Sems 1,2,3 Syllabus and Qp (1)

8/13/2019 Sems 1,2,3 Syllabus and Qp (1)

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MAHATMA GANDHI UNIVERSITY

RESTRUCTURED SYLLABUS FOR

M A (ENGLISH) PROGRAMME IN AFFILIATED COLLEGES

CREDIT SEMESTER SYSTEM

(REVISED SYLLABUS W. E. F. 2012 ADMISSIONS)


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MEMBERS OF THE BOARD OF STUDIES

1. DR. K. M. KRISHNAN (DIRECTOR SCHOOL OF LETTERS, MAHATMA GANDHI

UNIVERSITY) CHAIRMAN

MEMBERS

2. DR. P. P. RAVEENDRAN, PROFESSOR SCHOOL OF LETTERS

3. DR. SHERINE UPOT, PROFESSOR SCHOOL OF DISTANCE EDUCATION

. PROF. A. M.GEEVARGHESE HILL VEW, U C COLLEGE P O ALUVA.

!. PROF. T. P. CHANDRAN PILLAI, DEPARTMENT OF ENGLISH, MAHARA"A#S

COLLEGE, ERNAKULAM (RETD)

$. KRISHNAMURTHY R. DEPARTMENT OF ENGLISH, SREE SANKARA COLLEGEKALADY

%. NESSIE "OSEPH, DEPARTMENT OF ENGLISH, ST THOMAS COLLEGE,

KO&HENCHERY.

'. K V DOMINIC DEPARTMENT OF ENGLISH, NEWMAN COLLEGE THODUPU&HA

. N K VI"AYAN DEPARTMENT OF ENGLISH MAHARA"A#S COLLEGE,

ERNAKULAM

10. DR. K P ASHA, DEPARTMENT OF ENGLISH,K M M GOVT. WOMEN#S COLLEGE,

KANNUR

11. DR. SIBY "AMES DEPARTMENT OF ENGLISH, ST THOMAS COLLEGE PALAI


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Mahatma Gandhi University had introduced Choice Based Credit Semester System for the

undergraduate programmes in 2009. The post graduate programmes of the university are being redesigned

and revised in tune ith the modifications effected at the UG !eve!. This i!! be ref!ected in the scheme

course content and mode of e"amination and grading system. The scheme and sy!!abus of M. #. $ng!ish

too are being revised according!y. %hat fo!!os is a comprehensive account of the changes being

introduced. The revisions ere effected based on the recommendations made at the or&shops conducted

for the purpose besides severa! sittings of the Board of Studies in $ng!ish '(G).

G*+-

*. M # '$ng!ish) is a to+year post+graduate programme of four semesters.

2. There are five courses in each semester, one dissertation during the entire programme, and a

comprehensive viva voce at the end of the fourth semester.

-. #!! the courses taught in the first three semesters in addition to one course in semester fourconstitute the core courses, hi!e the remaining four courses in semester four i!! be e!ective

courses. %hi!e the core courses are compu!sory for a!! the students, the e!ectives can vary from

co!!ege to co!!ege.

. Grading

/. $va!uation of core e!ective components and the dissertation i!! be done in to parts, that is,

through continuous interna! assessment and end semester e"terna! e"amination.

. #!! courses have been divided into five modu!es based on certain thematic commona!ities. 1ne

te"tsection in each modu!e is in the seminar mode.

3. Seminar te"tstopics have been incorporated into the sy!!abus as an integra! part of it. They are

meant not mere!y for purposes of interna! assessment, but are envisaged as a ma4or pedagogica!

component of the curricu!um for the (G programme. 5na one+hour seminar the student is

e"pected to introduce the te"ttopic and provide as much detai! as possib!e ithin the time !imit.

The teacher in charge of the particu!ar modu!e has to act as the faci!itator for the seminar

presenter. #fter the seminar the teacher may provide the student ith further information or tips

for further studies on the topic. There i!! not be any gradation among the te"ts at the end+

semester e"amination. 6uestions can be as&ed from any part or te"t prescribed under each

modu!e inc!uding seminar te"ts. The first modu!e of every course is intended to provide

bac&ground historica!, critica!, or theoretica! information regarding the course. This modu!e does

not have seminar topics. The other four modu!es i!! have one seminar topicte"t each. There i!!

be tenty seminar fie!ds in each semester. 7epending on the number of students in each c!ass, the

teacher may give more seminar topics or as& some students 'preferab!y those ho vo!unteer) to

do an e"tra seminar in a semester.

Components of 5nterna! $va!uation

Component %eightage


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*) #ssignment *

2) Seminar 2

-) #ttendance *

) To Test (apers 2

8etter Grade (erformance Grade (oint 'G) Grade ange# $"ce!!ent -./0+

B :ery Good - 2./0+-.9

C Good 2 *./0+2.9

7 #verage * 0./0+*.9

$ (oor 0 0.0+.9

Grades for #ttendance

(ercentage of attendance Grade

90; #

Beteen Methods 2

#na!ysis 2

(resentation 2

Conc!usionapp!ication 2


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Semester Course Teaching ours Credit Tota! Credits

5

(C * /

20(C 2 /

(C - / (C /

(C / /

55

(C /

20

(C 3 /

(C < /

(C 9 /

(C *0 /

555

(C ** /

20

(C *2 /

(C *- /

(C * /

(C */ /

5:

(C * / -

20

($ * / -

($ 2 / -

($ - / -

($ / -

(ro4ect + -

:iva + 2

#. Conso!idation of Grades for 5nterna! $va!uation?

5f B,C,B and # are the grades scored by student for attendance, assignment, seminar and test

respective!y for a particu!ar course, then herhis C$ grade for that course sha!! be conso!idated asfo!!os?

Component %eight '%) Grade #arded Grade point 'G) %eighted Grade

(oints '%"G)

#ttendance * B - -

#ssignment * C 2 2

Seminar 2 B - -

Test (aper 2 # Char!es $. %in@uist

'eds.)?)ostmodernism ? Critical Concepts:o!ume 555 'out!edge)Q

M596- 2

R?6+9 R9*/

(hi!ip 8ar&in? Church Going

Ted ughes? Jaguar

Sy!via (!ath? 7addy

$!iabeth Jennings? The Chi!d Born 7ead

Char!es Tom!inson? (rometheus

S*+

Geoffrey i!!? Genesis

M596- 3

R?6+9 R9*/ John Ao!es? The ,rench Lieutenasnt-s #oman

5an Mc$an? Atonement

#nge!a Carter? /ights at the Circus

Ju!ian Barnes? ,laubert-s )arrot

S*+

anif Iureishi? The Buddha of *uburbia

M596-

R?6+9 R9*/

Samue! Bec&ett? #aiting for Godot

John 1sborne? Loo$ Bac$ in Anger

S*+

John #rden? *ergeant !usgra"e-s 0ance

M596- !

R?6+9 R9*/

Bond? Lear

Stoppard? .umpers

S*+

#rno!d %es&er? Chic$en *oup with Barley


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B8@/+56*9 R9*/

Jean+Arancois 8yotard ? The )ostmodern Condition A +eport on ;nowledge

Susan Sontag? Against (nterpretation

5hab assan? The 0ismemeberment of Orpheus Towards a )ostmodern Literature

Brian Mca!e? )ostmodernist ,iction

8inda utcheon? A )oetics of )ostmodernism History< Theory< ,iction

Aredric Jameson? )ostmodernism or the Cultural logic of Late Capitalism

Steven Connor? )ostmodernist Culture An (ntroduction to the Theories of the Contemporary

MA E*/-

S4+ 2

C5+ C56+ PC 7 L*/6/ *9 L*/648

O;


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C56+ D8+>45*

The course, divided into five modu!es covers the important areas in !inguistics and updates the pupi! on

the most recent advances in the theory of !anguage study. This shou!d idea!!y prepare the student at one

!eve! ith modern notions and concerns in the fie!d of !inguistics.

M596- 1

P5*48 *9 P5*5-5/

Genera! (honetics, Cardina! :oe!s, Consonants, (honetic TranscriptionThe phonemic theory? (honeme, a!!ophones, contrastive and comp!ementary distribution, free variation,

phonetic simi!arity, pattern congruency

(!ura!s > past tense in $ng!ish as e"amp!es for phono!ogica!!y conditioned a!ternation,

u!es and ru!e ordering in phono!ogy 'some e"amp!es)Sy!!ab!e, onset nuc!eus and coda, foot, prosody, stress, stress ru!es, intonation, rhythm

M596- 2

M5+>5-5/

The notion of a morpheme, a!!omporphy, ero morph, portmanteau morph5nf!ection and derivation, !eve! 5 and 8eve! 55 affi"es in $ng!ish, ordering beteen derivation and

inf!ection, boundary 'morpheme !eve!) and boundary 'ord !eve!) in affi"ation,

Stem a!!omorphy, ord !eve! and morpheme !eve! constraints

Morphophono!ogica! pheneomena

Compounds, criteria for compound formation 'de!etion of inf!ection, 4unction phenomena !i&e voe!

e!ongation, gemination, etc.)

sub compounds and co compounds 'tatpurushadanda)

ord formation techni@ues? b!ending, c!ipping, bac& formation, acronyms, echo ord formation,

abbreviation etc.

S*+

The notion of a !e"icon, nature of a !e"ica! entry

M596- 3

S*4

Traditiona! grammar O fa!!acies O Saussure , system and structure, !anguage as a system of signs,

Saussurean dichotomies? synchronic +diachronic , signifier+ signified, syntagmatic O paradigmatic,

!angue O paro!e, form O substance,Structura!ism? Contributions of B!oomfie!d O 5C #na!ysis O disambiguation using 5C ana!ysis, !imitations

of 5C ana!ysis O

(S grammar O (S ru!es? conte"t free and conte"t sensitive ru!es, optiona! and ob!igatory ru!es

TG Grammar Components O transformationa! and generative OOGB Theory? bar theory, case fi!ter,

theta criterion, pro4ection princip!e, $((, binding theory, move a!pha.

S*+

K#spectsL mode! O transformations? passivisationOdo support O affi" hoppingO% movement

M596-

S*488e"ica! semantics? antonymy Osynonymy O hyponymy O homonymy 'homophony and homography ) O

po!ysemy O ambiguity

Semantic re!ations

Componentia! ana!ysis, prototypes,

5mp!ication, entai!ment, and presupposition

Semantic theories? sense and reference, connotation and denotation, e"tension and intension,

Truth Conditiona! semantics? propositions, truth va!ues, determining the semantic va!ue of a proposition,compositiona! procedure, terms and predicates, predicate !ogic, possib!e or!ds semantics.


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S*+

8anguage, metaphor, figures of speech

M596- !

B+*8 5: L*/648

*. (sycho!inguistics? 7efinition and scope + chi!d !anguage ac@uisition O 5nnateness hypothesis O speech

production, speech recognition O aphasia O s!ips O gaps

2. Socio 8inguistics? definition and scope O structura! and functiona! approach O speech community O

speech situation O speech event O speech act O !anguage p!anning O bi!ingua!ism+ mu!ti!ingua!ism+dig!ossia + '8anguage and gender > 8anguage and po!itics + overvie)

#pp!ied !inguistics? 7efinition and scope O !anguage teaching and !earning O contrastive ana!ysis O error

ana!ysis O

Trans!ation

Computationa! !inguistics.

S*+

Bi!ingua!ism, mu!ti!ingua!ism, dia!ect, idio!ect, pidgin, creo!e, !anguage varieties.

B8@/+56*9 R9*/

S I :erma and Irishnasamy? !odern Linguistics

enry %iddoson? Explorations in Linguistics

8 B!oomfie!d? Language

J 7 Aodor? *emantics Theories of !eaning in Generati"e Linguistics

J 8yons? 5ntroduction to Theoretical linguistics

$. Sapir? Language

7 5 S!obin? )sycholinguistics

8i!ian aegaman? Go"ernment and Binding

M. Chierchia and Mcdonne! Sa!!y? Language and !eaning

:. Arom&in et a!? Linguistics

Geoffrey 8each? *emantics

oam Choms&y? Cartesian LinguisticsSteve (in&er? Language (nstinct

MA E*/-

S4+ 2

C5+ C56+ 10 PC 107 T5+ 5: K*5-9/

1b4ectives?

This course aims at introducing !iterary theory and its !atest deve!opments to students.


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Course 7escription?

Modu!e * e"amines the ma4or conceptua! frameor&s of !iterary theory from structura!ism to spectra!

theory. This unit is intended to fami!iarie students ith the ma4or deve!opments in theory from *90s to

the present. Modu!e 2 begins ith an e"cerpt from Aerdinand deH SaussureHs Course in General

Linguisticsand introduces students to the ma4or !inguistic princip!es hich revo!utionied 20 th century

phi!osophica! and !iterary thin&ing. This section a!so inc!udes o!and BarthesH essay KThe 7eath of the

#uthorL hich mar&s a transition from structura!ism to poststructura!ism. omi I BhabhaHs essay KThecommitment to TheoryL is a defense of theory and is inc!uded for seminar. Modu!e - begins ith

7erridaHs essay and it is important in to ays? one, for its epistemo!ogica! brea& ith structura!ism and

to, for its inauguration of the poststructura!ist thought in phi!osophy and criticism. This section a!so

introduces Jac@ues 8acan and thereby psychoana!ytic thought and criticism. M.. #bramsH KThe7econstructive #nge!,L is a criti@ue of deconstruction from the !ibera! humanist perspective and is

inc!uded for seminar. Modu!e introduces the Aoucau!dian notions of archaeo!ogy and genea!ogy through

his essay Kietsche, istory and Genea!ogy.L The notions of truth, poer, biopo!itics, biopoer etc

suggested by Aoucau!tHs essay are further deve!oped in Georgio #gambanHs boo& Homo *acer'

#gambanHs boo& points to theoryHs engagement after poststructura!ism and icho!as oy!eHs introduction

to his boo& The 1ncannyfurther suggests the contemporary post+theoretica! engagements. Modu!e /

continues ith the post+theoretica! engagements and the postmodern turn ith to essays? one semina!

essay by 8yotard fo!!oed by one by 7e!eue hi!e an essay by Vie& has been prescribed for seminar.

M596- 1

R?6+9 R9*/

#n overvie of Structura!ismO (oststructura!ism O (o!itica!ethica! turn O e istoricism OCu!tura!

Materia!ism O (ost+theory O Spatia! theory O $cocriticism.

M596- 2

R?6+9 R9*/

Aerdinand de Saussure? ature of the 8inguistic Sign Pfrom 7avid 8odgeQ

o!and Barthes? The 7eath of the #uthor

S*+

omi I. Bhabha? The Commitment to Theory

M596- 3

R?6+9 R9*/

Jac@ues 7errida? Structure, Sign and (!ay in the 7iscourse of the uman Sciences

Jac@ues 8acan? The 5nsistence of the 8etter in the Unconscious

S*+

M.. #brams? The 7econstructive #nge!

M596-

R?6+9 R9*/

Miche! Aoucau!t? ietsche, istory and Genea!ogy

Giorgio #gamben? Homo *acer(art 5

S*+icho!as oy!e? The Uncanny? an 5ntroduction (( *+- $!!yn C!arey 'eds)? *hort *tory Theory at a Crossroads

5sabe! #!!ende? )ortrait in *epia

MA E*/-

S4+ 3

C5+ C56+ 1! PC 1! T4 *9 P+:5+*8

O;


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The ob4ectives of the course inc!ude faci!itating an understanding of the basic structura! and

thematic patterns that govern the poetic process, especia!!y in its re!ation to the performative or the

theatrica!.

C56+ D8+>45*

The interface beteen the verba! and the visua! is the area under discussion here. 7rama, Theatre,

(erformance and performativity need to undergo c!ose scrutiny here. 1ne cannot disregard the cinematic

medium in a study of performance. Margina!ied theatres, dea!ing ith issues !i&e gender, ethnicity, etc.need to be introduced. The deve!opment of theatre from c!assica! times, #nti+#ristote!ian notions !i&e

#!ienation $ffect, the 5ndian notion of asa etc. are to be discussed in connection ith the te"ts. Though

seeming!y different, $"pressionism and simi!ar modes of theatrica! performance shou!d be made part of

c!assroom discussion.

M596- I

R?6+9 R9*/

S. S. Bar!ingay? K:arious Senses of the %ord asaL 'A !odern (ntroduction to (ndian

Aesthetic TheoryCh. , $!aine Aeinstein? Lear-s 0aughters 'Adaptations of

*ha$espeare A Critical Anthology of )lays from the

*e"enteenth Century to the )resent 'eds) 7anie! Aisch!in,

Mar& Aortier)

Mahaseta 7eviUsha Gangu!i? +udali ,rom ,iction to )erformance'Seagu!!)

S*+

ustom Bharucha? K(ebet? # (erformance Te"tL 'The Theatre of ;anhailal?

)ebet and !emoirs of Africa*+2)

M596- !R?6+9 R9*/

obert Scho!es et. a!. 'ed)? KThe $!ements of Ai!mL Elements of Literature

#ndre 7i"? KAi!ms and 5deo!ogyL 'Ch < ofBeginning ,ilm *tudies22+


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Sha4i . Iarun? &aanaprastham

B8@/+56*9 R9*/

Ieir $!am? *emiotics of Theatre and 0rama

#!e" Siers $d.? The !etheun 0rama Boo$ of Twenty%,irst Century )lays

Shohini Chodhuri? ,eminist ,ilm Theorists Laura !ul"ey< ;a3a *il"erman< Terese

de Lauretis< Barbara Creed

$ric 8ane $d.? Telling Tales /ew One Act )lays

Ienneth (ic&ering? *tudying !odern 0rama

Christian Met? ,ilm Language

enry Bia! 'ed)? The )erformance *tudies +eader

Ju!ie Sanders? Adaptation and Appropriation

Marvin Car!son? )erformance A Critical (ntroduction

Johan uiinga? Homo Ludens

M A E*/-

S4+ 1

PC 1 C68+ *9 4 R554 5: E*/-

T 3 56+ M6 W/4 30


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T 3 56+ M6 W/4 30

(art #

5. #nser any A5:$ of the fo!!oing, each in a paragraph of about !0 5+9?+

*. 7o!!imoreHs chief ob4ection to $.M.%.Ti!!yardHs The Eli2abethan #orld )icture

2. (hi!ip SidneyHs Kaesthetic condemnationL of the theatre of his day

-. $!ements of the beast fab!e in &olpone

. The vu!nerabi!ities of Sha&espeareHs Caesar

/. AaustusHs pact ith 8ucifer

. The structure of)rothalamion

3. BaconHs observations on parents and chi!dren


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T 3 56+ M6 W/4 30

(art #


*. %hat ro!e did re!igion p!ay during restoration and revo!utionN

2. %hat as nove!Hs engagement ith historica! rea!ity according to 5an %attN

-. The e!ement of se"ua!ity in KTo the Aair CorindaL

. 5magery in K1de to $veningL

/. Se"ua! hypocrisy in %ycher!yHs Country #ife

. The neoc!assica! confining of taste in 7rydenHsAll for Lo"e

3. %rite a note on the episto!ary method emp!oyed in)amela'


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PC L4++ C+48 *9 A898 W+4*/

T 3 56+ M6 W/4 30

(art #


*. oraceHs concept of decorum

2. 7rydenHs vies on tragicomedy

-. $"p!ain the touchstone method of Matthe #rno!d.

. #ccording to #uerbach, hat is the narrative strategy emp!oyed in the omeric epicsN

/. $"p!ain the neo+#ristote!ianism of the Chicago critics.

. %hat is socia!ist rea!ismN

3. ef!e"ive nove!


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S4+ 1

PC ! I*9* E*/- L4+46+

T 3 56+ M6 W/4 30

(art #


*. The notion of$armadiscussed by amanu4an

2. e brahminismorHindutwaas discussed by Resudasan

-. The e!ement of subsumed irony in K1n Ii!!ing a TreeL

. Si!ence in MahapatraHs K # Monsoon 7ay Aab!eL

/. istory as emp!oyed in Ghasiram ;otwal

. The @uestion of identity addressed in!idnight-s Children

3. Use of Ma!aya!am in God of *mall Things


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S4+ 2

PC $ L4+46+ 5: 4 N*4*4 C*46+

T 3 56+ M6 W/4 30

(art #


*. %hy does 5sobe! #rmstrong observe that the :ictorian poets have been Kconsigned to sepiaLN

2. %hat ana!ogica! and metaphorica! use is made by M.. #brams of the figures of the mirrorand thelampN

-. Se!f+pity in K1de to the %est %indL

. The theme of Kthe permanence of artL in K1de on a Grecian UrnL

/. The night batt!e in K7over BeachL

. Medieva! sacramenta! symbo!ism in KThe B!essed 7amoe!L

3. The pathos of 8ambHs K7ream Chi!drenL


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M A E*/-

S4+ 2

PC 10 T5+ 5: K*5-9/

T 3 56+ M6 W/4 30

(art #


*. 7efine *tructure.

2. %hat does Saussure mean by the 8inguistic SignN

-. Comment on the remar& about the birth of the reader that Barthes ma&es.

. %hat does 7errida imp!y by)layN

/. 1n hat grounds does #brams @uarre! ith modern theoryN

. #ccording to Aoucau!t, hy does ietsche cha!!enge the pursuit of originsN

3. The state of e"ception as #gamben defines it


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M A E*/-

S4+ 3

C5+ C56+ 11 PC 11 A+8* L4+46+

T 3 56+ M6 W/4 30

(art #

5. #nser any FIVE of the fo!!oing, each in a paragraph of about !0 5+9?+

*. $ar!iest !etters home ritten from the #merican soi!

2. The e"c!usive category of #merican !iterature

-. The p!ay of contraries ithout contradiction in KThe $mperor of 5ce creamL

. Symbo!ism of the Chero&ee rose in KChero&ee oseL

/. The source for the tit!e of #ho-s Afraid of &irginia #oolf

. #ccount for Bart!ebyHs depression.

3. Comment on the visua! @ua!ity of arper 8eeHs narration in To ;ill a !oc$ing Bird.


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M A E*/-

S4+ 3

C5+ C56+ 12 PC12 C6-46+- S469

T 3 56+ M6 W/4 30

(art #


*. %hat are the to senses of the ord Cu!ture that aymond %i!!iams dis!i&esN

2. o does Simon 7uring reassess the notion of W:a!ueH in 8iteratureN

-. o does Barthes discuss toys as a form of mytho!ogyN

. 7efine the notion of The ationa! (opu!ar.

/. S!um as defining metaphor in #shis andyHs discussion of 5ndian popu!ar cinema.

. The e Suba!tern

3. Iera!a Modernity


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M A E*/-

S4+ 3

C5+ C56+ 13 PC 13 G*9+ S469

T 3 56+ M6 W/4 30

(art #

5. #nser any FIVEof the fo!!oing, each in a paragraph of about !0 5+9?+

*. o does Iate Mi!!et define the ord Wpo!iticsHN

2. o is gender socia!!y constructedN

-. $!ements of autobiography in Sonnet 20

. The centra! symbo!s in K7ance of the $unuchsL

/. o does #tood portray ma!e gods in KS&hemetLN

. o does Stein intertine ar ith homoeroticismN

3. To hich dramatic genre does the p!ayLights Outbe!ongN


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M A E*/-

S4+ 3

C5+ C56+ 1 PC 1 M59 5: F845*

T 3 56+ M6 W/4 30

(art #


*. %hy does $ag!eton ca!! the nove! a mongre!N

2. 5n Cynthia 1ic&Hs story hy is the sha! referred to as the magic sha!N

-. Bring out the fo!& dimension in Kip :an %in&!eL.

. Justify the tit!e The(n"isible !an.

/. Moc&ery of the chiva!ric tradition attempted by Cervantes

. 5nterface beteen secu!arism and re!igion in *now

3. Aee!ing of mother!essness depicted inAutobiography of !y !other


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M A E*/-

S4+ 3

C5+ C56+ 1! PC 1! T4 *9 P+:5+*8

T 3 56+ M6 W/4 30

(art #


*. #!ienation effect

2. $"pressionism

-. (oor theatre

. *utradhara

/. Montage

. Comedy

3. Gender and performance

Sems 1,2,3 Syllabus and Qp (1)

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