MA III SEM
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-31
Course Title: Literary Criticism and Theory-I (Paper-I)
Course Type: Core Course
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-31
Course Title: Literary Criticism and Theory-I (Paper-I)
Course Type: Core Course
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Classical Criticism
(i) Bharata Muni: Natyashastra
(ii) Bhartrhari: On Syntax and Meaning (from Vakyapadiya)
(iii) Aristotle: Poetics
Activities:
Rasa Enactment Workshop: Students enact scenes evoking each of the nine rasas (Sringara, Hasya, Karuna, etc.) followed by a reflective discussion on how emotions were communicated.
Catharsis Reflection Journal: After viewing a tragedy, students write personal responses focused on the emotional purging (catharsis) they experienced.
Unit II: Renaissance and Neoclassical Criticism
(i) Philip Sidney: An Apology for Poetry
(ii) John Dryden: Of Dramatic Poesie
(iii) Samuel Johnson: A Preface to Shakespeare
Activities:
Gallery Walk: Display key quotes from the text around the room; students move in groups, analyzing and responding on sticky notes.
Role-Play Symposium: Students take on the personas of Crites, Eugenius, Lisideius, and Neander and hold a mock panel on modern theatre.
Faults and Greatness Chart: Create a two-column chart listing Johnson's praises and criticisms of Shakespeare with supporting examples.
Unit III: Romantic Criticism
(i) William Wordsworth: Preface to Lyrical Ballads (1802)
(ii) Samuel Taylor Coleridge: Biographia Literaria, Chapters XIV and XVIII
(iii) John Keats: Selected Letters (Negative Capability, on the aims of poetry, on the imagination)
Activities:
Then vs. Now Comparison: Compare excerpts from 18th-century neoclassical poetry (e.g., Pope) with Wordsworth's poems (Michael, The Solitary Reaper) to analyze how diction and subject matter reflect Wordsworth's manifesto.
Imagination Illustration Task: Create a visual diagram or infographic showing Primary vs. Secondary Imagination, including examples from The Rime of the Ancient Mariner or Kubla Khan.
Beauty vs. Truth Collage: Create a visual or digital collage illustrating the relationship between beauty and truth, using Keats's quote: "Beauty is truth, truth beauty..."
Unit IV: Modern Criticism
(i) Matthew Arnold: The Study of Poetry; "Barbarians, Philistines, Populace" (in Culture and Anarchy)
(ii) T. S. Eliot: Hamlet and His Problems
Activities:
Culture Diary: Students document their daily cultural consumption (music, media, books, etc.) for a week, then analyze it through Arnold's lens of culture vs. anarchy.
Scene Re-Imagining: Rewrite a key Hamlet soliloquy using Eliot's theory—include a new "objective correlative" that clarifies Hamlet's internal struggle.
Unit V: Formalism, New Criticism, and Archetype
(i) Cleanth Brooks: The Language of Paradox
(ii) Viktor Shklovsky: Art as Technique
(iii) Northrop Frye: Myth, Fiction and Displacement
Activities:
Paradox Collage Activity: Students create a visual collage that illustrates a literary paradox (e.g., "death be not proud," "sweet sorrow").
Short Film Screening & Analysis: Watch a short experimental film (e.g., Maya Deren or animation) and analyze how it defamiliarizes everyday scenes.
Keywords / Tags Aesthetic, Criticism, Renaissance, Neoclassic, Romanticism, Modernism, Beauty and Meaning, Formalism, New Criticism and Archetype, Nature of Literature.
(Paper-II)
MA Semester III English Literature
Syllabus: Session 2026–27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-32
Course Title: English Language and Linguistics (Paper-II)
Course Type: Core Course
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Definition, Functions, and Characteristics of Language
(ii) Historical Development of the English Language
(iii) Human vs. Animal Communication Systems
Activities:
Feature Comparison Workshop: Students map out Charles Hockett's design features of language (arbitrariness, duality of patterning, displacement) comparing human speech with animal communication.
Language Evolution Timeline: Group presentations mapping major sound shifts and vocabulary borrowings across Old, Middle, and Modern English periods.
Unit II: Sociolinguistics and Language Approaches
(i) Language Varieties: Register, Style, Dialect, and Idiolect
(ii) Approaches to Language Study: Synchronic vs. Diachronic
(iii) Notions of Correctness and Acceptability in Language
Activities:
Register Mapping Exercise: Analyze short texts from different domains (legal, academic, informal chat, advertising) to isolate markers of field, tenor, and mode.
Synchronic vs. Diachronic Case Study: Track the semantic shift of select English words across history alongside a snapshot of their modern usage.
Unit III: Fundamentals of Phonetics and Phonology
(i) Definition and Distinction: Phonetics vs. Phonology
(ii) The Organs of Speech and Mechanism of Sound Production
(iii) Classification of Speech Sounds: Vowels and Consonants
Activities:
Organs of Speech Diagramming: Interactive lab session mapping vocal tract articulators (tongue, teeth, velum, vocal folds) during sound production.
Articulatory Workshop: Practice producing and categorizing sounds by place and manner of articulation.
Unit IV: Applied Phonology and RP Symbols
(i) Concepts of Phonemes and Allophones
(ii) Phonetic Symbols for Vowels, Diphthongs, and Consonants in (iii) Received Pronunciation (RP)
(iv) Basics of Phonetic Transcription
Activities:
IPA Transcription Practice: Transcribe short passages from standard English into International Phonetic Alphabet (IPA) script.
Allophonic Identification Task: Identify allophonic variations in spoken English pairs (e.g., aspirated vs. unaspirated stops).
Unit V: Modern Linguistics and Syntax
(i) Basics of Transformational Generative Grammar (TGG): Nature and Characteristics
(ii) Surface Structure vs. Deep Structure
(iii) Syntactic Tree Diagrams and Phrase Structure Rules
Activities:
Tree Diagram Building: Construct phrase structure trees for simple and complex sentences using TGG principles.
Deep vs. Surface Structure Analysis: Dissect ambiguous sentences (e.g., "Flying planes can be dangerous") into distinct underlying deep structures.
Keywords / Tags
Phonetics, Phonology, Sociolinguistics, RP Symbols, Synchronic, Diachronic, Register, Dialect, Transformational Generative Grammar, Deep Structure.
(Paper-III (a))
MA Semester III English Literature
Syllabus: Session 2026–27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: British Literature-I: Chaucer to Restoration (Paper-III (a))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Age of Chaucer
Course Content
Unit I: Classical Criticism
(i) Bharata Muni: Natyashastra
(ii) Bhartrhari: On Syntax and Meaning (from Vakyapadiya)
(iii) Aristotle: Poetics
Activities:
Rasa Enactment Workshop: Students enact scenes evoking each of the nine rasas (Sringara, Hasya, Karuna, etc.) followed by a reflective discussion on how emotions were communicated.
Catharsis Reflection Journal: After viewing a tragedy, students write personal responses focused on the emotional purging (catharsis) they experienced.
Unit II: Renaissance and Neoclassical Criticism
(i) Philip Sidney: An Apology for Poetry
(ii) John Dryden: Of Dramatic Poesie
(iii) Samuel Johnson: A Preface to Shakespeare
Activities:
Gallery Walk: Display key quotes from the text around the room; students move in groups, analyzing and responding on sticky notes.
Role-Play Symposium: Students take on the personas of Crites, Eugenius, Lisideius, and Neander and hold a mock panel on modern theatre.
Faults and Greatness Chart: Create a two-column chart listing Johnson's praises and criticisms of Shakespeare with supporting examples.
Unit III: Romantic Criticism
(i) William Wordsworth: Preface to Lyrical Ballads (1802)
(ii) Samuel Taylor Coleridge: Biographia Literaria, Chapters XIV and XVIII
(iii) John Keats: Selected Letters (Negative Capability, on the aims of poetry, on the imagination)
Activities:
Then vs. Now Comparison: Compare excerpts from 18th-century neoclassical poetry (e.g., Pope) with Wordsworth's poems (Michael, The Solitary Reaper) to analyze how diction and subject matter reflect Wordsworth's manifesto.
Imagination Illustration Task: Create a visual diagram or infographic showing Primary vs. Secondary Imagination, including examples from The Rime of the Ancient Mariner or Kubla Khan.
Beauty vs. Truth Collage: Create a visual or digital collage illustrating the relationship between beauty and truth, using Keats's quote: "Beauty is truth, truth beauty..."
Unit IV: Modern Criticism
(i) Matthew Arnold: The Study of Poetry; "Barbarians, Philistines, Populace" (in Culture and Anarchy)
(ii) T. S. Eliot: Hamlet and His Problems
Activities:
Culture Diary: Students document their daily cultural consumption (music, media, books, etc.) for a week, then analyze it through Arnold's lens of culture vs. anarchy.
Scene Re-Imagining: Rewrite a key Hamlet soliloquy using Eliot's theory—include a new "objective correlative" that clarifies Hamlet's internal struggle.
Unit V: Formalism, New Criticism, and Archetype
(i) Cleanth Brooks: The Language of Paradox
(ii) Viktor Shklovsky: Art as Technique
(iii) Northrop Frye: Myth, Fiction and Displacement
Activities:
Paradox Collage Activity: Students create a visual collage that illustrates a literary paradox (e.g., "death be not proud," "sweet sorrow").
Short Film Screening & Analysis: Watch a short experimental film (e.g., Maya Deren or animation) and analyze how it defamiliarizes everyday scenes.
Keywords / Tags Aesthetic, Criticism, Renaissance, Neoclassic, Romanticism, Modernism, Beauty and Meaning, Formalism, New Criticism and Archetype, Nature of Literature.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
MA Semester III English Literature
Syllabus: Session 2026–27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-32
Course Title: English Language and Linguistics (Paper-II)
Course Type: Core Course
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Introduction to English LanguageCourse Content
(i) Definition, Functions, and Characteristics of Language
(ii) Historical Development of the English Language
(iii) Human vs. Animal Communication Systems
Activities:
Feature Comparison Workshop: Students map out Charles Hockett's design features of language (arbitrariness, duality of patterning, displacement) comparing human speech with animal communication.
Language Evolution Timeline: Group presentations mapping major sound shifts and vocabulary borrowings across Old, Middle, and Modern English periods.
Unit II: Sociolinguistics and Language Approaches
(i) Language Varieties: Register, Style, Dialect, and Idiolect
(ii) Approaches to Language Study: Synchronic vs. Diachronic
(iii) Notions of Correctness and Acceptability in Language
Activities:
Register Mapping Exercise: Analyze short texts from different domains (legal, academic, informal chat, advertising) to isolate markers of field, tenor, and mode.
Synchronic vs. Diachronic Case Study: Track the semantic shift of select English words across history alongside a snapshot of their modern usage.
Unit III: Fundamentals of Phonetics and Phonology
(i) Definition and Distinction: Phonetics vs. Phonology
(ii) The Organs of Speech and Mechanism of Sound Production
(iii) Classification of Speech Sounds: Vowels and Consonants
Activities:
Organs of Speech Diagramming: Interactive lab session mapping vocal tract articulators (tongue, teeth, velum, vocal folds) during sound production.
Articulatory Workshop: Practice producing and categorizing sounds by place and manner of articulation.
Unit IV: Applied Phonology and RP Symbols
(i) Concepts of Phonemes and Allophones
(ii) Phonetic Symbols for Vowels, Diphthongs, and Consonants in (iii) Received Pronunciation (RP)
(iv) Basics of Phonetic Transcription
Activities:
IPA Transcription Practice: Transcribe short passages from standard English into International Phonetic Alphabet (IPA) script.
Allophonic Identification Task: Identify allophonic variations in spoken English pairs (e.g., aspirated vs. unaspirated stops).
Unit V: Modern Linguistics and Syntax
(i) Basics of Transformational Generative Grammar (TGG): Nature and Characteristics
(ii) Surface Structure vs. Deep Structure
(iii) Syntactic Tree Diagrams and Phrase Structure Rules
Activities:
Tree Diagram Building: Construct phrase structure trees for simple and complex sentences using TGG principles.
Deep vs. Surface Structure Analysis: Dissect ambiguous sentences (e.g., "Flying planes can be dangerous") into distinct underlying deep structures.
Keywords / Tags
Phonetics, Phonology, Sociolinguistics, RP Symbols, Synchronic, Diachronic, Register, Dialect, Transformational Generative Grammar, Deep Structure.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
MA Semester III English Literature
Syllabus: Session 2026–27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: British Literature-I: Chaucer to Restoration (Paper-III (a))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Historical and Socio-Political Background, Trends & MovementsCourse Content
(i) Age of Chaucer
(ii) English Renaissance
(iii) Elizabethan Period
(iv) Restoration Age
(Literary Features of the Age/s, Development of Literary Genres.)
Activities:
Pilgrimage Roleplay: Classroom "pilgrimage" where students take on the roles of The Canterbury Tales characters and narrate a brief original tale in character.
Renaissance Timeline Gallery Walk: Chronological wall display of key literary, artistic, and historical developments in Europe and England (1450-1600).
Dramatic Irony Game: Quiz-style game identifying dramatic irony and soliloquies from Shakespearean plays.
Unit II: Narrative and Epic Poetry:
(i) Edmund Spenser: The Faerie Queene (Book-1, Canto-I)
(ii) John Milton: Paradise Lost (Book I & II)
Activities:
Virtue Debate: Debate on "Holiness as the Supreme Christian Virtue - Spenserian Perspective vs Modern Ethics".
Milton's Cosmos Diagram: Draw the cosmological structure (Heaven, Chaos, Hell, Earth) with reference to textual lines and character positions.
Unit III: Renaissance Poetry
(i) William Shakespeare: Sonnets Nos. 18, 73, 129, 130, and 138
(ii) John Donne: A Valediction: Forbidding Mourning, The Flea, The Canonization
Activities:
Poetic Devices Scavenger Hunt: Teams compete to find literary devices (metaphor, hyperbole, paradox, pun, etc.) in sonnets.
Mini Seminar Presentation: Group presentations focusing on historical context, central metaphors, argument logic, and modern interpretation.
Unit IV: Drama
(i) William Shakespeare: Macbeth
(ii) John Webster: The White Devil
Activities:
Character Trial - Macbeth in the Dock: Mock trial for treason and murder assigning roles to students.
Wit and Wordplay Detective: Identify verbal irony, dark humor, and philosophical reflection in Flamineo's speeches.
Unit V: Fiction and Prose
(i) John Bunyan: Pilgrim's Progress
(ii) Francis Bacon: Of Friendship, Of Revenge, Of Love
Activities:
Character Diary Project: Write first-person diary entries as Christian or another character after major story events.
Symbol Sorting Game: Match card symbols and scenes (Burden, Wicket Gate, Apollyon) with allegorical meanings.
Moral Aphorism Poster: Illustrate aphoristic statements from Bacon's essays with real-life examples or metaphors.
Keywords / Tags: Sonnet, Epic, Metaphysical poets, University Wits, Comedy, Tragedy
Activities:
Pilgrimage Roleplay: Classroom "pilgrimage" where students take on the roles of The Canterbury Tales characters and narrate a brief original tale in character.
Renaissance Timeline Gallery Walk: Chronological wall display of key literary, artistic, and historical developments in Europe and England (1450-1600).
Dramatic Irony Game: Quiz-style game identifying dramatic irony and soliloquies from Shakespearean plays.
Unit II: Narrative and Epic Poetry:
(i) Edmund Spenser: The Faerie Queene (Book-1, Canto-I)
(ii) John Milton: Paradise Lost (Book I & II)
Activities:
Virtue Debate: Debate on "Holiness as the Supreme Christian Virtue - Spenserian Perspective vs Modern Ethics".
Milton's Cosmos Diagram: Draw the cosmological structure (Heaven, Chaos, Hell, Earth) with reference to textual lines and character positions.
Unit III: Renaissance Poetry
(i) William Shakespeare: Sonnets Nos. 18, 73, 129, 130, and 138
(ii) John Donne: A Valediction: Forbidding Mourning, The Flea, The Canonization
Activities:
Poetic Devices Scavenger Hunt: Teams compete to find literary devices (metaphor, hyperbole, paradox, pun, etc.) in sonnets.
Mini Seminar Presentation: Group presentations focusing on historical context, central metaphors, argument logic, and modern interpretation.
Unit IV: Drama
(i) William Shakespeare: Macbeth
(ii) John Webster: The White Devil
Activities:
Character Trial - Macbeth in the Dock: Mock trial for treason and murder assigning roles to students.
Wit and Wordplay Detective: Identify verbal irony, dark humor, and philosophical reflection in Flamineo's speeches.
Unit V: Fiction and Prose
(i) John Bunyan: Pilgrim's Progress
(ii) Francis Bacon: Of Friendship, Of Revenge, Of Love
Activities:
Character Diary Project: Write first-person diary entries as Christian or another character after major story events.
Symbol Sorting Game: Match card symbols and scenes (Burden, Wicket Gate, Apollyon) with allegorical meanings.
Moral Aphorism Poster: Illustrate aphoristic statements from Bacon's essays with real-life examples or metaphors.
Keywords / Tags: Sonnet, Epic, Metaphysical poets, University Wits, Comedy, Tragedy
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper-III (b))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Translation Studies: Theory and Practice (Paper-III (b))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Definition, scope, and significance of Translation Studies
(ii) History of translation: Western and Non-Western traditions
(iii) Key concepts: Source Text (ST) and Target Text (TT), equivalence, fidelity, domestication vs. foreignization
(iv) Major theorists: Eugene Nida, Walter Benjamin, Lawrence Venuti, Roman Jakobson
Activities:
Timeline Creation (Poster/Infographic): Students create a timeline showing key developments in translation history in both Western (e.g., Cicero, St. Jerome) and Non-Western (e.g., Panini, Ziauddin Barani, Dara Shikoh) contexts.
Translation and Empire Workshop: Explore colonial use of translation - e.g., British translation of Indian legal texts and its impact. Encourage students to analyze short colonial-era translated texts.
Concept Card Game: Create a classroom game using cards labeled with definitions, examples, and theorist quotes related to key terms. Students match and explain them.
Unit II: Theoretical Approach to Translation
(i) Linguistic approaches: Catford, Vinay & Darbelnet
(ii) Functionalist theories: Skopos Theory (Reiss & Vermeer)
(iii) Postcolonial Translation Theory: Tejaswini Niranjana, Gayatri Spivak
(iv) Feminist Translation: Sherry Simon, Luise von Flotow
(v) Deconstruction and Translation: Derrida's influence
Activities:
Comparative Translation Task: Students translate a simple paragraph and compare their version to others using linguistic strategies. They must justify which strategies they used and why.
Purpose-Driven Translation Task: Provide one source text and assign different purposes (e.g., translate for tourists, academics, or children). Students produce varied target texts and reflect on their choices.
Critical Text Discussion: Assign excerpts from Spivak's "Politics of Translation" or Niranjana's "Siting Translation". Students lead mini-seminars on Translation and power, Voice and agency, and Eurocentrism in translation.
Unit III: Cultural and Ethical Issues in Translation
(i) Untranslatability: Linguistic and cultural challenges
(ii) Power dynamics in translation: Who translates whom?
(iii) Ethics of translation: Manipulation, censorship, and ideological shifts
(iv) Role of the translator: Invisibility vs. intervention
Activities:
Untranslatable Word Gallery: Students create digital or physical exhibits of culturally bound, untranslatable words (e.g., jugaad [Hindi], gezelligheid [Dutch], saudade [Portuguese]) with cultural context, possible translations or footnotes, and reflection on the loss/gain of meaning.
Compare & Contrast Activity: Provide censored vs. original versions of a political or literary text. Ask students to identify changes and evaluate the impact on ideology and reader perception.
Unit IV: Practical Translation
(i) Translation techniques: Transposition, modulation, adaptation, compensation
(ii) Literary vs. non-literary translation: Challenges and strategies
(iii) Editing and revising translations
(iv) Machine Translation vs. Human Translation: Pros and cons
(v) Methodologies for translation in new media and technologies
Activity:
Comparative Analysis: Compare a machine-translated text (Google Translate) with a human translation.
Unit V: Translation in the Global Context
(i) World literature and translation: The role of translators in canon formation
(ii) Retranslation: Why some texts are retranslated (e.g., The Iliad, The Bhagavad Gita)
(iii) Translation and digital media: Subtitling, dubbing, fan translations
(iv) Career prospects in translation: Publishing, localization, subtitling
Activities:
Canon Debate: Motion - "World literature is shaped more by translators than by authors." Students research cases (e.g., Tagore's Gitanjali, GarcÃa Márquez, Homer) and debate the translator's role in canon-building.
Side-by-Side Comparison Task: Students compare two translations of the same passage from The Iliad, The Bible, or The Gita. They analyze lexical choices, cultural emphasis, shifts in tone, then speculate on the reasons behind the retranslation (e.g., changing ideology, new audience, modern language).
Keywords / Tags:
Translation, Functional Theories, Translation Techniques, Machine Translation, Retranslation, Translation in Digital Media
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Translation Studies: Theory and Practice (Paper-III (b))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Introduction to Translation StudiesCourse Content
(i) Definition, scope, and significance of Translation Studies
(ii) History of translation: Western and Non-Western traditions
(iii) Key concepts: Source Text (ST) and Target Text (TT), equivalence, fidelity, domestication vs. foreignization
(iv) Major theorists: Eugene Nida, Walter Benjamin, Lawrence Venuti, Roman Jakobson
Activities:
Timeline Creation (Poster/Infographic): Students create a timeline showing key developments in translation history in both Western (e.g., Cicero, St. Jerome) and Non-Western (e.g., Panini, Ziauddin Barani, Dara Shikoh) contexts.
Translation and Empire Workshop: Explore colonial use of translation - e.g., British translation of Indian legal texts and its impact. Encourage students to analyze short colonial-era translated texts.
Concept Card Game: Create a classroom game using cards labeled with definitions, examples, and theorist quotes related to key terms. Students match and explain them.
Unit II: Theoretical Approach to Translation
(i) Linguistic approaches: Catford, Vinay & Darbelnet
(ii) Functionalist theories: Skopos Theory (Reiss & Vermeer)
(iii) Postcolonial Translation Theory: Tejaswini Niranjana, Gayatri Spivak
(iv) Feminist Translation: Sherry Simon, Luise von Flotow
(v) Deconstruction and Translation: Derrida's influence
Activities:
Comparative Translation Task: Students translate a simple paragraph and compare their version to others using linguistic strategies. They must justify which strategies they used and why.
Purpose-Driven Translation Task: Provide one source text and assign different purposes (e.g., translate for tourists, academics, or children). Students produce varied target texts and reflect on their choices.
Critical Text Discussion: Assign excerpts from Spivak's "Politics of Translation" or Niranjana's "Siting Translation". Students lead mini-seminars on Translation and power, Voice and agency, and Eurocentrism in translation.
Unit III: Cultural and Ethical Issues in Translation
(i) Untranslatability: Linguistic and cultural challenges
(ii) Power dynamics in translation: Who translates whom?
(iii) Ethics of translation: Manipulation, censorship, and ideological shifts
(iv) Role of the translator: Invisibility vs. intervention
Activities:
Untranslatable Word Gallery: Students create digital or physical exhibits of culturally bound, untranslatable words (e.g., jugaad [Hindi], gezelligheid [Dutch], saudade [Portuguese]) with cultural context, possible translations or footnotes, and reflection on the loss/gain of meaning.
Compare & Contrast Activity: Provide censored vs. original versions of a political or literary text. Ask students to identify changes and evaluate the impact on ideology and reader perception.
Unit IV: Practical Translation
(i) Translation techniques: Transposition, modulation, adaptation, compensation
(ii) Literary vs. non-literary translation: Challenges and strategies
(iii) Editing and revising translations
(iv) Machine Translation vs. Human Translation: Pros and cons
(v) Methodologies for translation in new media and technologies
Activity:
Comparative Analysis: Compare a machine-translated text (Google Translate) with a human translation.
Unit V: Translation in the Global Context
(i) World literature and translation: The role of translators in canon formation
(ii) Retranslation: Why some texts are retranslated (e.g., The Iliad, The Bhagavad Gita)
(iii) Translation and digital media: Subtitling, dubbing, fan translations
(iv) Career prospects in translation: Publishing, localization, subtitling
Activities:
Canon Debate: Motion - "World literature is shaped more by translators than by authors." Students research cases (e.g., Tagore's Gitanjali, GarcÃa Márquez, Homer) and debate the translator's role in canon-building.
Side-by-Side Comparison Task: Students compare two translations of the same passage from The Iliad, The Bible, or The Gita. They analyze lexical choices, cultural emphasis, shifts in tone, then speculate on the reasons behind the retranslation (e.g., changing ideology, new audience, modern language).
Keywords / Tags:
Translation, Functional Theories, Translation Techniques, Machine Translation, Retranslation, Translation in Digital Media
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper-III (c))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: American Literature (Paper-III (c))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Phillis Wheatley: On Being Brought from Africa to America
(ii) Walt Whitman: Selections from Leaves of Grass (Song of Myself-1; I Sing the Body Electric-1)
(iii) Edgar Allan Poe: Alone, Annabel Lee
(iv) Robert Frost: The Road Not Taken, After Apple Picking, The Gift Outright
Activities:
Irony Hunt & Discussion: Students identify subtle ironies in the poem and discuss how Wheatley subverts Eurocentric Christian rhetoric.
Democracy & Self Activity: Discussion or debate on: "Is Whitman's ideal of the self still relevant in the digital age?"
Unit II: Drama
(i) Arthur Miller: Death of a Salesman
(ii) Edward Albee: Who's Afraid of Virginia Woolf?
Activities:
The American Dream Debate: Motion: "The American Dream is a myth that destroys more than it empowers."
Virginia Woolf Research Link: Ask students to research Virginia Woolf's life and explore why her name/title is symbolically important. Present findings as a short oral report or infographic. Students support arguments with examples from the play and modern parallels.
Unit III: Fiction
(i) Toni Morrison: The Bluest Eye
(ii) William Faulkner: Light in August
Activities:
Pecola's Diary - A Creative Writing Task: Students write 2-3 diary entries from Pecola's point of view at key moments in the novel. Focus: her emotional landscape and imagined inner voice.
Character Intersection Mapping: Using a chart or diagram, students map character intersections (Joe, Lena, Hightower, Byron), and identify themes of redemption, exile, judgment, and belonging.
Unit IV: Short Stories
(i) Charlotte Perkins Gilman: The Yellow Wallpaper
(ii) John Cheever: The Swimmer, Reunion
Activities:
Room Illustration Task ("Draw Her World"): Students illustrate or digitally render the narrator's room based on her descriptions. Discuss how the setting reflects her mental state and social entrapment.
Two-Voice Monologue: Students write and perform a duet monologue—one voice for the son, one for the father—reflecting on the same event from two psychological angles.
Unit V: Prose
(i) Ralph Waldo Emerson: Self-Reliance
(ii) Frederick Douglass: What to the Slave Is the Fourth of July?
Activities:
"Emerson Today" Podcast Clip: In groups, students record a short podcast discussing: "What would Emerson say about social media, cancel culture, or academic pressure?" (Encourages applying Transcendentalist thought to modern dilemmas).
Then vs. Now: Liberty Audit: Students choose a contemporary issue (e.g., racial profiling, voting rights) and research how Douglass's arguments remain relevant today. Present a comparison in the form of an infographic or slideshow.
Keywords / Tags
American Literature, Poetry, Drama, Fiction, Prose
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: American Literature (Paper-III (c))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: PoetryCourse Content
(i) Phillis Wheatley: On Being Brought from Africa to America
(ii) Walt Whitman: Selections from Leaves of Grass (Song of Myself-1; I Sing the Body Electric-1)
(iii) Edgar Allan Poe: Alone, Annabel Lee
(iv) Robert Frost: The Road Not Taken, After Apple Picking, The Gift Outright
Activities:
Irony Hunt & Discussion: Students identify subtle ironies in the poem and discuss how Wheatley subverts Eurocentric Christian rhetoric.
Democracy & Self Activity: Discussion or debate on: "Is Whitman's ideal of the self still relevant in the digital age?"
Unit II: Drama
(i) Arthur Miller: Death of a Salesman
(ii) Edward Albee: Who's Afraid of Virginia Woolf?
Activities:
The American Dream Debate: Motion: "The American Dream is a myth that destroys more than it empowers."
Virginia Woolf Research Link: Ask students to research Virginia Woolf's life and explore why her name/title is symbolically important. Present findings as a short oral report or infographic. Students support arguments with examples from the play and modern parallels.
Unit III: Fiction
(i) Toni Morrison: The Bluest Eye
(ii) William Faulkner: Light in August
Activities:
Pecola's Diary - A Creative Writing Task: Students write 2-3 diary entries from Pecola's point of view at key moments in the novel. Focus: her emotional landscape and imagined inner voice.
Character Intersection Mapping: Using a chart or diagram, students map character intersections (Joe, Lena, Hightower, Byron), and identify themes of redemption, exile, judgment, and belonging.
Unit IV: Short Stories
(i) Charlotte Perkins Gilman: The Yellow Wallpaper
(ii) John Cheever: The Swimmer, Reunion
Activities:
Room Illustration Task ("Draw Her World"): Students illustrate or digitally render the narrator's room based on her descriptions. Discuss how the setting reflects her mental state and social entrapment.
Two-Voice Monologue: Students write and perform a duet monologue—one voice for the son, one for the father—reflecting on the same event from two psychological angles.
Unit V: Prose
(i) Ralph Waldo Emerson: Self-Reliance
(ii) Frederick Douglass: What to the Slave Is the Fourth of July?
Activities:
"Emerson Today" Podcast Clip: In groups, students record a short podcast discussing: "What would Emerson say about social media, cancel culture, or academic pressure?" (Encourages applying Transcendentalist thought to modern dilemmas).
Then vs. Now: Liberty Audit: Students choose a contemporary issue (e.g., racial profiling, voting rights) and research how Douglass's arguments remain relevant today. Present a comparison in the form of an infographic or slideshow.
Keywords / Tags
American Literature, Poetry, Drama, Fiction, Prose
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper- III (d))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Film Studies (Paper- III (d))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Definition and Scope of Film Studies
(ii) Elements of Film: Point-of-View, The Rule of Thirds, Shots (Wide, Establishing, Medium, Close-up, Over-the-Shoulder, Connecting, Transitional), Scenes, Mise-en-scène, Sound (Diegetic, Non-Diegetic), Genre, The Auteur Theory
Enrichment Activities:
Shot Identification with Film Clips: Show short clips from diverse films (30–60 seconds each). Students identify the shot type used (close-up, establishing, over-the-shoulder, etc.) and discuss how each shot contributes to storytelling or mood.
Scene Breakdown — Mise-en-Scène Analysis: Choose a powerful film scene (e.g., from The Godfather, Parasite, or Amélie). Students break down lighting, costume, setting, actor placement, and props in a group presentation.
Create a Micro-Scene: In groups, students plan and shoot a 1-minute scene using at least 3 shot types, clear mise-en-scène, and sound, reflecting on their choices in a written report.
Unit II: Adapting Literature on Screen & Back
(i) Hutcheon, Linda. "Beginning to Theorize Adaptation: What? Who? Why? How? Where? When?" A Theory of Adaptation, Routledge, 2006.
(ii) Baetens, Jan. "From screen to text: novelization, the hidden continent." The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Wheleham, CUP, 2007.
Enrichment Activities:
Adaptation Mapping Activity: Map multiple adaptations of a single source text (e.g., Pride and Prejudice 2005 film, Bridget Jones's Diary, graphic novel, etc.) using Hutcheon's framework (What, Who, Why, How, Where, When) in group posters or digital charts.
Media Hierarchy Pyramid: Create pyramids ranking literary texts, films, and novelizations. Re-evaluate based on Baetens and Hutcheon to analyze shifts in perception and discuss why media hierarchies exist.
Unit III: From Text to Screen: A Case Study I
(i) Satyajit Ray's Pather Panchali (adaptation of Bibhutibhushan Bandyopadhyay's novel Pather Panchali)
(ii) Vishal Bhardwaj's Haider (adaptation of William Shakespeare's Hamlet)
Enrichment Activities:
Scene Re-Creation Workshop: Adapt a key scene from Hamlet or Pather Panchali into a different cultural or temporal context (e.g., Hamlet in post-pandemic India or Pather Panchali in a futuristic dystopia) as a live script reading or storyboard.
Novelization Exercise: Novelize a short scene from Haider or Pather Panchali focusing on internal monologue, narrative voice, and background detail, reflecting on what is lost or gained in transition.
Unit IV: From Text to Screen: A Case Study II
(i) Joe Wright: Pride and Prejudice (adaptation of Jane Austen's novel Pride and Prejudice)
(ii) Steve McQueen: 12 Years a Slave (adaptation of Solomon Northup's autobiography 12 Years a Slave)
Enrichment Activities:
Narrative Voice and Subjectivity: Identify cinematic equivalents for literary perspective, evaluating how camera shots, editing, and sound replace internal narrative voice and shape empathy.
Fidelity Spectrum (Strict, Loose, Free): Position Pride & Prejudice and 12 Years a Slave on a fidelity spectrum, using Hutcheon's concept that "adaptation is re-interpretation, not reproduction."
Unit V: The Influence of Film and Literature
(i) Popular Culture: Literary Model, Language, Attire, Entertainment, Art, Sport, Fashion, Music
(ii) Writing a Film Review: Plot, Genre, Role of actors, Background information, condensed synopsis, argument/analysis, evaluation, recommendation, opinion
Enrichment Activities:
Thematic Film Review Through Popular Culture: Select a culturally rich film (e.g., Zindagi Na Milegi Dobara, Barbie, Rockstar, Rang De Basanti, La La Land, Black Panther) to analyze pop culture elements (language, fashion, music, lifestyle) and compose a structured film review covering synopsis, genre, performance analysis, technical evaluation, and recommendations.
Keywords / Tags: Adaptation, New World Cinema, Parallel Cinema, Indian Cinema, Avant-garde, Cinematography.
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Film Studies (Paper- III (d))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Reading FilmCourse Content
(i) Definition and Scope of Film Studies
(ii) Elements of Film: Point-of-View, The Rule of Thirds, Shots (Wide, Establishing, Medium, Close-up, Over-the-Shoulder, Connecting, Transitional), Scenes, Mise-en-scène, Sound (Diegetic, Non-Diegetic), Genre, The Auteur Theory
Enrichment Activities:
Shot Identification with Film Clips: Show short clips from diverse films (30–60 seconds each). Students identify the shot type used (close-up, establishing, over-the-shoulder, etc.) and discuss how each shot contributes to storytelling or mood.
Scene Breakdown — Mise-en-Scène Analysis: Choose a powerful film scene (e.g., from The Godfather, Parasite, or Amélie). Students break down lighting, costume, setting, actor placement, and props in a group presentation.
Create a Micro-Scene: In groups, students plan and shoot a 1-minute scene using at least 3 shot types, clear mise-en-scène, and sound, reflecting on their choices in a written report.
Unit II: Adapting Literature on Screen & Back
(i) Hutcheon, Linda. "Beginning to Theorize Adaptation: What? Who? Why? How? Where? When?" A Theory of Adaptation, Routledge, 2006.
(ii) Baetens, Jan. "From screen to text: novelization, the hidden continent." The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Wheleham, CUP, 2007.
Enrichment Activities:
Adaptation Mapping Activity: Map multiple adaptations of a single source text (e.g., Pride and Prejudice 2005 film, Bridget Jones's Diary, graphic novel, etc.) using Hutcheon's framework (What, Who, Why, How, Where, When) in group posters or digital charts.
Media Hierarchy Pyramid: Create pyramids ranking literary texts, films, and novelizations. Re-evaluate based on Baetens and Hutcheon to analyze shifts in perception and discuss why media hierarchies exist.
Unit III: From Text to Screen: A Case Study I
(i) Satyajit Ray's Pather Panchali (adaptation of Bibhutibhushan Bandyopadhyay's novel Pather Panchali)
(ii) Vishal Bhardwaj's Haider (adaptation of William Shakespeare's Hamlet)
Enrichment Activities:
Scene Re-Creation Workshop: Adapt a key scene from Hamlet or Pather Panchali into a different cultural or temporal context (e.g., Hamlet in post-pandemic India or Pather Panchali in a futuristic dystopia) as a live script reading or storyboard.
Novelization Exercise: Novelize a short scene from Haider or Pather Panchali focusing on internal monologue, narrative voice, and background detail, reflecting on what is lost or gained in transition.
Unit IV: From Text to Screen: A Case Study II
(i) Joe Wright: Pride and Prejudice (adaptation of Jane Austen's novel Pride and Prejudice)
(ii) Steve McQueen: 12 Years a Slave (adaptation of Solomon Northup's autobiography 12 Years a Slave)
Enrichment Activities:
Narrative Voice and Subjectivity: Identify cinematic equivalents for literary perspective, evaluating how camera shots, editing, and sound replace internal narrative voice and shape empathy.
Fidelity Spectrum (Strict, Loose, Free): Position Pride & Prejudice and 12 Years a Slave on a fidelity spectrum, using Hutcheon's concept that "adaptation is re-interpretation, not reproduction."
Unit V: The Influence of Film and Literature
(i) Popular Culture: Literary Model, Language, Attire, Entertainment, Art, Sport, Fashion, Music
(ii) Writing a Film Review: Plot, Genre, Role of actors, Background information, condensed synopsis, argument/analysis, evaluation, recommendation, opinion
Enrichment Activities:
Thematic Film Review Through Popular Culture: Select a culturally rich film (e.g., Zindagi Na Milegi Dobara, Barbie, Rockstar, Rang De Basanti, La La Land, Black Panther) to analyze pop culture elements (language, fashion, music, lifestyle) and compose a structured film review covering synopsis, genre, performance analysis, technical evaluation, and recommendations.
Keywords / Tags: Adaptation, New World Cinema, Parallel Cinema, Indian Cinema, Avant-garde, Cinematography.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper- III (e))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Use of Digital Tools in English Literature (Paper- III (e))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Overview of ICT and AI: Definitions and basic concepts
(ii) Definition and scope of Digital Tools in literary studies
(iii) Evolution of digital humanities and its impact on literature
(iv) Key concepts: Hypertext, digital archives, e-books, online libraries
(v) Ethical considerations: Copyright, plagiarism, and open-access resources
Activities:
Overview of ICT and AI Definitions and Basic Concepts: Use a digital mind-mapping tool (e.g., Coggle, MindMeister) to collaboratively build a map defining ICT and AI. Include examples such as ChatGPT, grammar checkers, citation tools, etc. End with a Kahoot! or Google Form quiz to reinforce definitions and real-world applications.
Digital Tool Showcase and Review: Assign each student a digital tool (e.g., Zotero, Voyant Tools, Google Ngram, Mendeley). They create a short demonstration (video or live) of how the tool aids literary research.
Unit II: Digital Resources for Literary Texts: Digital Texts and E-Readers for English Literature
(i) Natural Language Processing (NLP): Basics of NLP and its applications in literature, text mining, and sentiment analysis
(ii) Digital Text Formats: Online databases and archives – Digital editions of literary works, E-books, PDFs, and online journals
(iii) E-Readers and Reading Apps: Popular e-readers (e.g., Kindle, Nook), features and functionalities
(iv) Tools for Writing Skills: Composition and organization using Scrivener, MS Word, PPTs, Google Docs; Use of AI in PPT
(v) Writing & Paraphrasing Tools: ChatGPT, Copilot, Google Gemini, Meta AI, DeepSeek
(vi) Summarising Tools: ChatGPT, NotebookLM
(vii) Proofreading and Editing tools: ProWritingAid, Grammarly
Activities:
Treasure Hunt - Literary Archives Exploration: Give students a list of digital archives (e.g., Project Gutenberg, JSTOR, Internet Archive, HathiTrust). Create a treasure hunt worksheet: find a rare first edition, locate a 19th-century novel in PDF and ePub formats, compare layout and accessibility features of 2 platforms, and reflect on the role of digital formats in democratizing literary access.
Writing Tool Demo and Collaborative Composition: Break into tool-based groups (Scrivener, Google Docs, MS Word, PPT with AI Copilot). Assign a creative writing or literary analysis task. Each group creates and presents their output highlighting how the tool helped in planning, drafting, or presenting, and AI features used (Smart Compose, Design Ideas, etc.).
Unit III: Text Analytic Tools for Literary Analysis: Poetry, Drama, Fiction & Short Story
(i) Computational/Corpus/Linguistic Stylistics: Corpus linguistics, overview of tools, acquaintance with Shakespeare Database and Jane Austen database for keyness value of words, N-Gram, Collocations, Word Frequency
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-33
Course Title: Use of Digital Tools in English Literature (Paper- III (e))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Introduction to ICT and AI in English LiteratureCourse Content
(i) Overview of ICT and AI: Definitions and basic concepts
(ii) Definition and scope of Digital Tools in literary studies
(iii) Evolution of digital humanities and its impact on literature
(iv) Key concepts: Hypertext, digital archives, e-books, online libraries
(v) Ethical considerations: Copyright, plagiarism, and open-access resources
Activities:
Overview of ICT and AI Definitions and Basic Concepts: Use a digital mind-mapping tool (e.g., Coggle, MindMeister) to collaboratively build a map defining ICT and AI. Include examples such as ChatGPT, grammar checkers, citation tools, etc. End with a Kahoot! or Google Form quiz to reinforce definitions and real-world applications.
Digital Tool Showcase and Review: Assign each student a digital tool (e.g., Zotero, Voyant Tools, Google Ngram, Mendeley). They create a short demonstration (video or live) of how the tool aids literary research.
Unit II: Digital Resources for Literary Texts: Digital Texts and E-Readers for English Literature
(i) Natural Language Processing (NLP): Basics of NLP and its applications in literature, text mining, and sentiment analysis
(ii) Digital Text Formats: Online databases and archives – Digital editions of literary works, E-books, PDFs, and online journals
(iii) E-Readers and Reading Apps: Popular e-readers (e.g., Kindle, Nook), features and functionalities
(iv) Tools for Writing Skills: Composition and organization using Scrivener, MS Word, PPTs, Google Docs; Use of AI in PPT
(v) Writing & Paraphrasing Tools: ChatGPT, Copilot, Google Gemini, Meta AI, DeepSeek
(vi) Summarising Tools: ChatGPT, NotebookLM
(vii) Proofreading and Editing tools: ProWritingAid, Grammarly
Activities:
Treasure Hunt - Literary Archives Exploration: Give students a list of digital archives (e.g., Project Gutenberg, JSTOR, Internet Archive, HathiTrust). Create a treasure hunt worksheet: find a rare first edition, locate a 19th-century novel in PDF and ePub formats, compare layout and accessibility features of 2 platforms, and reflect on the role of digital formats in democratizing literary access.
Writing Tool Demo and Collaborative Composition: Break into tool-based groups (Scrivener, Google Docs, MS Word, PPT with AI Copilot). Assign a creative writing or literary analysis task. Each group creates and presents their output highlighting how the tool helped in planning, drafting, or presenting, and AI features used (Smart Compose, Design Ideas, etc.).
Unit III: Text Analytic Tools for Literary Analysis: Poetry, Drama, Fiction & Short Story
(i) Computational/Corpus/Linguistic Stylistics: Corpus linguistics, overview of tools, acquaintance with Shakespeare Database and Jane Austen database for keyness value of words, N-Gram, Collocations, Word Frequency
(ii) Software Tools: Voyant Tools, Stanford NLP (Open Source), AntConc Version 4 (Open Source), Slick Write Tools
(iii) Creating multimedia presentations: Four Quadrant approach for creating PPT
(iv) Author identification and stylistic analysis: Patterns and trends in literary styles, Sample Model Practical Exercises
Activities:
Computational / Corpus / Linguistic Stylistics Activity - Style Sleuth (Compare Authorial Style): Enable learners to identify stylistic markers in texts using corpus-based analysis. Select short passages from two authors (e.g., Austen vs. Brontë). Students analyze using AntConc or Voyant Tools for word frequency, type-token ratio, sentence/paragraph length, and repetition/patterning. Present findings as a "stylistic fingerprint" of each author.
Creating Multimedia Presentations - Four Quadrant Approach (Storyboard to Slide Deck): Train students in structured and visually engaging academic presentation making. Teach the Four Quadrant Approach: Concept (Thesis or core idea), Context (Background or theoretical framing), Conflict (Analytical problem or interpretation), and Conclusion (Resolution or insight). Students pick a literary topic and build a presentation using AI-enhanced tools (MS PPT Designer, Copilot), emphasizing images, citations, smart art, short quotes, and minimal text per slide.
Unit IV: ICT in Literary Criticism and Pedagogy
(i) Digital literary criticism: Blogs, podcasts, and online journals
(ii) E-learning platforms and MOOCs for literature courses
(iii) Virtual classrooms and collaborative tools (Google Classroom, Padlet, Hypothes.is)
(iv) Gamification and interactive storytelling in literature
Activities:
Build Your Own Branching Story or Literary Quiz Game: Introduce narrative theory and reader interactivity using digital creativity. Use Twine or Google Forms to create interactive "choose-your-own-adventure" style stories based on classic literature (e.g., Macbeth, Frankenstein). Alternatively, create literary quiz games using Kahoot, Quizizz, or Wordwall focusing on plot, character, or genre elements. Students present and play-test each other's games and reflect on how gamification changes reader engagement, plot structure, or comprehension.
Digital Humanities Showcase: Bring together skills from all four domains. Students (individually or in groups) create a mini digital literary magazine featuring a podcast or blog review, a MOOC review column, annotated text with Hypothes.is, and an interactive literary game or quiz. Publish on Google Sites or Padlet.
Unit V: Digital Tools for Literary Research
(i) Introduction to digital libraries and archives (Project Gutenberg, Google Books, JSTOR)
(ii) Text analysis tools (Voyant Tools, AntConc, WordSmith)
(iii) Data visualization in literature (GIS mapping, network analysis)
(iv) AI and machine learning in literary studies (ChatGPT, text generation, stylometry)
Activities:
Digital Treasure Hunt - Literary Research Expedition: Introduce students to curated digital repositories for literature and criticism. Create a scavenger hunt with tasks such as finding a rare first edition of a novel on Project Gutenberg, searching for 3 peer-reviewed articles on Frankenstein using JSTOR, and comparing scanned vs. digitized texts of a 19th-century novel on Google Books. Ask students to write a brief reflection on accessibility, layout, and usability of each platform and discuss how digital archives democratize access to literature.
Character Network Analysis: Visualize relationships in a novel using network theory. Use Gephi or NodeXL to create a network graph of character interactions in a play (e.g., Hamlet). Students assign weights to edges (frequency of interaction, emotional tone), analyze centrality (which character is most connected vs isolated), and present a short report on Social Structures in Shakespeare.
Keywords / Tags: ICT, AI, ChatGPT, Google Gemini, Microsoft Bing, Scrivener, Obsidian, Notion AI, ChatPDF, Chatbot, ProWritingAid, E-content, Sentiment Analysis, Voyant Tools, AntConc version 4, Keyness Value, N-Gram, Collocations, Word frequency, Concordance, Cirrus, Hypertext.
(iii) Creating multimedia presentations: Four Quadrant approach for creating PPT
(iv) Author identification and stylistic analysis: Patterns and trends in literary styles, Sample Model Practical Exercises
Activities:
Computational / Corpus / Linguistic Stylistics Activity - Style Sleuth (Compare Authorial Style): Enable learners to identify stylistic markers in texts using corpus-based analysis. Select short passages from two authors (e.g., Austen vs. Brontë). Students analyze using AntConc or Voyant Tools for word frequency, type-token ratio, sentence/paragraph length, and repetition/patterning. Present findings as a "stylistic fingerprint" of each author.
Creating Multimedia Presentations - Four Quadrant Approach (Storyboard to Slide Deck): Train students in structured and visually engaging academic presentation making. Teach the Four Quadrant Approach: Concept (Thesis or core idea), Context (Background or theoretical framing), Conflict (Analytical problem or interpretation), and Conclusion (Resolution or insight). Students pick a literary topic and build a presentation using AI-enhanced tools (MS PPT Designer, Copilot), emphasizing images, citations, smart art, short quotes, and minimal text per slide.
Unit IV: ICT in Literary Criticism and Pedagogy
(i) Digital literary criticism: Blogs, podcasts, and online journals
(ii) E-learning platforms and MOOCs for literature courses
(iii) Virtual classrooms and collaborative tools (Google Classroom, Padlet, Hypothes.is)
(iv) Gamification and interactive storytelling in literature
Activities:
Build Your Own Branching Story or Literary Quiz Game: Introduce narrative theory and reader interactivity using digital creativity. Use Twine or Google Forms to create interactive "choose-your-own-adventure" style stories based on classic literature (e.g., Macbeth, Frankenstein). Alternatively, create literary quiz games using Kahoot, Quizizz, or Wordwall focusing on plot, character, or genre elements. Students present and play-test each other's games and reflect on how gamification changes reader engagement, plot structure, or comprehension.
Digital Humanities Showcase: Bring together skills from all four domains. Students (individually or in groups) create a mini digital literary magazine featuring a podcast or blog review, a MOOC review column, annotated text with Hypothes.is, and an interactive literary game or quiz. Publish on Google Sites or Padlet.
Unit V: Digital Tools for Literary Research
(i) Introduction to digital libraries and archives (Project Gutenberg, Google Books, JSTOR)
(ii) Text analysis tools (Voyant Tools, AntConc, WordSmith)
(iii) Data visualization in literature (GIS mapping, network analysis)
(iv) AI and machine learning in literary studies (ChatGPT, text generation, stylometry)
Activities:
Digital Treasure Hunt - Literary Research Expedition: Introduce students to curated digital repositories for literature and criticism. Create a scavenger hunt with tasks such as finding a rare first edition of a novel on Project Gutenberg, searching for 3 peer-reviewed articles on Frankenstein using JSTOR, and comparing scanned vs. digitized texts of a 19th-century novel on Google Books. Ask students to write a brief reflection on accessibility, layout, and usability of each platform and discuss how digital archives democratize access to literature.
Character Network Analysis: Visualize relationships in a novel using network theory. Use Gephi or NodeXL to create a network graph of character interactions in a play (e.g., Hamlet). Students assign weights to edges (frequency of interaction, emotional tone), analyze centrality (which character is most connected vs isolated), and present a short report on Social Structures in Shakespeare.
Keywords / Tags: ICT, AI, ChatGPT, Google Gemini, Microsoft Bing, Scrivener, Obsidian, Notion AI, ChatPDF, Chatbot, ProWritingAid, E-content, Sentiment Analysis, Voyant Tools, AntConc version 4, Keyness Value, N-Gram, Collocations, Word frequency, Concordance, Cirrus, Hypertext.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper-IV (a))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Code: CC-34
Course Level: 500
Course Title: British Literature-II: Augustan to Romanticism (Paper-IV (a))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Pre-Romantic Age / The Age of Transcendentalism
(ii) Romantic Age
(Trends & Movements, Literary Features of the Age/s and Period/s mentioned above
Development of Literary Genres during the Age/s and Period/s mentioned above)
Activities:
Movement Match-Up Cards: Prepare cards with movement names (e.g., Graveyard School, Lake Poets, Gothic Revival, Transcendentalism) and another set with features (e.g., focus on nature, supernatural, introspection, melancholy). Students match features to movements and justify their reasoning.
Genre Performance Lab: Assign groups a genre (e.g., Gothic, lyric, essay, ballad). Each group dramatizes a short piece in that form or writes a modern version with Romantic themes.
Unit II: Poetry
(i) William Wordsworth: Tintern Abbey, Ode on Intimations of Immortality from Recollections of Early Childhood
(ii) Matthew Arnold: To Marguerite
(iii) D.G. Rossetti: The Blessed Damozel
Activities:
Nature and the Self (Comparative Reflection): Students write a reflective paragraph on how nature is treated in Tintern Abbey vs To Marguerite. Guiding questions: How is the human-nature relationship portrayed? Is nature a source of comfort or disconnection?
Stylistic Devices Hunt: Assign students stanzas to find similes, metaphors, alliteration, enjambment, personification, and imagery. Ask them to connect devices to meaning (e.g., how Rossetti's religious imagery amplifies longing, or Wordsworth's enjambment evokes the flow of memory).
Unit III: Drama
(i) Hugh Kelly: False Delicacy
(ii) Richard Cumberland: The West Indian
Activities:
Sentimental vs Satirical Comedy Debate: Divide class into two teams — Team A defends Restoration/Comedy of Manners (e.g., Congreve) and Team B defends Sentimental Comedy (Kelly, Cumberland). Each team argues which type of comedy is more effective socially and emotionally.
Modern Rewrite Challenge: In groups, students rewrite a scene from False Delicacy or The West Indian in modern English set in today's world (e.g., business, social media, dating culture). Discuss what changes and what remains relevant.
Unit IV: Fiction
(i) Jonathan Swift: Gulliver's Travels
(ii) Jane Austen: Pride and Prejudice
Activities:
Satire and Society Mapping (Gulliver): Create a satirical map showing the four lands (Lilliput, Brobdingnag, Laputa, Houyhnhnms). For each land, students annotate literal events and targets of Swift's satire (petty politics, scientific arrogance, human cruelty).
Irony Hunt (Pride and Prejudice): Provide passages (e.g., Mr. Collins's proposal, Lady Catherine's confrontation, the opening line) for students to identify ironic tone, understatement, and character judgment.
Unit V: Prose
(i) Charles Lamb: Christ's Hospital Five and Thirty Years Ago, Imperfect Sympathies
(ii) William Hazlitt: On Reason and Imagination, On Genius and Common Sense
Activities:
Parallel Analysis Writing Task: Prompt: "Compare Lamb's use of personal anecdote with Hazlitt's philosophical exposition. How do their styles serve their thematic concerns?"
Imagination vs Reason Debate (Hazlitt): Divide class into Team Reason (upholds rationality and empirical thinking) and Team Imagination (defends emotion, creativity, visionary power) using Hazlitt's essay as a foundational text.
Keywords / Tags: mock epic, neoclassicism, empiricism, Pre-Romantic Age, Romanticism, Sentimental Comedy, Satire, Essay.
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Code: CC-34
Course Level: 500
Course Title: British Literature-II: Augustan to Romanticism (Paper-IV (a))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Historical and Socio-Political Background of the Augustan AgeCourse Content
(i) Pre-Romantic Age / The Age of Transcendentalism
(ii) Romantic Age
(Trends & Movements, Literary Features of the Age/s and Period/s mentioned above
Development of Literary Genres during the Age/s and Period/s mentioned above)
Activities:
Movement Match-Up Cards: Prepare cards with movement names (e.g., Graveyard School, Lake Poets, Gothic Revival, Transcendentalism) and another set with features (e.g., focus on nature, supernatural, introspection, melancholy). Students match features to movements and justify their reasoning.
Genre Performance Lab: Assign groups a genre (e.g., Gothic, lyric, essay, ballad). Each group dramatizes a short piece in that form or writes a modern version with Romantic themes.
Unit II: Poetry
(i) William Wordsworth: Tintern Abbey, Ode on Intimations of Immortality from Recollections of Early Childhood
(ii) Matthew Arnold: To Marguerite
(iii) D.G. Rossetti: The Blessed Damozel
Activities:
Nature and the Self (Comparative Reflection): Students write a reflective paragraph on how nature is treated in Tintern Abbey vs To Marguerite. Guiding questions: How is the human-nature relationship portrayed? Is nature a source of comfort or disconnection?
Stylistic Devices Hunt: Assign students stanzas to find similes, metaphors, alliteration, enjambment, personification, and imagery. Ask them to connect devices to meaning (e.g., how Rossetti's religious imagery amplifies longing, or Wordsworth's enjambment evokes the flow of memory).
Unit III: Drama
(i) Hugh Kelly: False Delicacy
(ii) Richard Cumberland: The West Indian
Activities:
Sentimental vs Satirical Comedy Debate: Divide class into two teams — Team A defends Restoration/Comedy of Manners (e.g., Congreve) and Team B defends Sentimental Comedy (Kelly, Cumberland). Each team argues which type of comedy is more effective socially and emotionally.
Modern Rewrite Challenge: In groups, students rewrite a scene from False Delicacy or The West Indian in modern English set in today's world (e.g., business, social media, dating culture). Discuss what changes and what remains relevant.
Unit IV: Fiction
(i) Jonathan Swift: Gulliver's Travels
(ii) Jane Austen: Pride and Prejudice
Activities:
Satire and Society Mapping (Gulliver): Create a satirical map showing the four lands (Lilliput, Brobdingnag, Laputa, Houyhnhnms). For each land, students annotate literal events and targets of Swift's satire (petty politics, scientific arrogance, human cruelty).
Irony Hunt (Pride and Prejudice): Provide passages (e.g., Mr. Collins's proposal, Lady Catherine's confrontation, the opening line) for students to identify ironic tone, understatement, and character judgment.
Unit V: Prose
(i) Charles Lamb: Christ's Hospital Five and Thirty Years Ago, Imperfect Sympathies
(ii) William Hazlitt: On Reason and Imagination, On Genius and Common Sense
Activities:
Parallel Analysis Writing Task: Prompt: "Compare Lamb's use of personal anecdote with Hazlitt's philosophical exposition. How do their styles serve their thematic concerns?"
Imagination vs Reason Debate (Hazlitt): Divide class into Team Reason (upholds rationality and empirical thinking) and Team Imagination (defends emotion, creativity, visionary power) using Hazlitt's essay as a foundational text.
Keywords / Tags: mock epic, neoclassicism, empiricism, Pre-Romantic Age, Romanticism, Sentimental Comedy, Satire, Essay.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper-IV(b))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Indian Literature in Translation (Paper-IV(b))
Course Type: DSE (Discipline Specific Elective)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Origin & Development, History, Growth, and Role of Translation in India.
(ii) Translational theories - Linguistic theory, Literary theory, Cultural theory.
(iii) Types of Translation, SL & TL.
Suggested Enrichment Activities (SEA):
SL (Source Language) & TL (Target Language) Focus Activity: SL-TL Shift Analysis Exercise
Objective: Explore the structural, lexical, and cultural shifts from SL to TL.
Instructions: Students select a bilingual version of a poem (e.g., Kabir dohas in Hindi and English). Highlight: words that have no exact TL equivalent, cultural elements (idioms, metaphors), and grammatical transformations. Chart differences and write a short analysis on "Negotiating Meaning Between Languages."
Timeline and Roleplay: The Story of Indian Translation
Objective: Trace the historical and socio-cultural development of translation in India.
Instructions: Students create a timeline (digital or physical) marking key milestones: Ancient translations (Bhagavad Gita, Buddhist texts into Pali), Persian-Sanskrit exchanges in Mughal India, Colonial-era translations (Abul Fazl, William Jones, Grierson), and Post-Independence & Sahitya Akademi initiatives.
Unit II
(i) Charles Wilkins: 'The Bhagwat Geeta (Dialogues of Kreeshna and Arjun)'
Suggested Enrichment Activities (SEA):
Translational Theory Application: Mapping Wilkins on the Theory Spectrum
Objective: Critically classify Wilkins' work within translation theories.
Instructions: Revisit translation theories: Linguistic, Cultural, Literary. Discuss: Is Wilkins' translation more literal or domesticated? Assign a group activity to create a "translation theory map" plotting Wilkins alongside modern translators, justifying placement with textual examples.
Reader Response & Reception Study: The Gita Goes Global
Objective: Explore the impact of Wilkins' translation on European thought.
Instructions: Research how Wilkins' Gita was received in England (Romantic poets, scholars), Germany (Schlegel, Hegel), and by Theosophists in the 19th century.
Unit III
(i) Swami Nityaswaroopananda: Ashtavakra Gita (Chapters V to XV) (originally in Sanskrit)
(ii) Amrita Preetam: My Friend! My Stranger, Imroz, Talk, An Aspect translated by Khushwant Singh (originally in Punjabi)
Suggested Enrichment Activities (SEA):
Translation Theory Application
Objective: Apply linguistic, literary, and cultural translation theories.
Instructions: Divide the class into three groups: Apply Linguistic Theory to Ashtavakra Gita (fidelity to philosophical terms like "Atman", "Maya"); apply Cultural Theory to Amrita Pritam's work (gender, language, Punjabi metaphors); apply Literary Theory to both (tone, form, imagery). Each group presents a 5-minute mini-critique on the theory's relevance.
Contextual Understanding: Gender and Genre
Objective: Compare the authorial context of a male sage and a woman poet.
Instructions: Discussion prompt: "Ashtavakra speaks of silence; Amrita Pritam speaks into silence." Students reflect on how Ashtavakra Gita represents non-dual silence and detachment while Amrita's poems represent personal memory, love, pain, and rebellion.
Unit IV
(i) Mahashweta Devi: Mother of 1084 translated by Samik Bandyopadhyay (originally in Bengali)
(ii) Hareesh S.: Moustache translated by Jayasree Kalathil (originally in Malayalam)
Suggested Enrichment Activities (SEA):
Translation Analysis Workshop
Objective: Examine stylistic, cultural, and political aspects of translation.
Instructions: Choose 2–3 excerpts from both works (in translation). Students identify local/cultural references (e.g., political jargon, caste names, idioms), and retained vs. glossed words (e.g., bhadralok, dalit, naxal). Prompt: What are the challenges in translating such loaded texts without "flattening"?
Thematic Group Discussion
Themes to explore: Resistance and repression; gendered violence and voice; caste invisibility and bodily assertion; the politics of death.
Instructions: Assign each group one theme across both texts. Ask: How do Sujata and Vavachan represent different kinds of resistance? Groups present with one visual aid (poster, chart, quote board).
Unit V
(i) Shrilal Shukla: Raag Darbari translated by Gillian Wright (originally in Hindi)
(ii) Girish Karnad: Nagmandal (originally in Kannada)
Suggested Enrichment Activities (SEA):
Language and Translation Impact
Objective: Analyze the effects of translation on regional idiom, tone, and culture.
Instructions: Choose one passage each from the original Hindi (Raag Darbari) and Kannada (Nagamandala) along with their English translations. Compare tone, humor, and style. Discuss: "Can the flavor of satire and oral storytelling survive translation?"
Dialogue Dramatization
Objective: Engage students in performative reading to understand character and tone.
Instructions: Select a political exchange from Raag Darbari (e.g., between Vaidyaji and local officials) or a dreamlike/fantasy scene from Nagamandala (e.g., Rani's interaction with the snake). Students rehearse and perform short dramatized scenes.
Keywords/Tags: Translation, Literature in Translation, Translation Theories, Linguistic theory, Cultural theory, Literary theory.
(Paper IV (c))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Commonwealth Literature (Paper IV (c))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) A D Hope (Australia): Australia, The Imperial Adam
(ii) Judith Wright (Australia): The Harp and the King, At Cooloolah
Activities:
Symbol Map: Land, Body, Nation. Explore how land is metaphorically linked with body, identity, and history. Create a symbol map identifying recurring motifs. Annotate the poem with color-coded symbols and metaphors to answer: "How does each poet personify Australia, and what ideological meanings emerge?"
Then and Now: Timeline of Australian Identity. Trace poetic representations of Australia across history by creating a literary timeline placing Hope's and Wright's works alongside modern events.
Unit II: Poetry
(i) Margaret Atwood (Canada): This is a Photograph of Me, Tricks with Mirrors
(ii) Gabriel Okara (Nigeria): Once Upon a Time, Piano and Drums
Activities:
Persona Performance (Roleplay and Dramatic Monologue): Take on the persona of the speaker in "Tricks with Mirrors" or "Once Upon a Time" and deliver a dramatic monologue.
Visual Response (Poetry + Photography Collage): Create collages representing hidden aspects of self inspired by Atwood's poem with captions/stanzas.
Unit III: Fiction
(i) Yann Martel (Canada): Life of Pi
(ii) Chinua Achebe (Nigeria): Arrow of God
Activities:
Belief Chart + Debate: Create a belief matrix for both novels and organize a debate on whether faith should evolve in response to modern systems.
Symbolism Chart (Life of Pi): Chart key symbols (Richard Parker, lifeboat, ocean) and their meanings to analyze animal allegory and survival.
Unit IV: Drama
(i) Wole Soyinka (Nigeria): The Lion and the Jewel
(ii) George Ryga (Canada): The Ecstasy of Rita Joe
Activities:
Scene Mapping: Map spatial settings visually/digitally to explore how space becomes a form of control or resistance.
Dialogue Analysis: Annotate scenes for irony, colonial discourse, resistance, and internalized oppression.
Unit V: Short Stories
(i) Katherine Mansfield (New Zealand): A Cup of Tea, The Garden Party
(ii) Alice Munro (Canada): The Bear Came Over the Mountain, Runaway
Activities:
Class and Power Mapping: Create social maps showing character relationships and hierarchies to analyze how class shapes choices.
Visual Mood Boards: Create mood boards using images, color palettes, and quotes to capture the atmosphere, tone, and setting of the stories.
Keywords/Tags: poetry, drama, short stories, novels
(Paper-IV(d))
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Disability Studies (Paper-IV(d))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Definition and Evolution of Disability
(ii) Historical Perspectives on Disability
(iii) Simi Linton: What is Disability
[(Lennard J. Davis: Disability, Normality, and Power (from Disability Studies Reader, Chapter 1)
(Conversation between the characters of Manthara and Kaikeyi in "AyodhyaKand", Ramacharitmanas (Couplets 12-19)]
Activities:
Close Reading & Text-to-Theory Application:
Objective: Connect theoretical frameworks with sacred/literary texts.
Instructions: Read the Manthara-Kaikeyi dialogue (Couplets 12-19) from Ayodhyakand. Ask whether Manthara's bodily condition is used as a metaphor or source of power. Have students apply Davis's concepts of "normalcy" and "power" to Manthara's persuasive role and Kaikeyi's shift in emotional perception. Use a quote-based discussion worksheet for annotation and comparison.
Role-play or Scripted Dialogue:
Objective: Engage with narrative voice, bias, and historical framing.
Instructions: Create a short scripted dialogue or dramatized retelling of the Manthara-Kaikeyi conversation (one version based on Valmiki Ramayan, one as a feminist/disability critique). Follow with a class discussion on how Manthara's body is used as a symbol of deviance or wisdom.
Unit II: Poetry on Disability
(i) John Milton: On his Blindness
(ii) Tito Rajarshi Mukhopadhyay: 'Poem 1' and 'Poem 4' (from The Mind Tree: A Miraculous Child Breaks the Silence of Autism)
Activities:
Visual Poetry Response:
Objective: Interpret poetry through multimodal expression.
Instructions: Students choose one line each from Milton's and Tito's poems. Create a visual representation (poster, digital art, photo collage) expressing Milton's concept of inner light/patience and Tito's vibrant, sensory understanding of the world.
Biography-Based Timeline or Profile Cards:
Objective: Contextualize both poets within their life journeys.
Instructions: Create biographical profile cards for John Milton (Puritan context, political exile, blindness) and Tito Rajarshi Mukhopadhyay (autism, non-verbal communication, early writing). Use them in a class presentation or peer quiz game.
Unit III: Drama on Disability
(i) Mahesh Dattani: Tara
(ii) Bertolt Brecht: Mother Courage and Her Children
Activities:
Character Map and Ethical Conflict Analysis:
Objective: Understand the moral dilemmas and psychological layers of characters.
Instructions: Create a dual character map for Tara, Chandan, and their parents (identifying gender-based bias, guilt, and trauma) and Mother Courage, Kattrin, and Eilif (examining survival tactics and moral blindness in war). Use color coding to highlight ethical conflict, power dynamics, and resistance/sacrifice.
Diary Entry Activity:
Objective: Foster empathy and character perspective.
Instructions: Write a diary entry from Tara's perspective after learning about her amputation, or from Kattrin's perspective before/after her final act. Encourage emotional honesty, inner turmoil, and sensory details.
Unit IV: Fiction on Disability
(i) Malini Chib: One Little Finger
(ii) Munshi Premchand: Rangbhoomi (Translated by Manju Jain, 2012)
Activities:
Role Play (Soordas vs. The Industrialists):
Objective: Engage with ethical and economic debates.
Instructions: Students perform a courtroom-style roleplay or town-hall debate with characters including Soordas, the industrialist, villagers, colonial officers, and Indian reformers, focusing on land rights, industrial development, and human cost.
Book Talk / Podcast Simulation:
Objective: Practice critical speaking and synthesis.
Instructions: Topic: "Disability, Dissent, and Dignity—From Soordas to Malini Chib". Pairs of students record a short 5–7 minute podcast incorporating quotes, key scenes, and personal responses, or perform live as a "book café".
Unit V: Films and Disability
(i) Sparsh (Directed by Sai Paranjpye)
(ii) Margarita with a Straw (Directed by Shonali Bose)
Activities:
Poster-Making (Representation of Disability in Indian Cinema):
Objective: Explore broader themes through creative synthesis.
Instructions: Design a visual poster or digital slide comparing disability in Sparsh (blindness, dignity, paternalism) and Margarita with a Straw (cerebral palsy, sexuality, self-discovery). Include taglines, images, and keywords like agency, voice, love, and identity.
Panel Discussion / Talk Show Simulation:
Objective: Encourage persuasive speaking and critical debate.
Instructions: Organize a mock panel with student role-plays representing a disability rights activist, a film critic, a caregiver, and a person with lived experience of disability. Topic: "Cinema and the Construction of the Disabled Self".
Keywords / Tags: Specially-Abled, Normality, Mental illness, Social biasedness, Blindness and Visual Culture, Deafness, Intersectionality between gender and disability.
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Research Skills and Methodology (Paper IV (e))
Course Type: DSE (Discipline Specific Elective)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
(i) Meaning, Nature, Significance, Characteristics, Objectives and Types of Research
(ii) Research Methodologies and Research Methods for Language and Literature
Activities:
Infographic Creation: Types of Research: Individually or in groups, create infographics showing: Quantitative vs qualitative, Theoretical vs applied, Empirical vs analytical research. Include examples from literature and language studies.
Case Study Analysis: Provide 2 brief extracts from published research (one literature, one linguistics). Students analyze: Research objective, Type and methodology, Data collection method, Findings.
Unit-II
(i) Articles from Research Methods for English Studies (edited by Gabriele Griffin):
(a) Textual Analysis as a Research Method (Catherine Belsey)
(b) Archival Methods (Carolyn Steedman)
(c) Discourse Analysis (Gabriele Griffin)
(d) Creative Writing as a Research Method (Jon Cook)
Activities:
Close Reading Lab: Provide a poem or passage (e.g., from T.S. Eliot or Virginia Woolf). Ask students to identify figurative devices, narrative voice, and ideological subtexts. Discuss how meaning is produced through language choices.
Unit-III
(i) Formation of Objectives and Research Question
(ii) Research Designs - Exploratory & Descriptive
(iii) Review of literature
(iv) Primary and Secondary Sources
(v) Writing Styles
Activities:
Review of Literature Scavenger Hunt Activity: Provide 4-5 short excerpts from real research papers/journal articles. Ask students to identify the research gap, highlight use of keywords and citations, and comment on structure (chronological, thematic, methodological).
Mini Literature Review Assignment: Students collect 3-4 scholarly articles around a theme and write a 300-word literature review section identifying themes, showing gaps, and aligning with their research question.
Unit-IV
(i) Components and Requirements for:
(a) Research Proposal / Synopsis
(b) Research Paper
(c) Book Review
(d) Thesis / Dissertation
Activities:
Book Review: Assign a short story, article, or poem. Students write a 300-word review including summary, evaluation, and recommendation.
Chapterization Draft: Ask each student to draft tentative chapter titles and subtitles for their chosen research topic.
Unit-V
(i) Formatting & Citation: MLA Style Sheet (Latest Edition)
(ii) Ethics in Research, Plagiarism, and Credentials of a Good Researcher
(iii) IT and AI Tools - Microsoft Word, Mendeley Desktop, Zotero, Anti-plagiarism software, AI
Activities:
Citation Relay: Divide students into teams. Give each team a list of sources (books, articles, websites). Challenge: Format them in correct MLA 9th edition style (both in-text and Works Cited). Award points for accuracy and speed.
Mini Style Guide Creation: In pairs, students create a 1-page MLA Quick Reference Sheet including font, margin, spacing rules, header format, and sample citations.
Keywords/Tags: Research, Research Methodology, Research Methods, Research Ethics
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Indian Literature in Translation (Paper-IV(b))
Course Type: DSE (Discipline Specific Elective)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I Course Content
(i) Origin & Development, History, Growth, and Role of Translation in India.
(ii) Translational theories - Linguistic theory, Literary theory, Cultural theory.
(iii) Types of Translation, SL & TL.
Suggested Enrichment Activities (SEA):
SL (Source Language) & TL (Target Language) Focus Activity: SL-TL Shift Analysis Exercise
Objective: Explore the structural, lexical, and cultural shifts from SL to TL.
Instructions: Students select a bilingual version of a poem (e.g., Kabir dohas in Hindi and English). Highlight: words that have no exact TL equivalent, cultural elements (idioms, metaphors), and grammatical transformations. Chart differences and write a short analysis on "Negotiating Meaning Between Languages."
Timeline and Roleplay: The Story of Indian Translation
Objective: Trace the historical and socio-cultural development of translation in India.
Instructions: Students create a timeline (digital or physical) marking key milestones: Ancient translations (Bhagavad Gita, Buddhist texts into Pali), Persian-Sanskrit exchanges in Mughal India, Colonial-era translations (Abul Fazl, William Jones, Grierson), and Post-Independence & Sahitya Akademi initiatives.
Unit II
(i) Charles Wilkins: 'The Bhagwat Geeta (Dialogues of Kreeshna and Arjun)'
Suggested Enrichment Activities (SEA):
Translational Theory Application: Mapping Wilkins on the Theory Spectrum
Objective: Critically classify Wilkins' work within translation theories.
Instructions: Revisit translation theories: Linguistic, Cultural, Literary. Discuss: Is Wilkins' translation more literal or domesticated? Assign a group activity to create a "translation theory map" plotting Wilkins alongside modern translators, justifying placement with textual examples.
Reader Response & Reception Study: The Gita Goes Global
Objective: Explore the impact of Wilkins' translation on European thought.
Instructions: Research how Wilkins' Gita was received in England (Romantic poets, scholars), Germany (Schlegel, Hegel), and by Theosophists in the 19th century.
Unit III
(i) Swami Nityaswaroopananda: Ashtavakra Gita (Chapters V to XV) (originally in Sanskrit)
(ii) Amrita Preetam: My Friend! My Stranger, Imroz, Talk, An Aspect translated by Khushwant Singh (originally in Punjabi)
Suggested Enrichment Activities (SEA):
Translation Theory Application
Objective: Apply linguistic, literary, and cultural translation theories.
Instructions: Divide the class into three groups: Apply Linguistic Theory to Ashtavakra Gita (fidelity to philosophical terms like "Atman", "Maya"); apply Cultural Theory to Amrita Pritam's work (gender, language, Punjabi metaphors); apply Literary Theory to both (tone, form, imagery). Each group presents a 5-minute mini-critique on the theory's relevance.
Contextual Understanding: Gender and Genre
Objective: Compare the authorial context of a male sage and a woman poet.
Instructions: Discussion prompt: "Ashtavakra speaks of silence; Amrita Pritam speaks into silence." Students reflect on how Ashtavakra Gita represents non-dual silence and detachment while Amrita's poems represent personal memory, love, pain, and rebellion.
Unit IV
(i) Mahashweta Devi: Mother of 1084 translated by Samik Bandyopadhyay (originally in Bengali)
(ii) Hareesh S.: Moustache translated by Jayasree Kalathil (originally in Malayalam)
Suggested Enrichment Activities (SEA):
Translation Analysis Workshop
Objective: Examine stylistic, cultural, and political aspects of translation.
Instructions: Choose 2–3 excerpts from both works (in translation). Students identify local/cultural references (e.g., political jargon, caste names, idioms), and retained vs. glossed words (e.g., bhadralok, dalit, naxal). Prompt: What are the challenges in translating such loaded texts without "flattening"?
Thematic Group Discussion
Themes to explore: Resistance and repression; gendered violence and voice; caste invisibility and bodily assertion; the politics of death.
Instructions: Assign each group one theme across both texts. Ask: How do Sujata and Vavachan represent different kinds of resistance? Groups present with one visual aid (poster, chart, quote board).
Unit V
(i) Shrilal Shukla: Raag Darbari translated by Gillian Wright (originally in Hindi)
(ii) Girish Karnad: Nagmandal (originally in Kannada)
Suggested Enrichment Activities (SEA):
Language and Translation Impact
Objective: Analyze the effects of translation on regional idiom, tone, and culture.
Instructions: Choose one passage each from the original Hindi (Raag Darbari) and Kannada (Nagamandala) along with their English translations. Compare tone, humor, and style. Discuss: "Can the flavor of satire and oral storytelling survive translation?"
Dialogue Dramatization
Objective: Engage students in performative reading to understand character and tone.
Instructions: Select a political exchange from Raag Darbari (e.g., between Vaidyaji and local officials) or a dreamlike/fantasy scene from Nagamandala (e.g., Rani's interaction with the snake). Students rehearse and perform short dramatized scenes.
Keywords/Tags: Translation, Literature in Translation, Translation Theories, Linguistic theory, Cultural theory, Literary theory.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Commonwealth Literature (Paper IV (c))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: PoetryCourse Content
(i) A D Hope (Australia): Australia, The Imperial Adam
(ii) Judith Wright (Australia): The Harp and the King, At Cooloolah
Activities:
Symbol Map: Land, Body, Nation. Explore how land is metaphorically linked with body, identity, and history. Create a symbol map identifying recurring motifs. Annotate the poem with color-coded symbols and metaphors to answer: "How does each poet personify Australia, and what ideological meanings emerge?"
Then and Now: Timeline of Australian Identity. Trace poetic representations of Australia across history by creating a literary timeline placing Hope's and Wright's works alongside modern events.
Unit II: Poetry
(i) Margaret Atwood (Canada): This is a Photograph of Me, Tricks with Mirrors
(ii) Gabriel Okara (Nigeria): Once Upon a Time, Piano and Drums
Activities:
Persona Performance (Roleplay and Dramatic Monologue): Take on the persona of the speaker in "Tricks with Mirrors" or "Once Upon a Time" and deliver a dramatic monologue.
Visual Response (Poetry + Photography Collage): Create collages representing hidden aspects of self inspired by Atwood's poem with captions/stanzas.
Unit III: Fiction
(i) Yann Martel (Canada): Life of Pi
(ii) Chinua Achebe (Nigeria): Arrow of God
Activities:
Belief Chart + Debate: Create a belief matrix for both novels and organize a debate on whether faith should evolve in response to modern systems.
Symbolism Chart (Life of Pi): Chart key symbols (Richard Parker, lifeboat, ocean) and their meanings to analyze animal allegory and survival.
Unit IV: Drama
(i) Wole Soyinka (Nigeria): The Lion and the Jewel
(ii) George Ryga (Canada): The Ecstasy of Rita Joe
Activities:
Scene Mapping: Map spatial settings visually/digitally to explore how space becomes a form of control or resistance.
Dialogue Analysis: Annotate scenes for irony, colonial discourse, resistance, and internalized oppression.
Unit V: Short Stories
(i) Katherine Mansfield (New Zealand): A Cup of Tea, The Garden Party
(ii) Alice Munro (Canada): The Bear Came Over the Mountain, Runaway
Activities:
Class and Power Mapping: Create social maps showing character relationships and hierarchies to analyze how class shapes choices.
Visual Mood Boards: Create mood boards using images, color palettes, and quotes to capture the atmosphere, tone, and setting of the stories.
Keywords/Tags: poetry, drama, short stories, novels
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
MA Semester III English Literature
Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Disability Studies (Paper-IV(d))
Course Type: Discipline Specific Elective (DSE)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit I: Introduction to DisabilityCourse Content
(i) Definition and Evolution of Disability
(ii) Historical Perspectives on Disability
(iii) Simi Linton: What is Disability
[(Lennard J. Davis: Disability, Normality, and Power (from Disability Studies Reader, Chapter 1)
(Conversation between the characters of Manthara and Kaikeyi in "AyodhyaKand", Ramacharitmanas (Couplets 12-19)]
Activities:
Close Reading & Text-to-Theory Application:
Objective: Connect theoretical frameworks with sacred/literary texts.
Instructions: Read the Manthara-Kaikeyi dialogue (Couplets 12-19) from Ayodhyakand. Ask whether Manthara's bodily condition is used as a metaphor or source of power. Have students apply Davis's concepts of "normalcy" and "power" to Manthara's persuasive role and Kaikeyi's shift in emotional perception. Use a quote-based discussion worksheet for annotation and comparison.
Role-play or Scripted Dialogue:
Objective: Engage with narrative voice, bias, and historical framing.
Instructions: Create a short scripted dialogue or dramatized retelling of the Manthara-Kaikeyi conversation (one version based on Valmiki Ramayan, one as a feminist/disability critique). Follow with a class discussion on how Manthara's body is used as a symbol of deviance or wisdom.
Unit II: Poetry on Disability
(i) John Milton: On his Blindness
(ii) Tito Rajarshi Mukhopadhyay: 'Poem 1' and 'Poem 4' (from The Mind Tree: A Miraculous Child Breaks the Silence of Autism)
Activities:
Visual Poetry Response:
Objective: Interpret poetry through multimodal expression.
Instructions: Students choose one line each from Milton's and Tito's poems. Create a visual representation (poster, digital art, photo collage) expressing Milton's concept of inner light/patience and Tito's vibrant, sensory understanding of the world.
Biography-Based Timeline or Profile Cards:
Objective: Contextualize both poets within their life journeys.
Instructions: Create biographical profile cards for John Milton (Puritan context, political exile, blindness) and Tito Rajarshi Mukhopadhyay (autism, non-verbal communication, early writing). Use them in a class presentation or peer quiz game.
Unit III: Drama on Disability
(i) Mahesh Dattani: Tara
(ii) Bertolt Brecht: Mother Courage and Her Children
Activities:
Character Map and Ethical Conflict Analysis:
Objective: Understand the moral dilemmas and psychological layers of characters.
Instructions: Create a dual character map for Tara, Chandan, and their parents (identifying gender-based bias, guilt, and trauma) and Mother Courage, Kattrin, and Eilif (examining survival tactics and moral blindness in war). Use color coding to highlight ethical conflict, power dynamics, and resistance/sacrifice.
Diary Entry Activity:
Objective: Foster empathy and character perspective.
Instructions: Write a diary entry from Tara's perspective after learning about her amputation, or from Kattrin's perspective before/after her final act. Encourage emotional honesty, inner turmoil, and sensory details.
Unit IV: Fiction on Disability
(i) Malini Chib: One Little Finger
(ii) Munshi Premchand: Rangbhoomi (Translated by Manju Jain, 2012)
Activities:
Role Play (Soordas vs. The Industrialists):
Objective: Engage with ethical and economic debates.
Instructions: Students perform a courtroom-style roleplay or town-hall debate with characters including Soordas, the industrialist, villagers, colonial officers, and Indian reformers, focusing on land rights, industrial development, and human cost.
Book Talk / Podcast Simulation:
Objective: Practice critical speaking and synthesis.
Instructions: Topic: "Disability, Dissent, and Dignity—From Soordas to Malini Chib". Pairs of students record a short 5–7 minute podcast incorporating quotes, key scenes, and personal responses, or perform live as a "book café".
Unit V: Films and Disability
(i) Sparsh (Directed by Sai Paranjpye)
(ii) Margarita with a Straw (Directed by Shonali Bose)
Activities:
Poster-Making (Representation of Disability in Indian Cinema):
Objective: Explore broader themes through creative synthesis.
Instructions: Design a visual poster or digital slide comparing disability in Sparsh (blindness, dignity, paternalism) and Margarita with a Straw (cerebral palsy, sexuality, self-discovery). Include taglines, images, and keywords like agency, voice, love, and identity.
Panel Discussion / Talk Show Simulation:
Objective: Encourage persuasive speaking and critical debate.
Instructions: Organize a mock panel with student role-plays representing a disability rights activist, a film critic, a caregiver, and a person with lived experience of disability. Topic: "Cinema and the Construction of the Disabled Self".
Keywords / Tags: Specially-Abled, Normality, Mental illness, Social biasedness, Blindness and Visual Culture, Deafness, Intersectionality between gender and disability.
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
(Paper IV (e))
MA Semester III English Literature Syllabus: Session 2026 – 27
MA English Literature: PG 2- Year Programme (Sem- III)
Course Level: 500
Course Code: CC-34
Course Title: Research Skills and Methodology (Paper IV (e))
Course Type: DSE (Discipline Specific Elective)
Credit Value: Option-I = 5, Option-II & III = 4
Total Marks: Max Marks: 40 + 60 = 100
Min. Passing Marks: 40
Course Content
Unit-I Course Content
(i) Meaning, Nature, Significance, Characteristics, Objectives and Types of Research
(ii) Research Methodologies and Research Methods for Language and Literature
Activities:
Infographic Creation: Types of Research: Individually or in groups, create infographics showing: Quantitative vs qualitative, Theoretical vs applied, Empirical vs analytical research. Include examples from literature and language studies.
Case Study Analysis: Provide 2 brief extracts from published research (one literature, one linguistics). Students analyze: Research objective, Type and methodology, Data collection method, Findings.
Unit-II
(i) Articles from Research Methods for English Studies (edited by Gabriele Griffin):
(a) Textual Analysis as a Research Method (Catherine Belsey)
(b) Archival Methods (Carolyn Steedman)
(c) Discourse Analysis (Gabriele Griffin)
(d) Creative Writing as a Research Method (Jon Cook)
Activities:
Close Reading Lab: Provide a poem or passage (e.g., from T.S. Eliot or Virginia Woolf). Ask students to identify figurative devices, narrative voice, and ideological subtexts. Discuss how meaning is produced through language choices.
Unit-III
(i) Formation of Objectives and Research Question
(ii) Research Designs - Exploratory & Descriptive
(iii) Review of literature
(iv) Primary and Secondary Sources
(v) Writing Styles
Activities:
Review of Literature Scavenger Hunt Activity: Provide 4-5 short excerpts from real research papers/journal articles. Ask students to identify the research gap, highlight use of keywords and citations, and comment on structure (chronological, thematic, methodological).
Mini Literature Review Assignment: Students collect 3-4 scholarly articles around a theme and write a 300-word literature review section identifying themes, showing gaps, and aligning with their research question.
Unit-IV
(i) Components and Requirements for:
(a) Research Proposal / Synopsis
(b) Research Paper
(c) Book Review
(d) Thesis / Dissertation
Activities:
Book Review: Assign a short story, article, or poem. Students write a 300-word review including summary, evaluation, and recommendation.
Chapterization Draft: Ask each student to draft tentative chapter titles and subtitles for their chosen research topic.
Unit-V
(i) Formatting & Citation: MLA Style Sheet (Latest Edition)
(ii) Ethics in Research, Plagiarism, and Credentials of a Good Researcher
(iii) IT and AI Tools - Microsoft Word, Mendeley Desktop, Zotero, Anti-plagiarism software, AI
Activities:
Citation Relay: Divide students into teams. Give each team a list of sources (books, articles, websites). Challenge: Format them in correct MLA 9th edition style (both in-text and Works Cited). Award points for accuracy and speed.
Mini Style Guide Creation: In pairs, students create a 1-page MLA Quick Reference Sheet including font, margin, spacing rules, header format, and sample citations.
Keywords/Tags: Research, Research Methodology, Research Methods, Research Ethics
Assessment and Evaluation:
Maximum Marks: 100
Continuous Comprehensive Evaluation (CCE): 40 Marks
[(a) Class Test; (b) Presentation / Assignment / Quiz / Group Discussion etc; (c) Appropriate weightage of attendance in the class.
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Note: Assessment modes for the Internal Evaluation will be based on UGC guidelines on (i) "Evaluation Reforms in Higher Education Institutions - November 2019" & (ii) "Innovative Pedagogical Approaches and Evaluation Reforms - 2021".]
University Exam (UE): 60 Marks
Exam Duration: 03:00 Hours
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
Section A: 5 Very Short Questions (5 x 1 = 5 Marks)
Section B: 5 Short Questions with internal choice (5 x 3 = 15 Marks)
Section C: 5 Long Questions with internal choice (5 x 8 = 40 Marks)
