more harm to the civilizations of the world than any epidemic or natural calamities ever did to the ancient
civilizations. Through this paper, students will be introduced to multiple voices and literary cultures that have
documented the ‘otherness’, ‘hegemony’, ‘exploitation’ and the subsequent fightback during the last two
centuries. The idea of colonial and postcolonial will be brought home through intensive critical reading of the
literary selections in the light of the essential readings. The students will be honed in their critical thinking while
reading between the lines so that they are equipped to extract colonialist agenda in written as well as oral
discourse with a healthy literary criticality.
Course Objectives:
1. Familiarize the students with major themes, techniques, traits and characteristic features of postcolonial
literature.
2. Provide grounding in formulating critical perspectives sensitive to and informed by postcolonial thinking.
3. Engage with literary texts in a way that illuminate theoretical aspects of postcolonialism.
Course Outcomes:
By the end of this course the students will be able to:
1. Construct and deconstruct the literary and nonliterary texts prescribed while reading them and writing
about them.
2. Simulate arguments in assessing the various standpoints while reading between the lines with the help
of postcolonial tools and techniques.
3. Integrate formally, the individual worldview with literary and critical postulations in academic
presentations and writings.
Unit I: Introduction: What is Postcolonial literature? Constructing and Contesting Postcolonial

Identities
• Raja Rao: Kanthapura (Extracts showing nativization of English, Deviation, Use of Mythology, Decolonising
the form of Novel)
• Salman Rushdie: Midnight's Children (Extracts showing centrality of Event, Chutnification, Magic Realism,
and Resistance to Emergency)
• V.S. Naipaul: A House for Mr. Biswas (Extracts to demonstrate Dehoming, Diaspora)
• Kamala Das: "An Introduction"
• Derek Walcott: “Ruins of a Great House”
Unit 2: The Colonized Write Back

• H. T. Johnson:"The Black Man's Burden: A Response to Kipling" (1899)
• Chinua Achebe: Things Fall Apart (Extracts to show colonisers influence, breakdown of social fabric in
colonial Nigeria)
• Jean Rhys: Wide Sargasso Sea (1966) (Extracts to demonstrate Intertextuality and Bricolage as techniques
for resistance)
• J.M. Coetzee: Foe (1986) (Extracts to demonstrate giving voice to the voiceless)
• Ngugi Wa Thiongo: The Trial of Dedan Kemathi (Extracts to show anti colonial armed resistance, legal
frameworks for domination in Colonial Africa)
Unit 3: Dissent from within the Colonizing World: Colonialism as an Ideology

Page | 81
• E.M. Foster: Passage to India (Extracts to show Mimicry, Legal procedures)
• Joseph Conrad: Heart of Darkness (Extracts on Depiction of Africa, Africans with emphasis on exoticisation,
highlighting the silencing of the Native)
• Henry Labouchère:"The Brown Man's Burden" (1899)
• Daniel Defoe: Robinson Crusoe (extracts on Man Friday; to show colonialism for use of resources)
• Charlotte Bronte: Jane Eyre (Extracts on Bertha Mason as the mixed blood woman)
• R. Rider Haggard: King Solomon's Mines (Extracts to show Spirit of Adventure, Quest for Hidden Wealth)
• Rudyard Kipling: "White Man's Burden"
Unit 4: Resistance to Comprador Ruling Classes and Neocolonialism

• Wole Soyinka: A Dance of the forests (Extracts to demonstrate Comprador and Neo Colonial trends in
Nigeria)
• Mahashweta Devi: Mother of 1084 (Extracts to demonstrate Comprador and Neo Colonial trends in India)
Essential Reading:
• Macaulay's Minutes
• Tagore's Essays on Nationalism (Extracts to focus on Non-Othering)
• Fanon- Black Skins White Masks (Extracts on the Comprador Class)
• Ngugi- Decolonising the Mind (Extracts on Culture Bomb)
• Susan Gilbert and Susan Gubar- The Madwoman in the Attic: The Woman Writer and the Nineteenth-
Century Literary Imagination (1979)
• Chinua Achebe- An Image of Africa: Racism in Conrad's 'Heart of Darkness' (1977)
Suggested Reading:
• Chinua Achebe. Things Fall Apart

• Amma Ata Aidoo. Our Sister Killjoy
• J.M. Coetzee. Waiting for the Barbarians
• Tsitsi Dangarembga. Nervous Conditions
• Nawal El Saadawi. Woman at Point Zero
• BuchiEmecheta. The Joys of Motherhood
• Nuruddin Farah. Maps
• People Gerald Moore and UlliBeier, eds. Penguin Book of Modern African Poetry (1999 ed.)
• Ngugi wa Thiong'o. Petals of Blood
• Wole Soyinka. The Road
• M.G. Vassanji. The Gunny Sack
• Yvonne Vera, ed. Opening Spaces: An Anthology of Contemporary African Women's Writings
• Mulk Raj Anand. The Coolie
• Kamala Das. The Old Playhouse and Other Poems
• R.K. Narayan. Malgudi Days
• Raja Rao. The Serpent and the Rope
• Sara Suleri. Meatless Days
• Rabindranath Tagore. Home and the World
• No Telephone to Heaven Wilson Harris. Palace of the Peacock
• V.S. Naipaul. The Mimic Men
• Derek Walcott. Collected Poems 1948-1984
• Barbara Baynton. Bush Studies Peter Carey.
• The Bone People Colin Johnson/Mudrooroo.
• Master of the Ghost Dreaming David Malouf.
• The Visitants Patrick White. Voss
Assessment Plan:
Sessional: 30 Marks
Page | 82
accommodation.
Page | 83
(Major)
Postmodern Literature
Course Description:
This course will introduce the students to the key concepts, practices and themes of postmodernism as they
figure in and inform key literary works of our times. Postmodernism is a radical philosophical movement gaining
ground in the later half of the twentieth century and rests on a suspicion of grand narratives, totalizing
structures and overarching foundations. The relationship between modernism and postmodernism is not one of
complete breaks. Instead, postmodernism paradoxically draws on and critiques aspects of the modern
condition. In this course, the students will have the opportunity to understand the paradoxes and discontents of
postmodernism, among other things, through an exploration of representative literary works across genres.
Course Objectives:
The course aims to:
1. Introduce students to the basic concepts and themes of postmodernism.
2. To examine the modes in which postmodernism re-creates the other through gender, race, class,
technology, etc.
3. To explore how authors, poets and dramatists experiment with language, form, style and technique.
4. To inculcate the abilities of literary appreciation, critical interpretation and critical thinking in the
students.
5. To identify opportunities for research within the field.
Course Outcomes:
By the end of the course, students will be able to:
1. Exhibit knowledge of the major theoretical and critical arguments about postmodernism.
2. Distinguish and discuss the themes, aesthetics and strategies of postmodern literature
3. Display proficiency in their use of critical material.
4. Participate in discussion of literary works.
5. Display oral.
Unit 1: Theory
Lyotard’s breakdown of the metanarrative; mini-narratives; Foucault’s counter memory; Habermas’s critique,
Derrida’s difference; Jean Baudrillard’s hyperreality
Unit 2: Poetry
Simon Armitage “Give”, “To His Lost lover”, “The Shout”
Maggie Nelson “Spirit”, “Thanksgiving”, “The Mute Story of November”
Unit 3: Drama
Arnold Wesker Chips with Everything
Tom Stoppard The Real Inspector Hound
Unit 4: Fiction
Toni Morrison Beloved
Hanif Kureishi The Buddha of Suburbia
Essential Reading:
Listed under Units
Suggested Reading:
David Harvey The Condition of Postmodernity, Blackwell,1989.
Linda Hutcheon: A Poetics of Postmodernism, Import, 1988.
Linda Hutcheon: The Politics of Postmodernism, New Accents, 2002.
Frederic Jameson Postmodernism, Or, the Cultural Logic of Late Capitalism, Duke University,1991.
The Cambridge Companion to Postmodernism, edited by Steven Connor, Cambridge University Press,
Page | 84
2004.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 85
(Major)
Health Humanities
Course Description:
This paper brings an interdisciplinary perspective on health and healing through the medium of
literature. Literature and medicine, despite being seemingly disparate provinces, traditionally intersect
and deepen our understanding of the human condition. This course aims to explore the domain of
literature in order to understand the ethical, aesthetic as well as political implications of the medical
issues by examining their various modes of representation. It considers illness, health, disease,
mortality, etc. not merely to be instrumental occurrences but rather as catalogues of experience. It will
be pursued by a close analysis of both literary and non-literary texts, illness memoir etc. It would also
seek to situate the figure of the ‘patient’ to be exceeding the “symptom-bearing-body” and consider
them instead a story-telling subject. This will be accomplished by delineating, followed by a close
reading, of the tropes and metaphors that are employed in the domain of patient/caregiver
relationship. Can a ‘reading’ of illness open up avenues for a rich exercise in collaborative
interpretation and evaluation? What are the distinct ways in which illness and healing mobilise social
fissures, assumptions about fate, shared conceptions of health and so on? Can they be considered
expressions of culture? These are some of the overarching concerns towards which this module
seeks to orient the students.
Course Objectives:
1. Offer an interdisciplinary perspective on health, illness, healing and the larger human condition
through the world of literature.
2. Explore the domain of literature in order to understand the ethical, aesthetic as well as political
implications of the medical issues by examining their various modes of representation.
3. Perform a close analysis of both literary and non-literary texts, illness memoirs, etc. and
delineate the tropes and metaphors that are employed in the domain of patient/caregiver
relationship
Course Outcomes:
1. Appreciate the elements of literature relevant to a nuanced humanistic understanding of
medicine, illness and health to a considerable degree.
2. To relate these insights into humanities and health to their own engagements with the illness
narratives.
3. To understand the importance of fashioning humanities as a holistic discipline committed to the
fundamental questions of human existence.
4. To engage with the cultural attempts at making sense of illness and health.
Unit I: Introduction to Health Humanities
● Modes of literary representation

● Literary writings grounded in medical practice
● Themes: Illness, Mortality, Ageing, Mental health, Empathy/Compassion/Trust
Texts:
Page | 86
● On Illness: Virginia Woolf
● Illness as Metaphor:Susan Sontag
● “Between Walls”, “The Mental Hospital Garden” by William Carlos Williams
● Awakenings: Oliver Sacks
Unit 2: Novels & Memoirs:

● Strange Case of Dr. Jekyll and Mr. Hyde by RL Stevenson
● Wings of Dove by Henry James
● Jose Saramago Blindness
● Ink in the Blood by Hilary Mantel
● When Breath Becomes Air by Paul Kalanithi
Unit 3: Short Stories, Plays and Poems

● The Death of Ivan Ilyich by Leo Tolstoy
● Selected short stories and plays by Dr. Rashid Jahan.
● “Morbidity and Mortality Rounds” Dr. Rafael Campo
● Ward No.06 by Anton Chekhov
● Baltics by Tomas Tranströmer
Unit 4: Films
● Patch Adams 1998

● Rain Man. 1988
● One Flew over Cuckoo’s Nest 1975 Dir. Milos Forman
● Outbreak 1995 Dir. Wolfgang Peterson
Essential Reading:
Listed under Units
Suggested Reading:
● Doctor Stories by William Carlos Williams
● Being Mortal: Medicine and what matters in the end by Atul Gawande
● Oliver Sacks, An Anthropologist on Mars
● Emperor of all Maladies by Siddhartha Mukherjee
● Anne Hudson Jones, “Why Teach Literature and Medicine: Answers from Three Decades.”
Journal of Medical Humanities 34 (2013): 415–428
● The Problem of Pain by C.S. Lewis
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 87
(Elective)
Memory, Trauma and Literature
Course No. ENBAXO6005 Credits: 04
Course Description:
In recent decades memory and trauma studies has evolved as an area of deep academic interest. In
literary studies, literature and other aesthetic forms used as mnemonic narratives for individual,
cultural and transcultural trauma have come into focus and their social functions are being studied
along with some important key concepts such as intertextuality, rewriting, intermediality and
remediation. Some of the key issues in literary studies’ engagement with memory involve metaphors
of memory, the narrative representation of consciousness, the literary production of mnemonic space
and of subjective time.
Course Objectives:
The course aims to:
● Introduce the students to the questions of memory and trauma as thematized in a variety of
literary texts.
● Examine the mnemonic functions of aesthetic forms with a focus on literary representations.
● Instil an interdisciplinarity perspective and forge new research paths combining fields such as
psychology, sociology, history, and aesthetic forms developing mnemonic narratives.
Course Outcomes:
● Identify various mnemonic functions of aesthetic forms with a focus on literary representations.
● Demonstrate in writing and discussion the understanding of literature as a mnemonic device
with individual and social functions.
● Practice and interpret the individual and cultural experiences through ‘close reading’ of texts.
● Demonstrate an understanding of interdisciplinarity of the course and forge new research paths
combining fields such as psychology, sociology, history, and aesthetic forms developing
mnemonic narratives.
● Possibly develop theories (leading to practices) to work on the narratives of individual, cultural
or transcultural trauma and afflictions.
Unit 1
Virginia Woolf. Mrs Dalloway
Brooke King. War Flower: My Life After Iraq
Michael Anthony. Civilianized: A Young Veteran's Memoir
Unit 2
Livia Bitton-Jackson . I Have Lived a Thousand Years: Growing Up in the Holocaust
Tamiki Hara. “Summer Flower” (Atomic Bomb Literature)
Svetlana Alexievich. Voices from Chernobyl
Unit 3
Bapsi Sidhwa. Ice Candyman
Saadat Hasan Manto. “Toba Tek Singh”
Anis Rafi. “The Curfew is Strict”
Unit 4
Toni Morrison. Beloved
Susan Abulhawa. Mornings in Jenin
Anne Valente. Our Hearts Will Burn us Down
Rebeca Curtis. “Hansa and Gretel and Piece of Shit”
Page | 88
Essential Reading:
Listed under Units
Suggested Reading:
● BALAEV, MICHELLE. “Trends in Literary Trauma Theory.” Mosaic: An Interdisciplinary Critical
Journal, vol. 41, no. 2, 2008, pp. 149–66. JSTOR, http://www.jstor.org/stable/44029500.
Accessed 10 Jun. 2022.
● CARUTH, CATHY. “Introduction.” American Imago, vol. 48, no. 4, 1991, pp. 417–24. JSTOR,
http://www.jstor.org/stable/26303921. Accessed 10 Jun. 2022.
● CARUTH, CATHY. Listening to Trauma – Conversations with Leaders in the Theory and
Treatment of Catastrophic Experience
● Cathy Caruth. Unclaimed Experience. Trauma, Narrative, and History
https://www.academia.edu/41995628/Cathy_Caruth_Unclaimed_Experience.
● https://www.tandfonline.com/doi/full/10.3402/jac.v3i0.7186
● Kate McQuade. What I Teach: Seven Titles From a High School Class on Trauma Literature.
https://lithub.com/what-i-teach-seven-titles-from-a-high-school-class-on-trauma-literature/
● Lesia Ruglass, Kathleen Kendall Tackett. Psychology of Trauma 101.
https://login.pallas2.tcl.sc.edu/login?&url=https://search.ebscohost.com/login.aspx?authtype=sh
ib&direct=true&custid=s3604775&db=nlebk&AN=861354&site=ehost-live
● Marita Sturken. Tangled Memories The Vietnam War, the AIDS Epidemic, and the Politics of
Remembering
● Michelle Balaev. Trends in Literary Trauma Theory. http://www.jstor.org/stable/44029500.
● Radstone. Susannah Radstone. Trauma Theory: Contexts, Politics, Ethics.
http://www.jstor.org/stable/43152697.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 89
(Elective)
English Language Teaching in India
Course No: ENBAXO6006 Credits:04
Course Description:
Had it not been for colonialism, English Language Teaching (ELT) would not have emerged as a field
that it has emerged to be. The fact that teaching of English acquired its institutionalization to
disseminate the British language and culture in the colonies is an important reminder of India’s
formidable position on the map of English language since it was the most important colony of the
British. Thus, as a discourse, ELT in India is a survey of long journey of presence of English language
in the colonial and postcolonial eras. Postcolonial India has witnessed Indianisation of ELT alongside
the presence of the colonial institution of ELT rooted in the British policies and planning. The takeover
of the ELT rooted in Indian priorities to replace the British enterprise in the country has happened
gradually not abruptly and it is still an unfinished task. The present paper looks at colonial,
postcolonial and ongoing 21st century discourses and practices of ELT in India. This paper forms an
immensely important study for those who wish to familiarize themselves with policy and planning in
Indian education system.
Course Objectives:
The present course is aimed to provide the students:
1. Grounding in foundations of English Language Teaching in India
2. Holistic exposure to the approaches, methods, and techniques used in ELT in Indian contexts
since the beginning of English pedagogy in India.
3. Exposure to existing situation of English Language Teaching at various educational levels.
4. Critical discussion of various problems and challenges in the teaching of English in India in the
past and present.
Course Outcomes:
At the end of the course, learners will be able to:
1. Display knowledge of the rise of English language teaching in India.
2. Compare and contrast the different approaches, methods, and techniques that have been used
till now in ELT in India.
3. Demonstrate familiarity with the existing situation of ELT in India at various educational levels
in terms of teacher preparation, institutional support, teaching resources, assessment and so
on.
4. Autonomy in critique and analysis of the existing ELT practices in terms of problems and
challenges and find probable solutions.
Unit I
● ELT In India: An Overview
● ELT in Pre-colonial Period
● ELT during Colonial Period
● ELT during Post-Colonial period From 1947 to 1966; From 1966 to 2000; and 2000 onwards
Unit 2
● Approaches (Structural, Communicative) and Methods used in English Language Teaching
(EAP, EOP, ESP) in India- Grammar Translation Methods, Audio-Lingual Method, Direct
Method, CLT, TBLT, CALL
Page | 90
● Material Production and Adaptation
● Language Testing: Pen and Paper and Alternative Assessment
Unit 3
● Use of Technology and Integrating ICT in Teaching of English in India
● Learning Strategies and Teaching Strategies: critical Thinking, Multiple Intelligence, Bloom’s
Taxonomy, Use of Rubric
● Teacher Education
Unit 4
● Problems and Challenges in the Teaching of English in India
● Englishes and World Englishes
● Rising Voice for Decolonizing English
● ELT and NEP (2020)

● Students will prepare lists of earliest English words in their Mother tongue through interviews
with relevant people.
● Students will watch videos and interviews like:
https://www.youtube.com/watch?v=LcHwRNPq0RE
https://www.youtube.com/watch?v=KFvaSycnyzw
https://www.youtube.com/watch?v=Sgs4-UYm4Po
Essential Reading:
● Kachru, Braj. The Indianization of English (The English Language in India)OUP,Delhi 1983.
● Julian Dakin, Brian W. Tiffen, H. G. WiddowsonLanguage in Education: The Problem in
Commonwealth Africa and the Indo-Pakistan Subcontinent
● Prabhu, N.S. (1987). Second Language Pedagogy. Oxford; New York: Oxford University Press.
● Browne, H. Douglas and P. Abeywickrama. Anguage Assessment: Principles and Classroom
Practices 2010.
● Ghosh, Shashi & Das: Introduction to English Language Teaching. Vol 3 Methods at the
College Level
● Dhanavel, S.P. (2012). English Language Teaching in India: The Shifting Paradigms. McGraw
Hill Education (India).
● Position paper. National Focus Group on Teaching of English. NCERT 2006
● Jayendran, N, Ramanathan, A, Nagpal, S. (2021). Language Education: Teaching English in
India. Routledge India.
● Agnihotri, R.K. (1992). India: Multilingual Perspectives. In N. T. Crawhall (Ed.). Democratically
Speaking: International Perspectives on Language Planning.
Suggested Reading:
● Daisy. (2012) "Communicative Language Teaching- A Comprehensive Approach to English
Language Teaching." Language in India. 12(2). pp. 249-265.
● Gupta, Deepti. (2005). “ELT in India: A Brief Historical and Current Over view.” Asian EFL
Journal.7(1). pp. 197-207.
● Kachru, B (1983). The Indianization of English: The English Language in India. New Delhi:
Oxford University Press.
● Kachru, B. (1986). “The Power and Politics of English.” World Englishes,5(2/3), pp.121-140.
Page | 91
● Pennycook, A. (1994). The Cultural Politics of English as an International Language. Harlow:
Longman Group Ltd.
● UK Essays. (2018). A Historical Sketch Of ELT In India English Language Essay
● https://www.bbc.com/culture/article/20150619-how-india-changed-english
● https://www.grin.com/document/302890
● https://hindustanuniv.ac.in/assets/pdf/pg/MA-ENGLISH-SYLLABUS-2018R.pdf
● https://www.efluniversity.ac.in/MA%20ELT_%20Second%20&%20Fourth%20Semester%20Ti
metable_Jan-April%202020_LM_011219.pdf
● https://manuu.edu.in/dde/sites/default/files/2021-
03/113DST%20Pedagogy%20of%20English.pdf
● https://www.moe.gov.sg/-/media/files/secondary/syllabuses/eng/sec_exp-na_els-
2020_syllabus-(1).ashx?la=en&hash=D6127B62BEDD7E5700541B22AD7BF4A5DA6FBBEA
● Ferguson, Gibson. (2006). Language Planning and Education. Edinburgh: Edinburgh
University Press.
● Meiringer, J.(2009). Language Planning in India: the influence of English on the
Educational system and the media.
● Documents of the Government of India. New Delhi: Central Secretariat Library,
Department of Culture.
● Tickoo, Makhan L. (2006). Language in Education
● Nagaraj, Geetha. 1995. Approaches and Methods of Teaching English. Orient Longman. Delhi.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 92
(Elective)
Introduction to Life Writing
Course No. ENBAXO6007 Credits: 02
Course Description:
Life writing as a broad generic category includes subgenres which document one’s life. Ranging from Saint
Augustine’s Confessions to contemporary life narratives of the marginalized, life writing has evolved as a
dominant literary genre in the current literary discourse of Global North and South. From literary biographies,
autobiographies and some personal accounts of English writers in eighteenth and nineteenth centuries, to life
writings in the form of memoir, diary, letter, and probably emails too written in the second half of twentieth
century and beyond, the gamut of life writing is wide-ranging and its significance is not only literary, but also
historical, psychological, sociological, and in fact, interdisciplinary and multidisciplinary. This unprecedented
surge in publishing life accounts was propelled by many factors such as calamity of the two World Wars,
various national movements, refugee questions in the aftermath of wars and conflicts, new social movements
carried out around the world. The genre of life writing gained the attention of historians as it was considered to
be a potential document for historiography. It is in this context, studying both life writing texts and the theories
of life writings acquires pivotal significance. This course will attempt to introduce students to the history of
genre of life writing by having special emphasis on twentieth century life writing texts.
Course Objectives:
The course aims to:
1. Introduce the students to the genre of life writing with a focus on a diverse set of life narratives from
across the world.
2. Equip the students with close reading skills necessary to read and analyse life writing in a theoretically
informed manner.
3. Encourage the students to produce personal narratives using a variety of literary forms.
Course Outcomes:
1. Demonstrate an understanding of the sub-genres of life writing such biography and autobiography,
memoir, diary, letter, and probably emails etc.
2. Situate the texts in a historical and cultural context.
3. Understand a variety of critical approaches possibly applicable in the study of life writing.
4. Practice literary and textual interpretation through explication or ‘close reading’ of excerpts from life
writings prescribed.
5. Demonstrate ability to practice discourse analysis and differentiate between qualitative and quantitative
methodology with an inclination to research.
Unit 1
1. Mahatma Gandhi. My Experiments with Truth
2. Nelson Mandela. Long Walk to Freedom: The Autobiography of Nelson Mandela
3. Abdul Kalam. Wings of Fire: An Autobiography
Unit 2
4. Samuel Johnson. Lives of the Eminent Poets (Selections)
5. Graham Greene. A Sort of Life
6. Michelle Obama. Becoming
Unit 3
7. Muhammad Ali with Richard Durham. The Greatest: My Own Story
8. Ann Frank. The Diary of a Young Girl
9. Steve Jobs. The Exclusive Biography
10. Rachel Corrie. Emails from Palestine
Unit 4
11. Malala Yousafzai. We are Displaced
12. Begum Khurshid Mirza. A Woman of Substance: The Memoirs of Begum Khurshid Mirza
13. Qanta Ahmed. In the Land of Invisible Women: A Female Doctor's Journey in the Saudi Kingdom
Page | 93
(Note: 1. Teacher concerned will make selections from lengthy texts prescribed above to teach and
discuss in the class. 2. Students will learn writing testimonial narrative and personal narrative as
part of research-based assessment.)
Essential Reading
1. Barack Obama. Dreams from My Father: A Story of Race and Inheritance
2. Ghada Karmi. In Search of Fatima: A Palestinian Story
3. I know Why the Cage Birds Sing by Maya Angelou
4. Ibtisaam Barkat. Tasting the Sky: A Palestinian Childhood. excerpts
5. Leila Khalid. My People Shall Live
6. Marie Mutsuki Mockett. Where the Dead Pause, and the Japanese Say Goodbye: A Journey by Marie
Mutsuki Mockett
7. Orhan Pamuk. Istanbul
8. Qian Julie Wang. Beautiful Country: A Memoir of An Undocumented Childhood
9. Ta-Nehisi Coates. Between the World and Me
Further Reading
MOORE-GILBERT, BART. “‘BALEFUL POSTCOLONIALITY’ AND PALESTINIAN

WOMEN’S LIFE WRITING.” Biography, vol. 36, no. 1, 2013, pp. 51–70. JSTOR.
“Life Writing” The Edinburgh Introduction to Studying English Literature. NED-New edition, 2, Edinburgh
University Press, 2014. JSTOR, JSTOR, http://www.jstor.org/stable/10.3366/j.ctt1g09vqj.
“Telling Our Own Stories: Narrative Selves and Oppressive Circumstance” Cowley, Christopher, editor. The
Philosophy of Autobiography. 1 edition, University of Chicago Press, 2015.
“Giving Voice to the “I”: Memoir, Autobiography, Diary” Heehs, Peter. Writing the Self: Diaries, Memoirs, and
the History of the Self. Bloomsbury Publishing India Private Limited, 2013.
“Life Narrative: Definitions and Distinctions”, “Defining the Genre”, “Contemporary Theorizing” Smith,
Professor Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives,
Second Edition. 2 edition, University Of Minnesota Press, 2010.
Suggested Reading:
Anderson, Linda. Autobiography. 2 edition, Routledge, 2011.
Ashley, Kathleen M., et al., editors. Autobiography and Postmodernism. University of Massachusetts Press,
1994.
Couser, G.Thomas. Memoir: An Introduction. 1 edition, Oxford University Press, 2011.
Cowley, Christopher, editor. The Philosophy of Autobiography. 1 edition, University of Chicago Press, 2015.
DiBattista, Maria, and Emily O. Wittman, editors. Modernism and Autobiography. Cambridge University
Press, 2014.
Heehs, Peter. Writing the Self: Diaries, Memoirs, and the History of the Self. Bloomsbury Publishing India
Private Limited, 2013.
Smith, Professor Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life
Narratives, Second Edition. 2 edition, Univ Of Minnesota Press, 2010.
Whitlock, Gillian. Postcolonial Life Narrative: Testimonial Transactions. 1 edition, Oxford University Press,
2015.
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 94
(Elective)
Introduction to Semiotics
Course Description:
Semiotics is the study of signs and symbols and their use or interpretations in folkloric, cultural, religious,
literary, cinematic and other texts and also in advertisement and media. This is an interdisciplinary area of
enquiry that borrows its concepts and methodology heavily from linguistics and anthropology among other
disciplines.
Course Objectives:
1. Gove holistic exposure to basics of semiotics as a field of linguistic and cultural enquiry.
2. Train students in interpretation of meaning based on semiotic analysis.
3. Impart to students the nuances of communication through semiotics.
Course Outcomes:
1. Display analytical thinking in interpreting texts, images, videos, and other communications
2. Explore how language evolves and becomes meaningful through social and linguistic contexts.
3. Bring their knowledge of semiotics to an analysis of a wide range of texts.
Unit 1: Introduction; Saussure’s Semiology

Semiotics: An introduction
Saussurean Model: Sign, Signifier, Signified
Langue and Parole;
Syntagmatic and Paradigmatic Relations
Unit 2: Peirce and Semiotics

Peircean Model: Sing, Representamen, Interpretant, Object;
Icon, Index, Symbol
Tropes: Metaphor, Metonymy, Synecdoche, Irony
Unit 3: Code
Perceptual Code
Social Code
Textual Code
Unit 4: Semiotic Analysis

Semiotic Analysis of Literary Text
Semiotic Analysis of Advertisement
Semiotic Analysis of Film
Essential Reading:
• Booth, Wayne C., Gergory Clomb and Joseph M. Williams, The Craft of Research, Second Edition
(2003)
• Daniel Chandler. Semiotics: The Basics. Routledge; 2nd edition (2007)
• Cobley, Paul. [Ed.] 1996. The Communication Theory Reader. London: Routledge.
• Hawkes, T. 2003. Structuralism and Semiotics. London: Routledge.
• Deely, John. 1990. Basics of Semiotics. Bloomington: Indiana University Press
Suggested Reading:
• Sean Hall. This Means This, This Means That: A User's Guide to Semiotics. Laurence
King Publishers (2007)
Page | 95
• Umberto Eco. Semiotics and the Philosophy of Language. Indiana University Press (1986)
• Ferdinand de Saussure. Course in General Linguistics. Open Court, Reprint
Assessment Plan:
Sessional: 30 Marks
NB Teaching and evaluation to be made flexible to facilitate remedial education and disability accommodation.
Page | 96
(Elective)
Science Fiction
Course Description:
The course is an introduction to science fiction. It will initiate the students into this very popular literary
genre through fiction and movies. It will also show students how Science fiction showcases human
values and gives a warning of impending disasters in a world overwhelmed by science and
technology.
Course Objectives:
● Introduce learners to historic development of science fiction.
● Place and identify representative works of science fiction in the larger cultural and aesthetic
context.
● Analyse and compare themes, terminology and motifs associated with science fiction.
Course Outcomes:
By the end of the course, the learners will be able to:
● Recognise and demonstrate ability to interpret material associated with the Science fiction
genre.
● Reflect upon the issues of the contemporary world and possibilities of the future and evaluate
written and visual material through constructive criticism.
Unit 1: Introduction to Science Fiction

- History and chronology of science fiction.
- Genres and subgenres of science fiction.
- Trends in Science fiction
Texts/Movies
1. Ursula K. Le Guin - The Left Hand of Darkness (excerpts)
2. The Hitchhiker’s Guide to Galaxy
3. Margaret Atwood - Oryx and Crake
4. The Witcher Series (Translation) - Andrzej Sapkowski
5. Indian Science Fiction: Patterns History and Hybridity Suparno Banerjee
Unit 2: Time and Space

- Time Travel
Text/Movie - H. G. Wells - Time Machine
- Space Travel, Interstellar Wars - Star Trek series.
- Extra-Terrestrial Intelligence, Alien Invasion
Movies - E.T., The Day the Earth Stood Still
Unit 3: Futuristic Continents

Ted Talk- On SF future in Africa by Nnedi Okorafor (2019)
- Dystopias and Utopias
- Apocalyptic and Post-Apocalyptic Fiction
Text- H.G. Wells - Wars of the Worlds
Mary Shelley - The Last Man
- Monsters, Cyborgs, Post-cyberpunk
Texts- Mary Shelley - Frankenstein
Manjula Padmanabhan - Harvest
Page | 97
Neal Stephenson - The Diamond Age
Unit 4: Feminist Science Fiction

- Concept of Utopias
Text- Rokeya Sahkawat Hossain - Sultana’s Dream
- Gender Identity, Patriarchy vs. Matriarchy
Text - Jonna Russ - The Female Man (Wonder Woman Series)
Marion Zimmer Bradley - The Ruins of Isis
Essential Reading:
Listed under Units
Suggested Reading:
● Gerlach, Neil and Sheryl N. Hamilton. Introduction: A History of Social Science Fiction.
● Darko Suvin, ‘On Teaching SF Critically’, in Positions and Presuppositions in Science Fiction
(London: Macmillan), pp. 86-96.
● Kafka, Janet. “Why Science Fiction?” The English Journal. Vol. 64 no. 5. May 1975, pp 46-53.
JSTOR.
● P L Thomas. Science Fiction and Speculative Fiction: Challenging Genres
● Science Fiction: A Collection of Critical Essays. Ed. by Mark Rose
● Tom Moylan. Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia
Assessment Plan:
Sessional: 30 Marks
accommodation.
Page | 98

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BA English II Semester

Course Code: ENBAMJ2001 Credits-04

Background of the Course/Paper:

Course No.: ENBAMJ2003 Credits: 02

Course Outcomes: By the end of this course, students will be to:

Unit I: Fundamental Concepts/Texts:

Unit II: Western Classics

Unit III: Classics in The Eastern tradition

Course Code: ENBAMN2004 Credits-04

Course Code: ENBAMN2005 Credit: 2

Course No: ENBAMJ4002 Credits: 02

Unit I: New Criticism: Formative Texts

Unit II: New Critical Practice

Unit III: Russian Formalism; Neo Aristotelianism

Unit IV : Archetypal/Myth Criticism; Sociological Criticism

Unit II: Short Stories

Unit III: Poetry

Unit IV: Drama

Course Code: ENBAMN4004 Credits: 04

English Prose and Fiction

Course No: ENBAMJ5001 Credits: 04

Course No: ENBAMJ5002 Credits: 04

Unit 1: Structuralism; Marxism/Neo-Marxism

Unit 2: Modernism and Postmodernism; Psychoanalytical Criticism

Unit 3: Deconstruction; Postcolonial/Decolonial Studies

Unit 4: Gender and Queer Studies; Cultural Materialism/New Historicism;

Course No: ENBAMJ5003 Credits: 04

Critical Essays (On Shakespeare)

Beyond the Classroom:

Unit 1: Introduction to the Language of Literary Text

Unit 2: Language through Poetry

Activity for Students:

Activity for Students:

Unit 4: Language through Fiction

Activity for Students:

Unit 1: Introduction to Children’s Literature

Unit 2: Folk and Fairy Tales: Excerpts

Unit 3: Fantasy and Adventure Literature

Class activity: Group Discussion and presentation

Class activity: Group Discussion and presentation

Unit 1: Introduction to Africa & African Literature

Unit 2: Poetry and Drama

Beyond the Classroom Activities:

Unit 4: Adaptations from Literature

Unit 3: Dance, Music and Literature

Unit 4: Discussing Films, Music and Dance:

Essential Readings (Excerpts:

Unit 1: Introduction: Understanding Marginalized and Their Literature

Unit 4: Life Narratives and Novels

Unit I: Introduction: What is Postcolonial literature? Constructing and Contesting Postcolonial

Unit 2: The Colonized Write Back

Unit 3: Dissent from within the Colonizing World: Colonialism as an Ideology

Unit 4: Resistance to Comprador Ruling Classes and Neocolonialism

• Chinua Achebe. Things Fall Apart

Course No: ENBAXO6004 Credits: 04

Unit I: Introduction to Health Humanities

● Modes of literary representation

Unit 2: Novels & Memoirs:

Unit 3: Short Stories, Plays and Poems