{"id":1441,"date":"2026-08-14T06:50:19","date_gmt":"2026-08-14T06:50:19","guid":{"rendered":"https:\/\/hpu.ac.in\/english-department\/?page_id=1441"},"modified":"2026-08-14T06:55:40","modified_gmt":"2026-08-14T06:55:40","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/hpu.ac.in\/english-department\/syllabus\/","title":{"rendered":"Syllabus"},"content":{"rendered":"<div class=\"inner-area\">\n<div class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\tMA English Syllabus<\/p>\n<p style=\"margin-left:86.0pt;\">\n\t\t(Effective from the Academic Session 2022-23)<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<table align=\"left\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td height=\"0\">\n\t\t\t\t\t&nbsp;<\/td>\n<\/tr>\n<tr>\n<td>\n\t\t\t\t\t&nbsp;<\/td>\n<td>\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" height=\"248\" src=\"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image002.gif\" width=\"248\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\t<br clear=\"ALL\"><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:167.75pt;\">\n\t\t<strong>Department of English Himachal Pradesh University<\/strong><\/p>\n<p align=\"center\" style=\"margin-left:86.0pt;\">\n\t\t<strong>(NAAC Accredited \u201cA\u201d Grade University)<\/strong><\/p>\n<p align=\"center\" style=\"margin-left:86.0pt;\">\n\t\t<strong>Summer Hill, Shimla-171005<\/strong><\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3 align=\"center\">\n\t\tContents<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol>\n<li>\n\t\t\t<strong>Scheme of Course Division<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\t2.Scheme of Marks<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol>\n<li value=\"3\">\n\t\t\t<strong>Course Division<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\t4.Credit Scheme<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol>\n<li value=\"5\">\n\t\t\t<strong>Programme Outcomes<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\t6.Detailed Syllabus<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t<strong>Paper\/Course Name and Code<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tb.Contents of the Paper\/Course<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li value=\"3\">\n\t\t\t<strong>Objective of the Course and Course Outcomes<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\td.Pattern of Testing<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li value=\"5\">\n\t\t\t<strong>Suggested Readings<\/strong><\/li>\n<\/ol>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h1>\n\t\tMA English (CBCS)<\/h1>\n<h2>\n\t\t2022-2023<\/h2>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Guidelines for the Students of Postgraduate Programme (MA) in English <\/strong>MA Programme consists of (18) eighteen papers\/courses (16 papers\/courses from the Department and 2 Generic Elective papers\/courses from other Disciplines\/Departments).<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students have to qualify all the papers to complete the course in English.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3 align=\"center\">\n\t\tScheme of the Course Division<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<table class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<tbody>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Semester<\/strong><\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Subject Code<\/strong><\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:26.35pt;\">\n\t\t\t\t\t\t<strong>Type<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:27px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tSemester &#8211; I<\/p>\n<\/td>\n<td style=\"width:176px;height:27px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC-MENG 101 to 104<\/p>\n<\/td>\n<td style=\"width:343px;height:27px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tAll Compulsory<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tSemester &#8211; II<\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC-MENG 201 to 204<\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tAll Compulsory<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tGE-MENG 205<\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCompulsory (Interdisciplinary)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tSemester &#8211; III<\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC-MENG 301 to 303<\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tAll Compulsory<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:45px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE I-MENG 304 to 307<\/p>\n<\/td>\n<td style=\"width:343px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tElective (The students have to opt any one out of the four courses)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:45px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tAEC<\/p>\n<\/td>\n<td style=\"width:343px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCompulsory (Non CGPA)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tSemester &#8211; IV<\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC-MENG 401 to 402<\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tAll Compulsory<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:45px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE II-MENG 403 to 404<\/p>\n<\/td>\n<td style=\"width:343px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tElective (The students have to opt any one out of these two courses)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:45px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE III- MENG 405 to 407<\/p>\n<\/td>\n<td style=\"width:343px;height:45px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tElective (The students have to opt any one out of these three courses)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:104px;height:26px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:176px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tGE-MENG 408<\/p>\n<\/td>\n<td style=\"width:343px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCompulsory (Interdisciplinary)<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Note:<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMA English comprises One Hundred and Four (104) Credits: (DSC-78 Credits; DSE-18 Credits; GE-8 Credits)<\/li>\n<li>\n\t\t\tThe DSE Papers\/Courses 304 to 307 (Semester &#8211; III) and 403 to 404 (Semester &#8211; IV) and 405 to<\/li>\n<\/ul>\n<p style=\"margin-left:80.0pt;\">\n\t\t407 (Semester &#8211; IV) have internal choice. The students have to opt any one out of each of them (304-307; 403-404; 403-404) respectively.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tThe students have to take two GE Papers\/Courses in Semester &#8211; II and Semester &#8211; IV, offered by other Disciplines\/Departments under the Scheme of Generic Elective (Interdisciplinary Choice Based Courses from other Disciplines\/Departments). These papers will be of 8 Credits (4 Credits each).<\/li>\n<li>\n\t\t\tThe <strong>Marks Scheme <\/strong>for each paper\/courser is as follows: Total Marks-100 (Theory 80; Internal Assessment 20).<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul>\n<li>\n\t\t\tThe Internal Assessment for Regular students will comprise: Attendance-05 Marks; Assignment\/Presentations: 5 marks; Internal Exam-10 Marks.<\/li>\n<li>\n\t\t\tThe Internal Assessment for ICDEOL candidates will comprise: 20 Marks for Assignments; and will be assessed by the Faculty of ICDEOL on the basis of assignments for each paper submitted by the candidate.<\/li>\n<li>\n\t\t\tNo Internal Assessment for Private candidates (Only Theory of 100 marks)<\/li>\n<\/ul>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tA student shall have to secure at least <strong>40 percent marks <\/strong>in each paper (Theory as well as Internal Assessment) to qualify the examination.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tScheme of Marks<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<table class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<tbody>\n<tr>\n<td style=\"width:511px;height:21px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Marks Distribution<\/strong><\/p>\n<\/td>\n<td style=\"width:113px;height:21px;\">\n<p align=\"center\" style=\"margin-left:22.1pt;\">\n\t\t\t\t\t\t<strong>Credits<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:511px;height:238px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Theory (For Regular Students)<\/strong><\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 80<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tPass Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 32<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Theory (For ICDEOL Students)<\/strong><\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 80<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tPass Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 32<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Theory (For Private Students)<\/strong><\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 100<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Pass Marks<\/strong>:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 40<\/p>\n<\/td>\n<td style=\"width:113px;height:238px;\">\n<p align=\"center\" style=\"margin-left:.45pt;\">\n\t\t\t\t\t\t5<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p align=\"center\" style=\"margin-left:.45pt;\">\n\t\t\t\t\t\t6<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p align=\"center\" style=\"margin-left:.45pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:511px;height:21px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Tutorials (Only for Regular Students)<\/strong><\/p>\n<\/td>\n<td style=\"width:113px;height:21px;\">\n<p align=\"center\" style=\"margin-left:.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:511px;height:21px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Total Credits for Regular Students<\/strong><\/p>\n<\/td>\n<td style=\"width:113px;height:21px;\">\n<p align=\"center\" style=\"margin-left:22.1pt;\">\n\t\t\t\t\t\t5+1=6<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:511px;height:285px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Internal Assessment: <\/strong>(For Regular Students) Attendance:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 05 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tInternal:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 15 Marks<\/p>\n<p style=\"margin-left:47.35pt;\">\n\t\t\t\t\t\tAssignments\/Presentations:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 05 Marks Internal Examination (Sessional): 10 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 20 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tPass Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 08 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Internal Assessment: <\/strong>(For ICDEOL Students) Assignments:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 20 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 20 Marks<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tPass Marks:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 08 Marks<\/p>\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Internal Assessment: <\/strong>(For Private Students) No Assignments:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Only Theory Paper<\/p>\n<\/td>\n<td style=\"width:113px;height:285px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<table class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<tbody>\n<tr>\n<td style=\"width:511px;height:21px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:113px;height:21px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Division: (Lectures+Tutorials)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<table border=\"1\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td style=\"width:119px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t<strong>Sr.No.<\/strong><\/p>\n<\/td>\n<td style=\"width:375px;height:26px;\">\n<p style=\"margin-left:64.8pt;\">\n\t\t\t\t\t\t<strong>Division (Lectures+Tutorials)<\/strong><\/p>\n<\/td>\n<td style=\"width:129px;height:26px;\">\n<p align=\"center\" style=\"margin-left:1.0cm;\">\n\t\t\t\t\t\t<strong>Credits<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:119px;height:26px;\">\n<p align=\"right\">\n\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:375px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTheory (5 Hours per week per Paper)<\/p>\n<\/td>\n<td style=\"width:129px;height:26px;\">\n<p align=\"center\" style=\"margin-left:.5pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:119px;height:26px;\">\n<p align=\"right\">\n\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:375px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTutorials (1 Hour per Week)<\/p>\n<\/td>\n<td style=\"width:129px;height:26px;\">\n<p align=\"center\" style=\"margin-left:.5pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:119px;height:49px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:375px;height:49px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t(Seminars\/Presentations\/Group Discussions\/Quiz\/ Assignments\/Screening of Films)<\/p>\n<\/td>\n<td style=\"width:129px;height:49px;\">\n<p align=\"center\" style=\"margin-left:.4pt;\">\n\t\t\t\t\t\t&#8211;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:119px;height:26px;\">\n<p align=\"right\">\n\t\t\t\t\t\t3.<\/p>\n<\/td>\n<td style=\"width:375px;height:26px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Credits<\/p>\n<\/td>\n<td style=\"width:129px;height:26px;\">\n<p align=\"center\" style=\"margin-left:.5pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n\t\t&nbsp;<\/p>\n<h3 align=\"center\">\n\t\t&nbsp;<\/h3>\n<table cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td height=\"490\">\n<table cellpadding=\"0\" cellspacing=\"0\" width=\"100%\">\n<tbody>\n<tr>\n<td>\n<div>\n<table class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<tbody>\n<tr>\n<td rowspan=\"2\" style=\"width:39px;height:119px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tSr.<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tNo.<\/p>\n<\/td>\n<td style=\"width:62px;height:119px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCourse Code<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:184px;height:119px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTitle of the Paper\/Course<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:61px;height:119px;\">\n<p style=\"margin-left:5.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCredits<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:153px;height:119px;\">\n<p style=\"margin-left:5.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTheory Contact Hours<\/p>\n<p style=\"margin-left:5.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t(L-5 Hrs. per Week\/Tut.-1 Hour. per Week)<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:157px;height:119px;\">\n<p style=\"margin-left:5.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tMarks Scheme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:62px;height:50px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDSCs<\/p>\n<\/td>\n<td style=\"width:80px;height:50px;\">\n<p style=\"margin-left:5.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tLectures (Credits)<\/p>\n<\/td>\n<td style=\"width:72px;height:50px;\">\n<p style=\"margin-left:5.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTutorials<\/p>\n<\/td>\n<td style=\"width:67px;height:50px;\">\n<p style=\"margin-left:5.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTheory<\/p>\n<\/td>\n<td style=\"width:90px;height:50px;\">\n<p style=\"margin-left:4.9pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tInternal Assessment<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:39px;height:69px;\">\n<p align=\"right\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:62px;height:69px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDSC MENG 101<\/p>\n<\/td>\n<td style=\"width:184px;height:69px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tHistory of English Literature from Chaucer to 1800<\/p>\n<\/td>\n<td style=\"width:61px;height:69px;\">\n<p style=\"margin-left:14.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:80px;height:69px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:69px;\">\n<p style=\"margin-left:11.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:67px;height:69px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:69px;\">\n<p style=\"margin-left:10.9pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:39px;height:68px;\">\n<p align=\"right\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:62px;height:68px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDSC MENG 102<\/p>\n<\/td>\n<td style=\"width:184px;height:68px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tPoetry from Chaucer to Pope<\/p>\n<\/td>\n<td style=\"width:61px;height:68px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:80px;height:68px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:68px;\">\n<p style=\"margin-left:11.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:67px;height:68px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:68px;\">\n<p style=\"margin-left:10.9pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:39px;height:69px;\">\n<p align=\"right\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t3.<\/p>\n<\/td>\n<td style=\"width:62px;height:69px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDSC MENG 103<\/p>\n<\/td>\n<td style=\"width:184px;height:69px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tShakespeare&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; and&nbsp;&nbsp;&nbsp;&nbsp; His Contemporaries<\/p>\n<\/td>\n<td style=\"width:61px;height:69px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:80px;height:69px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:69px;\">\n<p style=\"margin-left:11.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:67px;height:69px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:69px;\">\n<p style=\"margin-left:10.9pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:39px;height:74px;\">\n<p align=\"right\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t4.<\/p>\n<\/td>\n<td style=\"width:62px;height:74px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDSC MENG 104<\/p>\n<\/td>\n<td style=\"width:184px;height:74px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tNineteenth&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Century Fiction<\/p>\n<\/td>\n<td style=\"width:61px;height:74px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:80px;height:74px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:74px;\">\n<p style=\"margin-left:11.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:67px;height:74px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:74px;\">\n<p style=\"margin-left:10.9pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:39px;height:32px;\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:62px;height:32px;\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:184px;height:32px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTotal<\/p>\n<\/td>\n<td style=\"width:61px;height:32px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t24<\/p>\n<\/td>\n<td style=\"width:80px;height:32px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t20<\/p>\n<\/td>\n<td style=\"width:72px;height:32px;\">\n<p style=\"margin-left:5.15pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t4<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:157px;height:32px;\">\n<p style=\"margin-left:5.0pt;\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tTotal Marks \u2013 100<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n\t\t\t\t\t\t\t\t\t\t\t&nbsp;<\/p>\n<\/p><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\tMA English CBCS (Semester &#8211; I)<\/p><\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p align=\"center\" style=\"margin-left:41.0pt;\">\n\t\t<strong>Semester &#8211; II<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<table border=\"1\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td rowspan=\"2\" style=\"width:38px;height:118px;\">\n<p style=\"margin-left:7.3pt;\">\n\t\t\t\t\t\tSr.<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tNo.<\/p>\n<\/td>\n<td style=\"width:92px;height:118px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCourse Code<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:113px;height:118px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tTitle of the Paper\/Course<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:67px;height:118px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tCredits<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:157px;height:118px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tTheory Contact Hours<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\t(L-5 Hours per Week\/Tut.-1 Hour per Week)<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:156px;height:118px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tMarks Scheme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:92px;height:50px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSCs<\/p>\n<\/td>\n<td style=\"width:85px;height:50px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tLectures (Credits)<\/p>\n<\/td>\n<td style=\"width:72px;height:50px;\">\n<p style=\"margin-left:5.25pt;\">\n\t\t\t\t\t\tTutorials<\/p>\n<\/td>\n<td style=\"width:66px;height:50px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTheory<\/p>\n<\/td>\n<td style=\"width:90px;height:50px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\tInternal Assessment<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:110px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:92px;height:110px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 201<\/p>\n<\/td>\n<td style=\"width:113px;height:110px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tHistory of English Literature: Nineteenth and Twentieth<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tCenturies<\/p>\n<\/td>\n<td style=\"width:67px;height:110px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:85px;height:110px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:110px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:66px;height:110px;\">\n<p style=\"margin-left:11.35pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:110px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:55px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:92px;height:55px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 202<\/p>\n<\/td>\n<td style=\"width:113px;height:55px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tRomantic and Victorian Poetry<\/p>\n<\/td>\n<td style=\"width:67px;height:55px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:85px;height:55px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:55px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:66px;height:55px;\">\n<p style=\"margin-left:11.35pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:55px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:50px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t3.<\/p>\n<\/td>\n<td style=\"width:92px;height:50px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 203<\/p>\n<\/td>\n<td style=\"width:113px;height:50px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tModern Fiction<\/p>\n<\/td>\n<td style=\"width:67px;height:50px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:85px;height:50px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:50px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:66px;height:50px;\">\n<p style=\"margin-left:11.35pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:50px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:74px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t4.<\/p>\n<\/td>\n<td style=\"width:92px;height:74px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 204<\/p>\n<\/td>\n<td style=\"width:113px;height:74px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tGrowth and Structure of English<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tLanguage<\/p>\n<\/td>\n<td style=\"width:67px;height:74px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:85px;height:74px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:74px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:66px;height:74px;\">\n<p style=\"margin-left:11.35pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:74px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:74px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t5.<\/p>\n<\/td>\n<td style=\"width:92px;height:74px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tGE MENG 205<\/p>\n<\/td>\n<td style=\"width:113px;height:74px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tAdvanced Academic Writing<\/p>\n<\/td>\n<td style=\"width:67px;height:74px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:85px;height:74px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:72px;height:74px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t&#8211;<\/p>\n<\/td>\n<td style=\"width:66px;height:74px;\">\n<p style=\"margin-left:11.35pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:74px;\">\n<p style=\"margin-left:11.3pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:32px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:92px;height:32px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:113px;height:32px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\tTotal<\/p>\n<\/td>\n<td style=\"width:67px;height:32px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t28<\/p>\n<\/td>\n<td style=\"width:85px;height:32px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t24<\/p>\n<\/td>\n<td style=\"width:72px;height:32px;\">\n<p style=\"margin-left:11.25pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:156px;height:32px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal Marks \u2013 100<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3 align=\"center\">\n\t\tSemester &#8211; III<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<table class=\"table table-hover table-striped table-bordered table-theme table-grid-view\">\n<tbody>\n<tr>\n<td rowspan=\"2\" style=\"width:38px;height:113px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tSr.<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tNo.<\/p>\n<\/td>\n<td style=\"width:86px;height:113px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCourse Code<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:121px;height:113px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTitle of the Paper\/Course<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:61px;height:113px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tCredits<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:166px;height:113px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tTheory<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tContact Hours (L-5 Hours per<\/p>\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tWeek\/Tut.-1 Hour per Week)<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:151px;height:113px;\">\n<p style=\"margin-left:5.55pt;\">\n\t\t\t\t\t\tMarks Scheme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:86px;height:39px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC\/DSEs<\/p>\n<\/td>\n<td style=\"width:94px;height:39px;\">\n<p style=\"margin-left:5.4pt;\">\n\t\t\t\t\t\tLectures (Credits)<\/p>\n<\/td>\n<td style=\"width:72px;height:39px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tTutorials<\/p>\n<\/td>\n<td style=\"width:61px;height:39px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<p style=\"margin-left:5.55pt;\">\n\t\t\t\t\t\tTheory<\/p>\n<\/td>\n<td style=\"width:90px;height:39px;\">\n<p style=\"margin-left:5.6pt;\">\n\t\t\t\t\t\tInternal Assessment<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:58px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:86px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 301<\/p>\n<\/td>\n<td style=\"width:121px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tLiterary Criticism<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:94px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:58px;\">\n<p style=\"margin-left:11.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.55pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:58px;\">\n<p style=\"margin-left:11.6pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:58px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:86px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 302<\/p>\n<\/td>\n<td style=\"width:121px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tModern British and American Poetry<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:94px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:58px;\">\n<p style=\"margin-left:11.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.55pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:58px;\">\n<p style=\"margin-left:11.6pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:58px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t3.<\/p>\n<\/td>\n<td style=\"width:86px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 303<\/p>\n<\/td>\n<td style=\"width:121px;height:58px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tModern British Drama<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:94px;height:58px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:58px;\">\n<p style=\"margin-left:11.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:61px;height:58px;\">\n<p style=\"margin-left:11.55pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:58px;\">\n<p style=\"margin-left:11.6pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:133px;\">\n<p align=\"center\" style=\"margin-left:8.7pt;\">\n\t\t\t\t\t\t4.<\/p>\n<\/td>\n<td style=\"width:86px;height:133px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tMENG 304-307<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t[Any one from the given four Options]<\/p>\n<\/td>\n<td style=\"width:121px;height:133px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:61px;height:133px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:94px;height:133px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:72px;height:133px;\">\n<p style=\"margin-left:11.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:61px;height:133px;\">\n<p style=\"margin-left:11.55pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:133px;\">\n<p style=\"margin-left:11.6pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:86px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:121px;height:37px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\ti. World Fiction (304)<\/p>\n<\/td>\n<td style=\"width:61px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:94px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:72px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:61px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:90px;height:37px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:86px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:121px;height:55px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tii. African Literature<\/p>\n<p style=\"margin-left:17.35pt;\">\n\t\t\t\t\t\t(305)<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:94px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:72px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:90px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:86px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:121px;height:55px;\">\n<p style=\"margin-left:20.35pt;\">\n\t\t\t\t\t\tiii. Australian Literature<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t(306)<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:94px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:72px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:90px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:86px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:121px;height:55px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tiv. Canadian Literature<\/p>\n<p style=\"margin-left:20.35pt;\">\n\t\t\t\t\t\t(307)<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:94px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:72px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:90px;height:55px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:55px;\">\n<p>\n\t\t\t\t\t\t5.<\/p>\n<\/td>\n<td style=\"width:86px;height:55px;\">\n<p>\n\t\t\t\t\t\tAEC MENG 308<\/p>\n<\/td>\n<td style=\"width:121px;height:55px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tLiterary Terms<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:94px;height:55px;\">\n<p>\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:72px;height:55px;\">\n<p>\n\t\t\t\t\t\t0<\/p>\n<\/td>\n<td style=\"width:61px;height:55px;\">\n<p>\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:90px;height:55px;\">\n<p>\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:38px;height:21px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:86px;height:21px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:121px;height:21px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tTotal<\/p>\n<\/td>\n<td style=\"width:61px;height:21px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t24<\/p>\n<\/td>\n<td style=\"width:94px;height:21px;\">\n<p style=\"margin-left:11.4pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<td style=\"width:72px;height:21px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:151px;height:21px;\">\n<p style=\"margin-left:5.55pt;\">\n\t\t\t\t\t\tTotal Marks \u2013 100<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p align=\"center\" style=\"margin-left:85.95pt;\">\n\t\tS<strong>emester &#8211; IV<\/strong><\/p>\n<table border=\"1\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td rowspan=\"2\" style=\"width:37px;height:84px;\">\n<p style=\"margin-left:7.65pt;\">\n\t\t\t\t\t\tSr.<\/p>\n<p style=\"margin-left:5.85pt;\">\n\t\t\t\t\t\tNo.<\/p>\n<\/td>\n<td style=\"width:122px;height:84px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tCourse Code<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:117px;height:84px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tTitle of the Paper\/Course<\/p>\n<\/td>\n<td rowspan=\"2\" style=\"width:59px;height:84px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\tCredits<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:140px;height:84px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\tTheory Contact Hours (L-5 Hours per<\/p>\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\tWeek\/Tut.-1 Hour per Week)<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:147px;height:84px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tMarks Scheme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:122px;height:34px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC\/DSEs<\/p>\n<\/td>\n<td style=\"width:70px;height:34px;\">\n<p style=\"margin-left:5.3pt;\">\n\t\t\t\t\t\tLectures (Credits)<\/p>\n<\/td>\n<td style=\"width:71px;height:34px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tTutorials<\/p>\n<\/td>\n<td style=\"width:59px;height:34px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tTheory<\/p>\n<\/td>\n<td style=\"width:88px;height:34px;\">\n<p style=\"margin-left:5.5pt;\">\n\t\t\t\t\t\tInternal Assessment<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:34px;\">\n<p align=\"center\" style=\"margin-left:8.8pt;\">\n\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:122px;height:34px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 401<\/p>\n<\/td>\n<td style=\"width:117px;height:34px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tContemporary Literary Theory<\/p>\n<\/td>\n<td style=\"width:59px;height:34px;\">\n<p style=\"margin-left:10.8pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:70px;height:34px;\">\n<p style=\"margin-left:10.85pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:71px;height:34px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:59px;height:34px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:88px;height:34px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:67px;\">\n<p align=\"center\" style=\"margin-left:8.8pt;\">\n\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:122px;height:67px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSC MENG 402<\/p>\n<\/td>\n<td style=\"width:117px;height:67px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tIndian&nbsp;&nbsp;&nbsp;&nbsp; Writing in English<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p style=\"margin-left:10.8pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:70px;height:67px;\">\n<p style=\"margin-left:10.85pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:71px;height:67px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:88px;height:67px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:84px;\">\n<p align=\"center\" style=\"margin-left:8.8pt;\">\n\t\t\t\t\t\t3.<\/p>\n<\/td>\n<td style=\"width:122px;height:84px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE II<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE MENG 403-<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t404&nbsp;&nbsp;&nbsp; [Any&nbsp;&nbsp;&nbsp; one<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tfrom&nbsp;&nbsp; the&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; given two Options]<\/p>\n<\/td>\n<td style=\"width:117px;height:84px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tDrama<\/p>\n<\/td>\n<td style=\"width:59px;height:84px;\">\n<p style=\"margin-left:10.8pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:70px;height:84px;\">\n<p style=\"margin-left:10.85pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:71px;height:84px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:59px;height:84px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:88px;height:84px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:67px;\">\n<ol style=\"list-style-type:lower-roman;\">\n<li>\n\t\t\t\t\t\t\tModern European<\/li>\n<li>\n\t\t\t\t\t\t\tDrama (403)<\/li>\n<\/ol>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:70px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:71px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:88px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:50px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tiii.<\/p>\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tAmerican Drama<\/p>\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tiv.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (404)<\/p>\n<\/td>\n<td style=\"width:59px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:70px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:71px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:88px;height:50px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:67px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tDSE III 405-407<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\t[Any one from<\/p>\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tthe given three Options]<\/p>\n<\/td>\n<td style=\"width:117px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p align=\"center\" style=\"margin-left:.3pt;\">\n\t\t\t\t\t\t6<\/p>\n<\/td>\n<td style=\"width:70px;height:67px;\">\n<p align=\"center\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:71px;height:67px;\">\n<p style=\"margin-left:16.45pt;\">\n\t\t\t\t\t\t1<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:88px;height:67px;\">\n<p style=\"margin-left:8.25pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:67px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\ti.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Indian Writing in Translation<\/p>\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tii.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (405)<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:70px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:71px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:88px;height:67px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:51px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tii. Literature and Gender<\/p>\n<p style=\"margin-left:16.45pt;\">\n\t\t\t\t\t\t(406)<\/p>\n<\/td>\n<td style=\"width:59px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:70px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:71px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:88px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:51px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tv.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; iii.<\/p>\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tNative Writing (407)<\/p>\n<\/td>\n<td style=\"width:59px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:70px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:71px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:59px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:88px;height:51px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:34px;\">\n<p align=\"center\" style=\"margin-left:.35pt;\">\n\t\t\t\t\t\t5<\/p>\n<\/td>\n<td style=\"width:122px;height:34px;\">\n<p style=\"margin-left:5.35pt;\">\n\t\t\t\t\t\tGE MENG 408<\/p>\n<\/td>\n<td style=\"width:117px;height:34px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tContemporary<\/p>\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tShort Fiction<\/p>\n<\/td>\n<td style=\"width:59px;height:34px;\">\n<p style=\"margin-left:10.8pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:70px;height:34px;\">\n<p style=\"margin-left:10.85pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td style=\"width:71px;height:34px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t&#8211;<\/p>\n<\/td>\n<td style=\"width:59px;height:34px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<td style=\"width:88px;height:34px;\">\n<p style=\"margin-left:11.0pt;\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:37px;height:17px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:122px;height:17px;\">\n<p>\n\t\t\t\t\t\t&nbsp;<\/p>\n<\/td>\n<td style=\"width:117px;height:17px;\">\n<p style=\"margin-left:5.45pt;\">\n\t\t\t\t\t\tTotal<\/p>\n<\/td>\n<td style=\"width:59px;height:17px;\">\n<p style=\"margin-left:10.8pt;\">\n\t\t\t\t\t\t28<\/p>\n<\/td>\n<td style=\"width:70px;height:17px;\">\n<p style=\"margin-left:10.85pt;\">\n\t\t\t\t\t\t24<\/p>\n<\/td>\n<td style=\"width:71px;height:17px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\t4<\/p>\n<\/td>\n<td colspan=\"2\" style=\"width:147px;height:17px;\">\n<p style=\"margin-left:10.95pt;\">\n\t\t\t\t\t\tTotal Marks \u2013 100<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Total Courses: <\/strong>18 (DSC-13; DSE-3; GE-2).<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Total Credits: <\/strong>104 (DSC-78 Credits; DSE-18 Credits; GE-8 Credits)<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Abbreviations Used: <\/strong>MENG=MA in English; DSC=Discipline Specific Core\/Compulsory; DSE=Discipline Specific Elective; Elective=Open Choice\/Optional Course; GE=Generic Elective<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3 align=\"center\">\n\t\tMA English (CBCS)<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Programme Outcomes:<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tMA English Programme proposes to offer an overview of disparate literatures that have been produced spatio-temporally in various languages and genres. The purpose is to facilitate a detailed study of the established classics and acknowledged masterpieces across the world, commencing from the fourteenth century, when English as a language was acknowledged and appreciated at par with Latin and French. The programme targets to develop an understanding of the theoretical and critical perspectives covered under different genres of literature so as to impart knowledge of the historical background of English literature with its continuing influence in the subsequent eras. The students are trained to develop analytical and critical propositions to strengthen the requisite acuity in the field of research.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe programme intends to develop comprehensive insights into the cultural nuances and experiential livings of numerous societies across the globe. The programme comprises literature and a significant component of linguistics to groom and nurture the students into competent assets, employable in multiple avenues that a specialization in English opens up in the professional world. The course attempts to inculcate the principles of \u201cgender sensitivity,\u201d \u201csocial responsibility,\u201d \u201ccommunity service\u201d and \u201cnational pride,\u201d which are the underlining tenets of this programme.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tProgramme Specific Outcomes:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tMA English Programme specifically aspires to inculcate the following in the students:<\/p>\n<ul>\n<li>\n\t\t\tAcquaintance with the writers and theorists of different ages across the world along with their concerns, ideas and perspectives.<\/li>\n<li>\n\t\t\tApplication of the knowledge of language and literature in different spheres of life.<\/li>\n<li>\n\t\t\tA critical acumen to analyse and evaluate the scholarly works of English literature.<\/li>\n<li>\n\t\t\tInterpersonal skills and ethical values for the holistic development of the students.<\/li>\n<li>\n\t\t\tExpertise in writing and oratory skills in a variety of formats, such as articles, essays, critical reviews of literary texts, debates, declamations, panel discussions and seminar presentations.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p align=\"center\" style=\"margin-left:85.8pt;\">\n\t\t<strong>Detailed Syllabus<\/strong><\/p>\n<h2>\n\t\tSemester &#8211; I<\/h2>\n<h3>\n\t\tCourse &#8211; I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;History of English Literature from Chaucer to 1800<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC MENG 101 (Compulsory)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Maximum Marks: 100<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<img loading=\"lazy\" decoding=\"async\" height=\"3\" src=\"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image003.gif\" width=\"3\">History and literature have a two-way relationship, each influencing the other in multifarious ways, for the events of the past assist in the making of literature. History and literature are essential studies of humankind because they interpret human experiences to an extent that one gathers literary sensitivity which is highly influential in overall blossoming of vibrant minds. Knowing the historical background of a text, the students are well equipped to decipher the intentions of the author in writing the text. Through this course the students are introduced to the historical background of England from the age of Chaucer till the eighteenth century to underline the cultural effects of literature produced in different time periods. This is significant for the students to understand that human life governs the production of literature and how literature motivates and inspires people to excel in life. The course intends to apprise students about the different phases of English literature and prepare them to analytical skills based on the historical periods supported by the facts. This paper acquaints students with the evolution and growth of literature with respect to the temperament of the time and age. They gather an understanding of how the socio-cultural environment determines and evokes interest in various forms of literature.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, students will be able to read and analyze literary texts with enhanced skills and insights by understanding the relevant cultural and historical contexts. The students will be able to identify connections among the literary texts across genres and historical periods. Also, they will be competent enough to develop an appreciation and understanding of the aesthetic and historical development of British literature till the eighteenth century and will be able to relate how the socio-politico-cultural-historical conditions of any given age play a vital role in the production of literature.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Pattern of Testing:<\/strong><\/p>\n<h1>\n\t\tThe Pattern of Testing is largely uniform for all Courses in the Programme.<\/h1>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t(Questions will be set on movements and trends and not on individual authors)<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes (in about 150 to 200 words) on any <strong>five <\/strong>topics out of ten given topics.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tIn addition to the compulsory question, five questions, each with internal choice, will be set. The students have to attempt any <strong>three <\/strong>questions out of these five.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p style=\"margin-left:302.05pt;\">\n\t\tPrivate Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Note:<\/strong><\/p>\n<h3>\n\t\tvThe list of \u201cSuggested Readings\u201d attached doesn\u2019t have publishing details for all entries; the books are available in HPU library.<\/h3>\n<ol style=\"list-style-type:lower-roman;\">\n<li value=\"5\">\n\t\t\t<strong>The students are advised to consult articles on various web sites like <\/strong><a href=\"http:\/\/www.jstor.org\/\"><strong>www.jstor.org<\/strong><\/a><strong>, www.encyclopediabrtitanica, www.inflibnet, etc.<\/strong><\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNayar, Pramod, K. History of English Literature. Amity University, 2018.<\/li>\n<li>\n\t\t\tAlbert, Edward. History of English Literature. Oxford University Press, 2017.<\/li>\n<li>\n\t\t\tLong, William J. History of English Literature. <em>Generic <\/em>Human Studies <em>Publishing<strong>, <\/strong><\/em>2015.<\/li>\n<li>\n\t\t\tDaiches, David. <em>A Critical History of English Literature <\/em>&#8211; Volume I &amp; II. Supernova Publishers, 2010.<\/li>\n<li>\n\t\t\tEvans, Ifor. <em>A Short <\/em>History of English Literature. Penguin, 1979.<\/li>\n<li>\n\t\t\tLegouis, Emila and Louis Cazamain, et al. History of English Literature. Oxford University Press, 1981.<\/li>\n<li>\n\t\t\tCompton-Rickett, Arthur. A History of Literature. Universal Book Stall, 1978.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; II Poetry from Chaucer to Pope Course Code DSC MENG 102 (Compulsory)<\/h3>\n<p style=\"margin-left:128.0pt;\">\n\t\tChaucer:&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Prologue,\u201d \u201cThe Nun\u2019s Priest\u2019s Tale\u201d Donne:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Sun-Rising,\u201d \u201cThe Extasie,\u201d<\/p>\n<p style=\"margin-left:188.05pt;\">\n\t\t\u201cThe Canonization,\u201d\u2019 \u201cThe Anniversary,\u201d<\/p>\n<p style=\"margin-left:128.0pt;\">\n\t\t\u201cThe Flea,\u201d \u201cA Valediction: Forbidding Mourning\u201d Milton:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Paradise Lost<\/em>: Book I and \u201cLycidas,\u201d \u201c\u2018L\u2019 Allegro\u201d Pope:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Rape of the Lock<\/em>, <em>An Epistle to Dr. Arbuthnot<\/em><\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course is designed to appreciate poetry as an important literary genre so as to understand its multifarious elements like diction, form, tone, imagery, symbolism, etc. The course aims to make students understand the different features and functions of poetry along with the relevance of poetic traditions from Chaucer to Pope. It familiarizes students with the aesthetic, cultural, socio-politico- geographical and historical dimensions of English poetry. It strives to enhance the critical thinking by means of theoretical understanding of the prescribed poems.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will gain knowledge about the different phases of poetry from Chaucer to Pope along with different poetical forms like Sonnets, Ballads, Epics, Mock Heroic poems, etc. They will be able to distinguish among rhythm, meter and other musical aspects of poetry. The course familiarizes various technical aspects of poetry with special reference to Neo Classical Poetry which adheres to the Classical rules of poetry writing which gives students an understanding of the norms and nuances of poetry. The students will be able to understand the growth of English poetry as a genre from the historical and cultural perspectives from the beginning to the eighteenth century.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Chaucer<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tRobinson, F. N., ed. <em>The Prologue to the Canterbury Tales<\/em>. 1957. Thirteenth Impression. Oxford University Press, 1995.<\/li>\n<li>\n\t\t\tBowden, Muriel. <em>A Reader\u2019s Guide to Geoffrey Chaucer<\/em>. 1964. Syracuse University Press, 2001.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBurton, T. L. and Rosemary Greentree, eds<em>. Chaucer: Prologue to the Canterbury Tales.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tUniversity of Michigan, 1997.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tHopper, Vincent Foster. <em>Chaucer\u2019s Canterbury Tales (Selected): An Interlinear Translation<\/em>. Barron\u2019s Educational Series, 1970.<\/li>\n<li>\n\t\t\tAnderson, J. J. <em>The Canterbury Tales: A Case Book. <\/em>Macmillan, 1974.<\/li>\n<li>\n\t\t\tBurton, T. L. and Rosemary Greentree, David Biuggs, eds<em>. Chaucer\u2019s Miller\u2019s, Reeve\u2019s, and Cook\u2019s Tales: An Annotated Bibliography<\/em>. Toronto University Press, 1997<em>.<\/em><\/li>\n<li>\n\t\t\tCrow, Martin M., et al. <em>Chaucer: Life-Records. <\/em>Oxford University Press,1996.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tDonne<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<em>Avarez, A. The School of Donne. Chatto and Windus, 1961. Jstor.org.<\/em><\/li>\n<li>\n\t\t\t<em>Papazian, Mary. John Donne and the Protestant Reformation: New Perspectives. Wayne State University Press, 2003.<\/em><\/li>\n<li>\n\t\t\t<em>Brooks, Cleanth. Modern Poetry and the Tradition. Chapel Hill, 1939.<\/em><\/li>\n<li>\n\t\t\tUnger, Leonard. <em>Donne\u2019s Poetry and Modern Criticism. <\/em>Chicago University Press, 1950.<\/li>\n<\/ul>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold. <em>John Donne: Comprehensive Research and Study Guide<\/em>. Chelsea House, 2009.<\/li>\n<\/ul>\n<h3>\n\t\tMilton<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tJohn Milton. Bloom\u2019s Classic Critical Views. Chelsea House Publishers, 2004.<\/li>\n<li>\n\t\t\tBradford, Richard. <em>John Milton: A Sourcebook. A <\/em>Complete Critical Guide to English Literature. Routledge, 2001.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Joan%2BWebber%22\">Webber, <\/a>Joan. \u201cMilton\u2019s God.\u201d <em>ELH<\/em> 40. 4 (1973): 514-531.<\/li>\n<li>\n\t\t\tKermode, Frank, ed. The Living Milton. (Chapter 4)<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tEmpson, William. Milton\u2019s God. 1961. (Chapters 2, 4, 5)<\/li>\n<li>\n\t\t\tPeter, John. A Critique of Paradise Lost. Modern Language Notes. Hopkins University Press, 1961. (Chapters 3, 5)<\/li>\n<li>\n\t\t\tWright, B. A. <em>Milton\u2019s Paradise Lost<\/em>. Metheun, 1962. (Chapter 6)<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPope<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tThackrey, W. M. <em>The English Humorists of the 18<sup>th<\/sup> Century. <\/em>1853.<\/li>\n<li>\n\t\t\tGosse, Edmund. <em>A History of the Eighteen Century English Literature (1660-1780). <\/em>Read Books, 2009.<\/li>\n<li>\n\t\t\tHammond, Brean, S. <em>Pope. <\/em>Harvestor Press, 1986.<\/li>\n<li>\n\t\t\tHunt, John Dixon, ed. <em>Pope: The Rape of the Lock<\/em>. A Casebook. Macmillon, 1968.<\/li>\n<li>\n\t\t\tGriffin, Dustin. <em>Alexander Pope: The Poet in the Poems<\/em>. Princeton University Press, 1978.<\/li>\n<li>\n\t\t\tSteinberg, Theodore L. <em>Literature: The Humanities and Humanity<\/em>. State University of New York, 2013.<\/li>\n<li>\n\t\t\tRousseau, G. S., ed. <em>Twentieth Century Interpretation of The Rape of the Lock<\/em>. Prentice Hall, 1969.<\/li>\n<li>\n\t\t\tHammond, Brean S. <em>Pope. <\/em>Harvestor Press, 1986.<\/li>\n<li>\n\t\t\tGooneratne, Yasmine. <em>Alexander Pope. <\/em>Cambridge University Press, 1976.<\/li>\n<li>\n\t\t\tWeinbrot, Howard D. <em>Alexander Pope and the Traditions of Formal Verse Satire. <\/em>Princeton University Press, 1982.<\/li>\n<li>\n\t\t\tDobree, Bonamy. <em>Alexander Pope. <\/em>Philosophical library, 1951.<\/li>\n<li>\n\t\t\tKnight, D. <em>Pope and the Heroic Tradition. <\/em>Shoe String Pr., 1969.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; III&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Shakespeare and his Contemporaries Course Code DSC MENG 103 (Compulsory)<\/h3>\n<p style=\"margin-left:134.0pt;\">\n\t\tMarlowe: <em>Doctor Faustus <\/em>Shakespeare: <em>Tempest <\/em>Shakespeare: <em>Twelfth Night <\/em>Ben Jonson: <em>Volpone<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course manifests how writers creatively use language to explore the inner psyche of characters by universalizing the general human nature across varied cultures by examining the selected plays by Shakespeare and his contemporaries. The course intends to motivate students to explore the prescribed works in the light of the social, political, and philosophic contexts of Renaissance drama. The aim of the course is also to identify the ways in which reading and analyzing plays and theatrical performances can contribute to the students\u2019 perception of economic, social, political and gender problems.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be able to demonstrate working knowledge of a range of ideas as found in the texts of Shakespeare and his contemporaries. It will also enable the students to make an analysis by understanding the historical context and characteristics of the drama. The students will also acquire appropriate terminology and concepts to discuss the plot, characterization, themes and linguistic devices used in various plays.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Marlowe<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold, ed. <em>Christopher Marlowe\u2019s Doctor Faustus<\/em><a href=\"https:\/\/www.goodreads.com\/series\/203029-bloom-s-modern-critical-interpretations\"><em>. <\/em>Bloom\u2019s Modern Critical<\/a> <a href=\"https:\/\/www.goodreads.com\/series\/203029-bloom-s-modern-critical-interpretations\">Interpretations<\/a>. Chelsea House Publications, 1988.<\/li>\n<li>\n\t\t\tJump, John, ed. <em>Marlowe: Doctor Faustus. <\/em>Casebook Series. Bloomsbury Publishing, 1969.<\/li>\n<li>\n\t\t\tCampbell, Lily B. \u201cDoctor Faustus: A Case of Conscience.\u201d <em>PMLA <\/em>67. 2 (1952): 219-239.<\/li>\n<li>\n\t\t\tMizener, Arthur. \u201cThe Tragedy of Marlowe\u2019s <em>Doctor Faustus.<\/em>\u201d <em>College English <\/em>5. 2 (1943): 70-75.<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Shakespeare: <em>The Tempest<\/em><\/strong><\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;sxsrf=ALiCzsZotOdKRv1Zk0lS15A8jaodJiEwkA%3A1655117118823&amp;q=inauthor%3A%22Harold%2BBloom%22&amp;tbm=bks\">Harold <\/a>. <em>Shakespeare\u2019s The Tempest<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inpublisher%3A%22Riverhead%2BBooks%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjny6Dfn6r4AhUEheYKHeYZDFYQmxMoAHoECBMQAg&amp;sxsrf=ALiCzsZotOdKRv1Zk0lS15A8jaodJiEwkA%3A1655117118823\">Riverhead Books<\/a>, 2005.<\/li>\n<li>\n\t\t\tShakespeare, William. <em>The Tempest: A Casebook<\/em>. By David John Palmer. Macmillan, 1991.<\/li>\n<li>\n\t\t\tWillis, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Deborah%2BWillis%22\">Deborah <\/a>. \u201cShakespeare\u2019s <em>The<\/em> <em>Tempest<\/em> and the Discourse of Colonialism.\u201d <strong><em>Studies<\/em><\/strong> <strong><em>in<\/em><\/strong> <strong><em>English<\/em><\/strong> <strong><em>Literature,<\/em><\/strong> <strong><em>1500-1900<\/em><\/strong>. <em>Elizabethan<\/em> <em>and<\/em> <em>Jacobean<\/em> <em>Drama<\/em> 29. 2 (1989): 277-28.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Shakespeare: <em>Twelfth Night<\/em><\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tShakespeare, William. \u201c<em>Twelfth Night<\/em>.\u201d <em>Twelfth Night<\/em>. Yale University Press, 2008.<\/li>\n<li>\n\t\t\tBloom, Harold, and Pamela Loos, eds. <em>Twelfth Night<\/em>. Infobase Publishing, 2009.<\/li>\n<li>\n\t\t\tCharles, Casey. \u201cGender Trouble in <em>Twelfth Night<\/em>.\u201d <em>Theatre Journal <\/em>49.2 (1997): 121-141.<\/li>\n<li>\n\t\t\tSalingar, Leo, G. \u201cThe Design of <em>Twelfth Night<\/em>.\u201d <em>Shakespeare Quarterly <\/em>(1958): 117-139.<\/li>\n<li>\n\t\t\tLewalski, Barbara K. \u201cThematic Patterns in <em>Twelfth Night<\/em>.\u201d <em>Shakespeare Studies <\/em>1 (1965): 168.<\/li>\n<li>\n\t\t\tLindheim, Nancy. \u201cRethinking Sexuality and Class in <em>Twelfth Night<\/em>.\u201d <em>University of Toronto Quarterly <\/em>76.2 (2007): 679-713.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tBen Jonson<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tCook, David. <em>Volpone, or The Foxe. <\/em>Metheun, 1969.<\/li>\n<li>\n\t\t\tBamborough, J. B. <em>Ben Jonson. <\/em>Hutchinson University library, 1970.<\/li>\n<li>\n\t\t\tSteggle, Matthew, ed. <em>Volpone: A Critical Guide<\/em>. Bloomsbury Publishing, 2011.<\/li>\n<li>\n\t\t\tHui, Isaac. <em>Volpone\u2019s Bastards: Theorising Jonson\u2019s City Comedy<\/em>. Edinburgh University Press, 2018.<\/li>\n<li>\n\t\t\tJonson, Ben. <em>Volpone, or the Fox<\/em>. Manchester University Press, 1999.<\/li>\n<li>\n\t\t\tSale, Arthur, ed. <em>Volpone, or The Foxe<\/em>. 1959. Oxford university Press, 1976.<\/li>\n<li>\n\t\t\tJamieson, Michael, editor. <em>Three Comedies. <\/em>Penguin, 1973.<\/li>\n<li>\n\t\t\tBarish, Jonas A. \u201cThe Double Plot in <em>Volpone<\/em>.\u201d <em>Modern Philology <\/em>51.2 (1953): 83-92.<\/li>\n<li>\n\t\t\tScheve, D. A. \u201cJonson\u2019s Volpone and Traditional Fox Lore.\u201d <em>The Review of English Studies <\/em>1.3 (1950): 242-244.<\/li>\n<li>\n\t\t\tBarish, Joans, A., editor. <em>Ben Jonson: A Collection of Critical Essays. <\/em>Prentice Hall, 1963.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; IV&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nineteenth Century Fiction Course Code DSC MENG 104 (Compulsory)<\/h3>\n<p style=\"margin-left:137.0pt;\">\n\t\tEmily Bronte: <em>Wuthering Heights <\/em>Charles Dickens: <em>Hard Times <\/em>George Eliot: <em>The Mill on the Floss<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tThomas Hardy: <em>Tess of the D\u2019Urbervilles<\/em><\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course aims to provide an understanding of the development of the novel in the nineteenth century. It attempts to make the students gain both an understanding of nineteenth century novel forms and trends, and an appreciation of the art and skill of the period novel. The novels scrutinize nineteenth century society in totality, with all its follies and righteousness.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will acquire the knowledge necessary to comprehend the novels of the period and will be equipped with the terminology necessary to discuss the thematic as well as technical aspects of the novel. The students will gain knowledge of the major writers of the age and understand how the novelists of the period contributed in different ways to the development of the novel form.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition, one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Emily Bronte<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold, ed. <em>The Bront\u00ebs<\/em>. Infobase Publishing, 2009.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>Emily Bronte\u2019s Wuthering Heights<\/em>. 1987. Chelsea House Publications, 2008.<\/li>\n<li>\n\t\t\tAlmeida, Amy E. <em>Wuthering Heights: Curioser and Curioser<\/em>. Trinity Papers, 2011.<\/li>\n<li>\n\t\t\tMezo, Richard E. <em>A Student\u2019s Guide to Wuthering Heights. <\/em>Universal Publishers, 2002.<\/li>\n<li>\n\t\t\tPrasad, Anup. <em>The Place of Emily Bronte in English Novel<\/em>. Chandra Prakash Composers Patna, 2003.<\/li>\n<li>\n\t\t\tMaligec, Nikolina. <em>Gothic Feminism in Emily Bronte\u2019s Wuthering Heights<\/em>. Diss. Josip Juraj Strossmayer University of Osijek. Faculty of Humanities and Social Sciences. Department of English Language and Literature, 2020.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCharles Dickens<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAllen, Walter<em>.&nbsp; Introduction: Hard Times. <\/em>Harper &amp; Row, 2004.<\/li>\n<li>\n\t\t\tChesterton, G. K<em>.&nbsp; &nbsp;Appreciations and Criticisms of the Works of Charles Dickens.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:77.0pt;\">\n\t\tGoodreads, 2020.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNeill, Diana S. <em>A Short History of the English Novel. <\/em>1951. Collier Books, 1964.<\/li>\n<li>\n\t\t\tPrice, Martin, ed. <em>Dickens: A Collection of Critical Essays<\/em>. 20<sup>th<\/sup> Century Views. Prentice Hall, 1967.<\/li>\n<li>\n\t\t\tHouse, Humphery. <em>The Dickens World. <\/em>1942. Oxford University Press, 2010.<\/li>\n<li>\n\t\t\tHobsbaum, Philip. <em>A Reader\u2019s Guide to Charles Dickens<\/em>. Syracuse University Press, 2013.<\/li>\n<\/ul>\n<h3>\n\t\tGeorge Eliot<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNeill, Roberts. <em>George Eliot: Her Beliefs and Art. <\/em>University of Pittsburg Press, 1975.<\/li>\n<li>\n\t\t\tCreeger, George. <em>George Eliot: A Collection of Critical Essays<\/em>. Twentieth Century Views Series. Prentice Hall, 1970.<\/li>\n<li>\n\t\t\tAllen, Walter. <em>George Eliot<\/em>. Macmillan, 1964.<\/li>\n<li>\n\t\t\tDenitith, Simon. <em>George Eliot<\/em>. Harvestor Press, 1986.<\/li>\n<li>\n\t\t\tHarvey, W. H. <em>The Art of George Eliot<\/em>. Chatto and Windus, 1961.<\/li>\n<\/ul>\n<h3>\n\t\tThomas Hardy<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold. <em>Thomas Hardy<\/em>\u2019<em>s Tess of the d<\/em>\u2019<em>Urbervilles. <\/em>Chelsea House, 1987.<\/li>\n<li>\n\t\t\tCasagrande, Peter J. <em>Tess of the d<\/em>\u2019<em>Urbervilles: Unorthodox Beauty. <\/em>Maxwell Macmillan International, 1992.<\/li>\n<li>\n\t\t\tLaValley, Albert J. <em>Twentieth Century Interpretations of&nbsp; Tess of the d\u2019Urbervilles.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:83.6pt;\">\n\t\tPrentice-Hall, 1969.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBeer, Gillian. \u201cDescent and Sexual Selection: Women in Narrative.\u201d <em>Tess of the d<\/em>\u2019<em>Urbervilles. <\/em>Ed. By. Scott Elledge. Norton and Company, 1991. 446-451.<\/li>\n<li>\n\t\t\tLaird, J. T. <em>The Shaping of Tess of the d\u2019Urbervilles<\/em>. Clarendon Press, 1975.<\/li>\n<li>\n\t\t\tMills, Sara, ed. <em>Feminist Readings\/Feminists Reading. <\/em>Prentice Hall, 1996.<\/li>\n<li>\n\t\t\tParkinson, Michael H. <em>The Rural Novel: Jeremias Gothelf, Thomas Hardy, C.F. Ramuz.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:83.6pt;\">\n\t\tPeter Lang, 1984.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h1>\n\t\tSemester &#8211; II<\/h1>\n<h3>\n\t\tCourse &#8211; V&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; History of English Literature: Nineteenth and Twentieth Centuries<\/h3>\n<p style=\"margin-left:44.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;DSC MENG 201 (Compulsory)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course spans the historical era of enormous range and significance: From the French Revolution in 1789 to the mid-twentieth century; from Romanticism to Modernism and after. It intends to acquaint students with the influence of some of the important historical events and cultural movements in the literature of the nineteenth and twentieth centuries. It aims to provide significant knowledge about the post-war cultural and intellectual developments. The course covers vast literary-historical panorama, and traces discernible, essential and vital continuity between the writers and texts spread over a span of more than two centuries. The emphasis of this course is on studying the significant historical, social and literary movements, and the impact of these on the writers and emergence of new genres chronologically.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, students will be able to read and analyze literary texts with increased skill and insights; their integrated understanding of literature being a product of relevant cultural and historical contexts and perspectives would be enhanced. The students will be able to identify connections among the literary texts across genres, historical periods, and\/or cultural contexts. They will be able to develop an appreciation and understanding of the historical and aesthetic development of British literature and culture of the nineteenth and twentieth centuries. They will be competent enough to discuss the vast range of themes and issues of the particular age, for instance, the impact of the French and American revolutions; the industrial revolution; expanded education; religious and scientific developments; shifting definitions of gender, etc.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t(Questions will be set on movements and trends and not on individual authors)<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes (in about 150 to 200 words) on any <strong>five <\/strong>topics out of ten given topics.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tIn addition to the compulsory question, five questions, each with internal choice, will be set. The students have to attempt any <strong>three <\/strong>questions out of these five.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNayar, Pramod, K. History of English Literature. Amity University, 2018.<\/li>\n<li>\n\t\t\tAlbert, Edward. History of English Literature. Oxford University Press, 2017.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tLong, William J. History of English Literature. <em>Generic <\/em>Human Studies <em>Publishing<strong>, <\/strong><\/em>2015.<\/li>\n<li>\n\t\t\tDaiches, David. <em>A Critical History of English Literature <\/em>&#8211; Volume I &amp; II. Supernova Publishers, 2010.<\/li>\n<li>\n\t\t\tEvans, Ifor. <em>A Short <\/em>History of English Literature. Penguin, 1979.<\/li>\n<li>\n\t\t\tLegouis, Emila and Louis Cazamain, et al. History of English Literature. Oxford University Press, 1981.<\/li>\n<li>\n\t\t\tCompton-Rickett, Arthur. A History of Literature. Universal Book Stall, 1978.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; VI&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Romantic and Victorian Poetry Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC MENG 202 (Compulsory)<\/h3>\n<p style=\"margin-left:140.0pt;\">\n\t\tBlake: <em>Songs of Innocence and Songs of Experience<\/em><\/p>\n<p style=\"margin-left:140.0pt;\">\n\t\tWordsworth:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cTintern Abbey,\u201d \u201cOde: Intimations of<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tImmortality\u201d<\/p>\n<p style=\"margin-left:140.0pt;\">\n\t\tColeridge:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Rime of the Ancient Mariner,\u201d \u201cKubla Khan\u201d Keats:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cOde on a Grecian Urn,\u201d \u201cOde to a Nightingale,\u201d<\/p>\n<p style=\"margin-left:137.0pt;\">\n\t\t\u201cOde on Melancholy,\u201d \u201cTo Autumn\u201d Tennyson:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Lady of Shalott,\u201d \u201cUlysses,\u201d \u201cThe Lotos-<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tEaters\u201d<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tBrowning:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cEvelyn Hope,\u201d \u201cThe Last Ride Together,\u201d \u201cMy Last Duchess,\u201d \u201cRabbi Ben Ezra\u201d<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course focalizes on significant poets from the Romantic and Victorian periods and situates their work within the cultural, socio-eco-politico-scientific and aesthetic concerns of the period. The course is designed to pay close attention to both formal and contextual dimensions of the prescribed poems. It intends to familiarize the students with different styles and forms of poetry to scrutinize the complexities of interaction between literary and cultural formations in the works of major Romantic poets and Victorian poets including Wordsworth, Coleridge, Keats, Tennyson, Browning and Arnold.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tOn completion of the course, the students will be able to critically analyze Romantic and Victorian poetry and its various elements such as diction, tone form, genre, imagery, figures of speech, theme, etc. It will not only hone their creative skills and critical abilities but will also enrich their vocabulary and writing skills. The students will be able to explore their power of imagination and demonstrate their ability to reflect critically in the advanced study of poetry as a genre.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings: William Blake<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAckroyd, Peter. <em>Blake<\/em>. Knopf, 1996.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tWillard, Nancy. <em>A Visit to William Blake\u2019s Inn for Innocent and Experienced Travelers<\/em>. Voyager, 1981.<\/li>\n<li>\n\t\t\tEaves, Morris. <em>The Cambridge Companion to William Blake<\/em>. Cambridge University Press, 2003.<\/li>\n<li>\n\t\t\tDamon, S. F. <em>William Blake: His Philosophy and Symbols<\/em>. 1924. Digital Library of India, 2015.<\/li>\n<li>\n\t\t\tGardner, Stanley. <em>Infinity on the Anvil: A Critical Study of Blake\u2019s Poetry<\/em>. Basic Blackwell, 1954.<\/li>\n<li>\n\t\t\tMarsh, Nicholas. <em>William Blake: The Poems<\/em>. 2<sup>nd<\/sup> ed. Palgrave Macmillan, 2003.<\/li>\n<li>\n\t\t\tBowra, C. M. <em>The Romantic Imagination<\/em>. Harvard University Press, 1957.<\/li>\n<\/ul>\n<h3>\n\t\tWilliam Wordsworth<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tGill, Stephen, ed. <em>The Major Works of William Wordsworth<\/em>. Oxford University Press, 1984.<\/li>\n<li>\n\t\t\tRolfe, William. J. <em>Select Poems of William Wordsworth. <\/em>Harper, 1889.<\/li>\n<li>\n\t\t\tWoolf, Robert, ed. <em>William Wordsworth: The Critical Heritage. <\/em>Volume \u2013 I, 1793 &#8211; 1820. Routledge, 2001.<\/li>\n<\/ul>\n<h3>\n\t\tS. T. Coleridge<\/h3>\n<p style=\"margin-left:21.55pt;\">\n\t\t<img loading=\"lazy\" decoding=\"async\" alt=\"Text Box: \u00d8\tBloom, Harold, ed. Samuel Taylor Coleridge. Bloom\u2019s Modern Critical Views. Chelsea House Publications, 1986.\n\u00d8\tJones, Alun R., William Tydeman, eds. Coleridge: The Ancient Mariner and Other Poems: A Casebook. Macmillan, 1973.\n\u00d8\tEmpson, William and John Haffenden. \u201cThe Ancient Mariner: An Answer to Warren.\u201d The Kenyon Review. New Series. 15. 1 (1993): 155-177.\n\u00d8\tStevenson, Warren. \u201c \u201cKubla Khan\u201d as Symbol.\u201d Texas Studies in Literature and Language 14. 4 (1973): 605-630.\n\u00d8\tWarren, Robert Penn. \u201cA Poem of Pure Imagination (Reconsiderations VI).\u201d The Kenyon Review\n8.3 (1946): 391-427\n\u00d8\tSamuel Taylor Coleridge. Bloom\u2019s Modern Critical Views. Chelsea House Pub., 1986.\n\u00d8\tAshton, Rosemary. The Life of Samuel Taylor Coleridge: A Critical Biography. Blackwell, 1996.\n\u00d8\tJames, Gillman. The Life of Samuel Taylor Coleridge. Bastion Books, 2008.\nJohn Keats\n\" height=\"262\" src=\"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image004.gif\" width=\"656\"><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold, ed. <em>John Keats<\/em>. Infobase Publishing, 2009.<\/li>\n<li>\n\t\t\tKeats, John, Tony Church, and George Rylands. <em>John Keats<\/em>. Oxford University Press, 1990.<\/li>\n<li>\n\t\t\tWolfson, Susan J. <em>Reading John Keats<\/em>. Cambridge University Press, 2015.<\/li>\n<li>\n\t\t\tWhite, Robert. <em>John Keats: A Literary Life<\/em>. Springer, 2010.<\/li>\n<li>\n\t\t\tUlmer, William A. <em>John Keats: Reimagining History<\/em>. Springer, 2017.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tLord Alfred Tennyson<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tBloom, Harold, ed. <em>Alfred Lord Tennyson<\/em>. Infobase Publishing, 2010. Jordan, Elaine. <em>Alfred Tennyson<\/em>. CUP Archive, 1988.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tPinion, F. <em>A Tennyson Companion: Life and Works<\/em>. Springer, 1984.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tGrob,&nbsp;&nbsp; Alan.&nbsp;&nbsp;&nbsp; \u201cTennyson\u2019s&nbsp;&nbsp;&nbsp; \u201cThe&nbsp;&nbsp;&nbsp; Lotos-Eaters\u201d:&nbsp;&nbsp;&nbsp; Two&nbsp;&nbsp;&nbsp; Versions&nbsp;&nbsp;&nbsp; of&nbsp;&nbsp;&nbsp; Art.\u201d <em>Modern Philology <\/em>62.2 (1964): 118-129.<\/li>\n<li>\n\t\t\t&nbsp;&nbsp;&nbsp; Jump, John D. <em>Lord Alfred Tennyson: The Critical Heritage<\/em>. Routledge, 2013.<\/li>\n<li>\n\t\t\tAlfred, Lord Tennyson. \u201cThe Lotos Eaters.\u201d <em>English Literature: Victorians and Moderns <\/em>(2014): 55.<\/li>\n<li>\n\t\t\tPettigrew, John. \u201cTennyson\u2019s \u201cUlysses\u201d: A Reconciliation of Opposites.\u201d <em>Victorian Poetry <\/em>1.1 (1963): 27-45.<\/li>\n<\/ul>\n<h3>\n\t\tRobert Browning<\/h3>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, <a href=\"https:\/\/www.goodreads.com\/author\/show\/236.Harold_Bloom\">Harold. <\/a><em>Robert Browning: A Collection of Critical Essays. <\/em>Prentice Hall, 1979.<\/li>\n<li>\n\t\t\t<em>The Poetry of Robert Browning: A Critical Introduction<\/em>. Methuen, 1970.<\/li>\n<li>\n\t\t\tLitzinger Boyd, Donald Smalley. <em>Robert Browning: The Critical Heritage<\/em>. Taylor &amp; Francis, 1995.<\/li>\n<li>\n\t\t\tWoolford, John. <em>Robert Browning<\/em>. Writers and Their Work. Atlantic Publishers, 2000.<\/li>\n<li>\n\t\t\tHawlin, Stefan. <em>The Complete Critical Guide to Robert Browning.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:95.0pt;\">\n\t\tRoutledge, 2000.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; VII&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Modern Fiction<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;DSC MENG 203 (Compulsory)<\/strong><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tVirginia Woolf:&nbsp;&nbsp;&nbsp; <em>Mrs. Dalloway<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tJames Joyce:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A Portrait of the Artist as a Young Man<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tD.H. Lawrence:&nbsp;&nbsp; <em>Sons and Lovers<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tJoseph Conrad:&nbsp;&nbsp;&nbsp; <em>Heart of Darkness<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tE.M. Forster:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A Passage to India<\/em><\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course introduces students to the pleasure of reading by cultivating life-long appreciation of the unique literary imagination of people and places through fiction. It intends to develop an appreciation of modern fiction, including the formal conventions of literary works and broaden life experiences through imagination, empathy and engagement with diverse narratives and perspectives. It aspires to enable students to interpret fiction from various historical, philosophical and cultural contexts by studying a wide selection of canonical texts of modern fiction so as to understand the reciprocal relationship between literature and culture, and ascertain that literature effects culture and that culture effects literature in turn too. It will enhance their critical thinking skills through self-reflexivity, as well as through reflection on cultures &#8211; foreign and familiar.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be able to trace the broad developments in the Modern novel during the twentieth century, and to identify important concerns of modern novelists and appreciate representative works of modern fiction by examining the impact of diverse themes of modern fiction. The students will be equipped to apply universal human values expressed in novels from around the world to formulate a comparative perspective of cross-cultural, socio-eco-politico experiences. They will be adept to use literary analysis terminology by exploring literary elements used in the novels which will make them conversant with terminology and practices of literature and literary criticism with newly acquired knowledge.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Virginia Woolf<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tGill, Gillian. <em>Virginia Woolf and the Women Who Shaped Her World<\/em>. New Houghton, 2013.<\/li>\n<li>\n\t\t\tEmre, Merve. <em>The Annotated Mrs. Dalloway<\/em>. Liveright, 2021.<\/li>\n<li>\n\t\t\tProse, Francine. <em>The Mrs. Dalloway Reader<\/em>. Harcourt, 2003.<\/li>\n<li>\n\t\t\tResbot, Thea. <em>Central Themes, Motifs and Symbols in Virginia Woolf<\/em>. GRIN Verlag, 2018.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tLatham, Jacqueline E. M., ed. <em>Critics on Virginia Woolf<\/em>. Readings in Literary Criticism. 1970. Universal Book Stall, 1991.<\/li>\n<\/ul>\n<h3>\n\t\tD. H. Lawrence<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/archive.org\/search.php?query=creator%3A%22Bloom%2C%2BHarold%22\">Bloom, Harold<\/a>. <em>D. H. Lawrence\u2019s Sons and Lovers<\/em>. Chelsea House Publishers, 1988.<\/li>\n<li>\n\t\t\tSons and Lovers: A Casebook. Twentieth Century Classics. 1969.<\/li>\n<li>\n\t\t\tSons and Lovers. Worldview Critical Editions. First edition. 2002.<\/li>\n<li>\n\t\t\tLarkin, Philip. <em>D. H. Lawrence\u2019s Sons and Lovers<\/em>. Penguin, 2013.<\/li>\n<li>\n\t\t\t\u201cWhy the Novel Matters.\u201d By D. H. Lawrence. Pdf.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tJoseph Conrad<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMoore, Gene M, ed. <em>Joseph Conrad\u2019s Heart of Darkness: A Casebook. <\/em>Oxford University Press<em>, <\/em>2004<em>.<\/em><\/li>\n<li>\n\t\t\tSherry, Norman. <em>Conrad\u2019s Western World<\/em>. Cambridge University Press, 1980.<\/li>\n<li>\n\t\t\tPage, Norman. <em>A Conrad Companion. <\/em>Palgrave Macmillan, 1986.<\/li>\n<li>\n\t\t\tAmbrosini, Richard. <em>Conrad\u2019s Fiction as Critical Discourse. <\/em>1991. Goodreads, 2020.<\/li>\n<li>\n\t\t\tMurfin, Ross C. <em>Conrad Revisited<\/em>. Goodreads, 2020.<\/li>\n<li>\n\t\t\tHochschild, Adam. \u201cChapter 9: Meeting Mr. Kurtz.\u201d <em>King Leopold\u2019s Ghost<\/em>. Mariner Books, 1999.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tJames Joyce<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAttridge, Derek, ed. <em>The Cambridge Companion to James Joyce<\/em>. 2nd edition. Cambridge University Press, 2004.<\/li>\n<li>\n\t\t\tBrady, Philip and James F. Carens, eds. <em>Critical Essays on James Joyce\u2019s A Portrait of the Artist as a Young Man<\/em>. GK Hall, 1998.<\/li>\n<li>\n\t\t\tJohnson, Jeri. \u201cIntroduction.\u201d <em>A Portrait of the Artist as a Young Man<\/em>. Oxford World\u2019s Classics. Oxford University Press, 2000.<\/li>\n<li>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" height=\"18\" src=\"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image005.gif\" width=\"652\">Yoshida, Hiromi. <em>Joyce and Jung: The \u201cFour Stages of Eroticism\u201d in A Portrait of the Artist as a Young Man<\/em>. 2<sup>nd<\/sup> edition. Peter Lang, 2022.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tE. M. Forster<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold and Kim Welsch, eds. <em>E.M. Forster&#8217;s A Passage to India. <\/em>Chelsea House Publications, 2004.<\/li>\n<li>\n\t\t\tBradbury, Malcom. <em>E. M. Forster: A Passage to India: A Casebook. <\/em>Macmillan, 1970.<\/li>\n<li>\n\t\t\tHunt, John Dixon. \u201cMuddle and Mystery in <em>A Passage to India<\/em>\u201d. <em>ELH <\/em>, Vol. 33, No. 4 (Dec., 1966), pp. 497-517.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; VIII&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Growth and Structure of English Language Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC MENG 204 (Compulsory)<\/h3>\n<ol style=\"list-style-type:upper-roman;\">\n<li>\n\t\t\tHistory of Language<\/li>\n<\/ol>\n<p style=\"margin-left:125.0pt;\">\n\t\tA.C. Baugh &#8211; <em>A History of English Language <\/em>(Chapters 3 to 9)<\/p>\n<ol style=\"list-style-type:upper-roman;\">\n<li value=\"2\">\n\t\t\tStructure of Language<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\tPhonemes: Consonants, Vowels, Stress and Intonation<\/li>\n<li>\n\t\t\t\t\tMorphemes: Roots and Affixes, Derivational and Inflectional Morphemes, Allomorphs<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThis course is a chronological study of the growth of English language from the Old English period till the mid twentieth century by focusing on the emergence, evolution and progress of English language. This course will showcase the growth of English language from fifth century onwards which will unfold the gradual development of English through the periods of Old English, Middle English and Modern English. The course traces the impact of historical invasions such as Norman Conquest and Renaissance on the growth of English language. It will explore technical aspects of language and linguistics by studying the core components of linguistics like phonology, morphology, syntax, etc. which will make students overcome the barriers of speech sound, word accent, intonation, etc., faced especially by non-native learners of the English language.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be able to demonstrate a thorough understanding of diachronic changes in English language from Old English to present day. They will be familiar with the process of change and variation in language, and the role of language in reflecting and constructing social identities. They will develop the linguistic skills required for the close analysis of individual words in the texts. They will be able to decipher the complexity of language as a communication system shaped by biological, cultural, cognitive and social factors.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five <\/strong>topics (of about 100 to 150 words) out of ten topics from both sections, i.e. Section I and Section II.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;4=20 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tIn Sections I and II, four questions will be set in each section out of which the students have to attempt <strong>two <\/strong>questions from each section. (Total four Questions)<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tRegular Students: (2&#215;15=30)+(2&#215;15=30)=60 Marks ICDEOL Students: (2&#215;15=30)+(2&#215;15=30)=60 Marks Private Students: (2&#215;20=40)+(2&#215;20=40)=80 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tEmerson, Oliver Farrar<em>. A Brief History of the English Language. <\/em>Westworth Press, 2019.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tThomas, P. G. <em>An Introduction to the History of the English Language. <\/em>Forgotten Books, 2015.<\/li>\n<li>\n\t\t\tMaharsi, Eni, Isti Purwaningtyas. <em>Exploring English Morphology: For Elementary Linguistic Learners. <\/em>University Brawijaya Press, 2017.<\/li>\n<li>\n\t\t\tCollins, Beverley, Inger M. Mees, Paul Carley. <em>Practical English Phonetics and Phonology: A Resource Book for Students. <\/em>Routledge, 2019.<\/li>\n<li>\n\t\t\tGleason, H. A. <em>Introduction to Deive Linguistics. <\/em>Henry Holt, 1955.<\/li>\n<li>\n\t\t\tO\u2019Connor J. D. <em>Phonetics<\/em>. Penguin, 2000.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; Generic Elective I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Advanced Academic Writing<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; GE-MENG 205 (Compulsory Interdisciplinary)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Unit &#8211; I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Introduction to Academic Writing <\/strong>Writing as a Medium of Communication Fundamentals of Academic Writing<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tTypes of Academic Writing<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tUnit &#8211; II&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mechanics of Academic Writing<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tPre-Writing, Writing and Revision<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tRules and Conventions of Academic Writing (Style and Language) Critical Thinking (Analysis, Synthesis, Interpretation and Evaluation)<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Unit &#8211; III&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dimensions of Academic Writing <\/strong>Summarising, Paraphrasing, Paragraph Writing Pr\u00e9cis-Writing, Abstract Writing, Writing a Review<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tPresentations, Report Writing and Writing a Research Paper<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Unit &#8211; IV&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Research Methodology and Conventions <\/strong>Kinds of Research (Qualitative and Quantitative) Review (Literature and Peer Review)<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tEthics in Research and Plagiarism, MLA (9th Edition) (Mendeley, Zotero)<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tUsing Online Resources (Academic Search Engines, Open Access Databases), Metaliteracy<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Deion<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tWriting is an important element of communication and is vital for students and research scholars of all disciplines. Written communication necessitates clarity of expression, precise language, and an effective style. The Advanced Academic Writing course is designed for graduate and research students to hone their academic and professional writing skills in English. It is tailored to develop successful written communication and research skills by introducing students to the mechanics, dimensions and conventions of academic writing. The primary focus of the course is to build proficiency and confidence in the students by enhancing their critical thinking abilities via the processes of analysis, synthesis, interpretation and evaluation. The course encompasses methods and techniques that can be applied to different types of academic writing including summarising, paragraph writing, abstract writing, report writing, research writing and making presentations. It intends to introduce the students to research methodology, ethics in research, using online resources and accessing online educational databases for effective research. The course thus aims to enhance and strengthen the reading, critical reasoning, research and writing skills and abilities of students.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Objectives<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tTo provide students with an opportunity to improve their:<\/p>\n<ul>\n<li>\n\t\t\tReading skills<\/li>\n<li>\n\t\t\tWriting skills<\/li>\n<li>\n\t\t\tCritical reasoning skills<\/li>\n<li>\n\t\t\tResearch skills<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tTo introduce the various stages of the writing process.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tTo familiarize students with the features and stylistic conventions of academic writing.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tBy the end of the course, students will be able to:<\/p>\n<ul>\n<li>\n\t\t\tUnderstand the importance of academic writing<\/li>\n<li>\n\t\t\tEmploy different types of academic writing<\/li>\n<li>\n\t\t\tWrite summaries, paraphrases and paragraphs<\/li>\n<li>\n\t\t\tMake compositions with correct grammatical forms<\/li>\n<li>\n\t\t\tUse correct tools for citing resources<\/li>\n<li>\n\t\t\tUnderstand the ethics of research<\/li>\n<li>\n\t\t\tDemonstrate ability to write for an academic audience<\/li>\n<\/ul>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the given units one question with internal choice will be set. In addition one question of general nature with internal choice will be set. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\t<br clear=\"all\"><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBaiely, Stephen. <em>Academic Writing: A Handbook for International Students<\/em>. Routledge, 2011.<\/li>\n<li>\n\t\t\tBloom, Wayne C. <em>The Craft of Research<\/em>. 3<sup>rd<\/sup> ed. UCP, 2008.<\/li>\n<li>\n\t\t\tDev, Anjana Neira, ed. <em>A Handbook of Academic Writing and Composition. <\/em>Pinnacle, 2016.<\/li>\n<li>\n\t\t\tEckert, Kenneth. <em>Writing Academic Research Papers. <\/em>Moldy Rutabaga, 2021.<\/li>\n<li>\n\t\t\tGupta, Renu. <em>A Course in Academic Writing<\/em>. Orient BlackSwan, 2010.<\/li>\n<li>\n\t\t\tKothari, C. R. <em>Research Methodology: Methods and Techniques<\/em>. New Age, 2019.<\/li>\n<li>\n\t\t\tLeki, Ilona. <em>Academic Writing: Exploring Processes and Strategies. <\/em>2nd ed. CUP, 1998.<\/li>\n<li>\n\t\t\tStrunk, William Jr., E. B. White. <em>The Elements of Style<\/em>. Longman, 2000.<\/li>\n<li>\n\t\t\tSwales, John M., Christine B. Feak. <em>Abstracts and the Writing of Abstracts<\/em>. Michigan University Press, 2009.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h1>\n\t\tSemester \u2013 III<\/h1>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse &#8211; IX&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Literary Criticism<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC MENG 301 (Compulsory)<\/strong><\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tAristotle:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Poetics<\/em><\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tBharat Muni:&nbsp;&nbsp;&nbsp;&nbsp; <em>Natyashastra <\/em>(Chapter -6) Dryden:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Essay of Dramatic Poesy<\/em><\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tColeridge:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Biographia Literaria <\/em>(Chapters 13-18)<\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tArnold:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Function of Criticism in the Present Time,\u201d Eliot:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cTradition and Individual Talent\u201d and \u201cThe<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tFrontiers of Criticism\u201d<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tLiterary criticism, as a term, applies to any debate about <a href=\"https:\/\/www.britannica.com\/art\/literature\">literature, <\/a>i.e., the practice of studying, evaluating and interpreting works of literature. The course offers an overview of important literary critics and theories, and focuses on the texts that have laid the foundation of western as well as Indian critical literary thought. It endeavours to expose students to categories and traditions of literary theories based on different historical periods while deliberating on contributions of each writer to the development of literary criticism. It aims to provide an incisive understanding of the function and relevance of different literary methods practiced through an intense study of the prescribed literary texts.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will become aware about the perceptions of different critics regarding varied literary concepts like tragedy, poetics, criticism, etc., and will be able to critically respond to different writers and their works. The students will develop the ability to discern the contours of literature through the numerous opinions of critics on the concerned subject matter.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition, one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Aristotle<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAnagnostopoulos, Georgios. <em>A Companion to Aristotle. <\/em>Wiley-Blackwell, 2013.<\/li>\n<li>\n\t\t\tAnnas, Julia. <em>Classical Greek Philosophy. <\/em>Oxford University Press, 2001.<\/li>\n<li>\n\t\t\tBarnes, Jonathan. <em>The Cambridge Companion to Aristotle<\/em>. Cambridge University Press, 1995.<\/li>\n<li>\n\t\t\tElse, Gerard. <em>Aristotle\u2019s Poetics: The Argument. <\/em>Harvard University Press, 1957.<\/li>\n<li>\n\t\t\tWerner, Jaeger. <em>Aristotle<\/em>. 2<sup>nd<\/sup> ed. Oxford University Press, 1948.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tBharat Muni<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tPandey, K. C. <em>Comparative Aesthetics. <\/em>Vol. 1-2<strong><em>.<\/em><\/strong> 1950. Varanasi Chowkhamba Sanskrit Series, 2008.<\/li>\n<li>\n\t\t\tGnoli, R. <em>The Aesthetic Experience According To Abhinavgupta. <\/em>1956. Varanasi Chowkhamba Sanskrit Series, 1985.<\/li>\n<li>\n\t\t\tVerma, Nirmal.&nbsp;&nbsp;&nbsp; <em>India and Europe: Selected Essays by Nirmal Verma.&nbsp;&nbsp;&nbsp; <\/em>Trans. Alok Bhalla. Shimla: IIAS, 2000.<\/li>\n<li>\n\t\t\tVerma, Nirmal. <em>Patthar Aur Bahata Paani. <\/em>Ed. Nanadakishor Acharya. Bikaner Vagdevi Prakashan, 2000.<\/li>\n<li>\n\t\t\tAgyeya. <em>Kendra Aur Paridhi. <\/em>Jaipur National Publishing House, 1984.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tJohn Dryden<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tDryden, John. \u201cEssay of Dramatic Poesy.\u201d London 1668.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Ir%C3%A8ne%2BSimon%22\">Simon<\/a>, Ir\u00e8ne. \u201cDryden\u2019s Revision of the Essay of Dramatic Poesy.\u201d <em>The<\/em> <em>Review<\/em> <em>of<\/em> <em>English<\/em> <em>Studies<\/em> 14. 54 (1963): 132-141.<\/li>\n<li>\n\t\t\tHuntley, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;sxsrf=ALiCzsbUT48Y4HY2awXHuthLc6DgxEYrMA%3A1655117694532&amp;tbm=bks&amp;q=inauthor%3A%22Frank%2BLivingstone%2BHuntley%22&amp;sa=X&amp;ved=2ahUKEwiqwfnxoar4AhWE7XMBHYdjAu4Q9Ah6BAgKEAU\">Frank Livingstone. \u201c<\/a><a href=\"https:\/\/books.google.com\/books?id=yoBaAAAAMAAJ&amp;q=An%2BEssay%2Bof%2BDramatic%2BPoesy&amp;dq=An%2BEssay%2Bof%2BDramatic%2BPoesy&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;printsec=frontcover&amp;sa=X&amp;ved=2ahUKEwiqwfnxoar4AhWE7XMBHYdjAu4Q6AF6BAgKEAI\">On Dryden\u2019s Essay of Dramatic Poesy.\u201d <\/a><em>Modern<\/em> <em>Language<\/em> <em>Notes<\/em> 33. 2 (1948): 88-95.<\/li>\n<li>\n\t\t\tHuntley, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;sxsrf=ALiCzsbUT48Y4HY2awXHuthLc6DgxEYrMA%3A1655117694532&amp;tbm=bks&amp;q=inauthor%3A%22Frank%2BLivingstone%2BHuntley%22&amp;sa=X&amp;ved=2ahUKEwiqwfnxoar4AhWE7XMBHYdjAu4Q9Ah6BAgKEAU\">Frank Livingstone. \u201c<\/a>On the Persons in Dryden\u2019s Essay of Dramatic Poesy.\u201d<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<em>Modern<\/em> <em>Language<\/em> <em>Notes<\/em> 63. 2 (1948): 88-95.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tS. T. Coleridge<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tWheeler, Kathleen. <em>Sources, Processes and Methods in Coleridge\u2019s Biographia Literaria<\/em>. Cambridge University Press, 1980.<\/li>\n<li>\n\t\t\tColeridge, Samuel Taylor. <em>Biographia Literaria<\/em>. 1817. Edited by Nigel Leask. <a href=\"https:\/\/en.wikipedia.org\/wiki\/J._M._Dent\">J. M. Dent<\/a>, 1997.<\/li>\n<li>\n\t\t\tCorrigan, Timothy J. \u201cBiographia Literaria and the Language of Science.\u201d <em>Journal of the History of Ideas <\/em>41. 3 (1980).<\/p>\n<ul>\n<li>\n\t\t\t\t\tStelzig, Eugene L. \u201cColeridge\u2019s Failed Quest: The Anticlimax of Fancy\/Imagination in Biographia Literaria.\u201d <a href=\"https:\/\/egrove.olemiss.edu\/studies_eng_new\"><em>Studies in English, New Series <\/em><\/a>1 (1980).<\/li>\n<\/ul>\n<\/li>\n<li>\n\t\t\tHort, F. J. A. 1856. An essay on Coleridge&#8217;s philosophy. Read online<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tat <a href=\"http:\/\/books.google.co.uk\/books?id=eZY4AAAAIAAJ&amp;printsec=frontcover&amp;source=gbs_ge_summary_r&amp;cad=0%23v%3Donepage&amp;q&amp;f=false\">http:\/\/books.google.co.uk\/books?id=eZY4AAAAIAAJ&amp;printsec=frontcover&amp;source=gbs_ge_<\/a> <a href=\"http:\/\/books.google.co.uk\/books?id=eZY4AAAAIAAJ&amp;printsec=frontcover&amp;source=gbs_ge_summary_r&amp;cad=0%23v%3Donepage&amp;q&amp;f=false\">summary_r&amp;cad=0#v=onepage&amp;q&amp;f=false.<\/a><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tJohn Stuart Mill, <em>On Bentham and Coleridge. <\/em>With an introduction by F R Leavis, Cambridge University Press, 1838.<\/li>\n<\/ul>\n<p style=\"margin-left:21.65pt;\">\n\t\t<img loading=\"lazy\" decoding=\"async\" height=\"151\" src=\"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image006.gif\" width=\"656\"><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tDawson, Carl. <em>Matthew Arnold: The Critical Heritage. <\/em>Volume 2. The Poetry. Routledge, 2005.<\/li>\n<li>\n\t\t\tMachann, Clinton. <em>Matthew Arnold: A Literary Life<\/em>. Springer, 1998.<\/li>\n<li>\n\t\t\tBush, Douglas. <em>Matthew Arnold: A Survey of his Poetry and Prose<\/em>. Springer, 1971.<\/li>\n<li>\n\t\t\tAdams, Bradley Donald. <em>Antithetical Developments in the Poetry and Criticism of Matthew Arnold<\/em>. Diss. 1981.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tT. S. Eliot<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tWilliamson, George. <em>A Reader\u2019s Guide to T. S. Eliot<\/em>. Bookseller, 1952.<\/li>\n<li>\n\t\t\tUnger, J., editor. <em>T.S. Eliot: A Selected Critique. <\/em>Rinehart and Company, 1948.<\/li>\n<li>\n\t\t\tGardiner, Hele. <em>The Art of T. S. Eliot. <\/em>Faber and Faber, 2002.<\/li>\n<li>\n\t\t\tSen, S. <em>T. S. Eliot: The Critic. <\/em>Unique Publishers, 2014.<\/li>\n<li>\n\t\t\tLeavis, F. R. \u201cT.S. Eliot\u2019s Stature as a Critic.\u201d <em>Commentary <\/em>XXVI (1958).<\/li>\n<li>\n\t\t\tJewel, Spears Brooker. <em>Mastery and Escape: T.S. Eliot and the Dialectic of Modernism<\/em>. University of Massachusetts Press, 1996.<\/li>\n<li>\n\t\t\tGrant, Michael, ed. <em>T. S. Eliot: The Critical Heritage<\/em>. Routledge &amp; Kegan Paul, 1982.<\/li>\n<li>\n\t\t\t<em>The Cambridge Journal of Anthropology <\/em>25. 2 <em>Creativity or Temporality? <\/em>(2005).<\/li>\n<li>\n\t\t\tT. S. Eliot, \u201cThe Frontiers of Criticism.\u201d <em>On Poetry and Poets. <\/em>Faber and Faber, 1957.<\/li>\n<li>\n\t\t\tMurphy, Russel Eliott. <em>Critical Companion to T. S. Eliot: A Literary Reference to His Life and Work<\/em>. Facts on File, 2007.<\/li>\n<li>\n\t\t\tLobb, Edward. <em>T. S. Eliot and the Romantic Critical Tradition. <\/em>Routledge, 2015.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; X&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Modern British and American Poetry Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC MENG 302 (Compulsory)<\/h3>\n<p style=\"margin-left:80.0pt;\">\n\t\tW.B. Yeats:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Second Coming,\u201d \u201cSailing to Byzantium,\u201d<\/p>\n<p style=\"margin-left:212.05pt;\">\n\t\t\u201cA Prayer for My Daughter,\u201d \u201cAmong School Children,\u201d \u201cLeda and the Swan\u201d<\/p>\n<p style=\"margin-left:80.0pt;\">\n\t\tT.S. Eliot:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Waste Land<\/em><\/p>\n<p style=\"margin-left:80.0pt;\">\n\t\tW.H. Auden:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Unknown Citizen,\u201d \u201cIn Memory of W.B. Yeats,\u201d \u201cThe<\/p>\n<p style=\"margin-left:80.0pt;\">\n\t\tShield of Achilles,\u201d \u201cSeptember 1, 1939\u201d Walt Whitman:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cSong of Myself\u201d (1, 5, 33), \u201cOut of the Cradle<\/p>\n<p style=\"margin-left:215.05pt;\">\n\t\tEndlessly Rocking,\u201d \u201cA Passage to India\u201d<\/p>\n<p style=\"margin-left:218.05pt;\">\n\t\tRobert Frost:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cBirches,\u201d \u201cDesign,\u201d \u201cMending Wall,\u201d \u201cAfter Apple Picking,\u201d \u201cThe Road not Taken,\u201d \u201cHome Burial\u201d<\/p>\n<p style=\"margin-left:83.0pt;\">\n\t\tWilliam Carlos Williams: Poems in Modern Poets One (Published by<\/p>\n<p style=\"margin-left:218.05pt;\">\n\t\tFaber and Faber)<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\t\u201cJanuary Morning,\u201d \u201cTract,\u201d \u201cBy the Road to Contagious Hospital,\u201d \u201cA Unison,\u201d \u201cThe Last<\/p>\n<p style=\"margin-left:221.05pt;\">\n\t\tWords of My English Grandmother,\u201d \u201cThe Waken an Old Lady,\u201d \u201cThe Widow\u2019s Lament in Springtime,\u201d \u201cTo a Poor Old Woman,\u201d \u201cThe Yachts,\u201d \u201cThese\u201d<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tBritish and American poetry of the nineteenth and twentieth centuries has witnessed the crucial development in the arenas of style, form, content and presentation. This course will acquaint students with the modern poets of British and American poetry. It intends to apprise the students about the language of making and remaking along with the presence of artistic appropriation and cultural emancipation in the prescribed poets. It will also familiarize the students with different movements and traits in Britain and America which shaped literature, especially poetry.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be able to develop strategies for identifying formal and thematic features of poetry in general and especially of the prescribed ones in particular. They will be able to appreciate two dissimilar cultures as poetry of two nations is studied in detail.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>W. B. Yeats<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold. <em>William Butler Yeats. <\/em><a href=\"https:\/\/www.goodreads.com\/series\/123438-bloom-s-major-poets\">Bloom\u2019s Major Poets<\/a>. Chelsea Publishing House, 2001.<\/li>\n<li>\n\t\t\tCullingford, Elizabeth. <em>Yeats, Poems, 1919-1935: A Casebook<\/em>. Macmillan, 1984.<\/li>\n<li>\n\t\t\tConner, Lester I. <a href=\"https:\/\/books.google.com\/books?id=glhvNnjjNagC&amp;q=Benjamin%2BYeats%2C%2Bancestor%2Bof%2Bthe%2Bpoet%2C%2Bmarried%2BMary%2BButler.&amp;pg=PA197\"><em>A Yeats Dictionary: Persons and Places in the Poetry of William Butler Yeats<\/em><\/a><em>.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tSyracuse University Press. (Archived from the original on 26 January 2021).<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBrater, Enoch. \u201cW. B. Yeats: The Poet as Critic.\u201d <em>Journal of Modern Literature <\/em>4. 3. Special Yeats Number (1975): 651-676.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.nobelprize.org\/nobel_prizes\/literature\/laureates\/1923\/\">\u201cNobel Prize in Literature 1923<\/a>.\u201d <em>NobelPrize.org<\/em>. (Archived from the original on 16 December 2014).<\/li>\n<li>\n\t\t\tYeats, W. B. \u201cThe Symbolism of Poetry.\u201d <em>Ideas of Good and Evil<\/em>. 1903.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tT. S. Eliot<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold, ed. <em>T. S. Eliot\u2019s The Waste Land. <\/em>Chelsea House Publishers, 2009.<\/li>\n<li>\n\t\t\tCox, Charles Brian, Arnold P. Hinchliffe, eds. <em>T. S. Eliot: The Waste Land: A Casebook.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tMacmillan, 1968.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tRainey, Lawrence, ed. <em>The Annotated Waste Land with Eliot\u2019s Contemporary Prose<\/em>. Yale University Press, 2006.<\/li>\n<li>\n\t\t\tMiller, James Edwin. <em>T. S. Eliot: The Making of an American Poet, 1888\u20131922<\/em>. Pennsylvania State University Press<em>, <\/em>2001.<\/li>\n<li>\n\t\t\tUroff, Margaret Dickie. \u201c&#8221;The Waste Land&#8221;: Metatext.\u201d <em>The Centennial Review <\/em>24. 2 (1980): 148- 166.<\/li>\n<li>\n\t\t\tPerl, Jeffry M., Andrew P. Tuck. \u201cThe Hidden Advantage of Tradition: On the Significance of T.<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tS. Eliot\u2019s Indic Studies.\u201d <em>Philosophy East &amp; West <\/em>35. 2 (1985).<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tW. H. Auden<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tFuller, John. <em>W. H. Auden: A Commentary<\/em>. Faber and Faber, 1998.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>W. H. Auden<\/em>. Chelsea House Publishers, 1986.<\/li>\n<li>\n\t\t\tSharpe, Tony. <em>W. H. Auden in Context<\/em>. Cambridge University Press, 2013.<\/li>\n<li>\n\t\t\tCarpenter, Humphery. <em>W. H. Auden: A Biography<\/em>. Faber and Faber, 2011.<\/li>\n<li>\n\t\t\tDavenport-Hines, Richard. <em>Auden<\/em>. Heinemann, 1996.<\/li>\n<li>\n\t\t\tSmith, Stan, ed. <em>The Cambridge Companion to W. H. Auden<\/em>. Cambridge University Press, 2005.<\/li>\n<li>\n\t\t\tFirchow, Peter E. \u201cW. H. Auden and the Ideology of Modernist Poetry.\u201d <em>CEA Critic <\/em>46. 3-4 (1984): 60-71.<\/li>\n<li>\n\t\t\tRaichura, Suresh, Amritjit Singh. \u201cA Conversation with W. H Auden.\u201d <em>Southwest Review <\/em>60. 1 (1975): 27-36.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tWalt Whitman<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tFolsom, Ed, Jim Perlman, DanCampion, eds. <em>Walt<\/em> <em>Whitman:<\/em> <em>The<\/em> <em>Measure<\/em> <em>of His Song.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tHoly Cow Press, 1998.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKaplan, Justin. <em>Walt Whitman: A &nbsp;Life. <\/em>Perennial Classics, &nbsp;2003.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKummings, Donald D., J. R. LeMaster,eds. <em>TheRoutledge<\/em> <em>Encyclopedia<\/em> <em>of<\/em> <em>Walt<\/em> <em>Whitman.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tNew York: Routledge, 2011.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tLevin,Joanna, Edward Whitley,eds. <em>WhitmanAmong<\/em> <em>the<\/em> <em>Bohemians. <\/em>University of Iowa Press, 2014.<\/li>\n<li>\n\t\t\tLoving,Jerome. &nbsp;<em>Walt Whitman: TheSong of Himself. <\/em>Universityof California &nbsp;Press, 2000.<\/li>\n<li>\n\t\t\tMatthiessen, F. O. <em>American<\/em> <em>Renaissance:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <\/em><em>Art and Expression in the Age of Emerson and Whitman. <\/em>Oxford University Press, 1968.<\/li>\n<li>\n\t\t\tJim Perlman, Dan Campion, eds. <em>Walt<\/em> <em>Whitman:<\/em> <em>The<\/em> <em>Measure<\/em> <em>of<\/em> <em>His<\/em> <em>Song.<\/em> Holy Cow! Press, 1998.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tRobert Frost<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold. <em>Robert Frost<\/em>. Infobase Publishing, 2003.<\/li>\n<li>\n\t\t\tFaggen, Robert, ed. <em>The Cambridge Companion to Robert Frost<\/em>. Cambridge University Press, 2001.<\/li>\n<li>\n\t\t\tFagan, Deirdre J. <em>Critical Companion to Robert Frost: A Literary Reference to His Life and Work<\/em>. Infobase Publishing, 2007.<\/li>\n<li>\n\t\t\tBeach, Christopher. <em>The Cambridge Introduction to Twentieth-Century American Poetry<\/em>. Cambridge University Press, 2003.<\/li>\n<li>\n\t\t\tLiebman, Sheldon W. \u201cRobert Frost, Romantic.\u201d <em>Twentieth Century Literature <\/em>42.4 (1996): 417- 437.<\/li>\n<li>\n\t\t\tBaym, Nina. \u201cAn Approach to Robert Frost\u2019s Nature Poetry.\u201d <em>American Quarterly <\/em>17.4 (1965): 713-723.<\/li>\n<li>\n\t\t\tWaggoner, Hyatt Howe. \u201cThe Humanistic Idealism of Robert Frost.\u201d <em>American Literature <\/em>13.3 (1941): 207-223.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tWilliam Carlos Williams<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMacGowan, Christopher, ed. <a href=\"https:\/\/books.google.com\/books?id=2DtyDAAAQBAJ&amp;printsec=frontcover&amp;dq=William%2Bcarlos%2Bwilliams&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjszu3OoKr4AhW8jdgFHSXHDkkQ6AF6BAgFEAI\"><em>The Cambridge Companion to William Carlos Williams<\/em>. <\/a>CUP, 1985.<\/li>\n<li>\n\t\t\tDuffey, <a href=\"https:\/\/www.google.co.in\/search?sa=N&amp;hl=en&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;sxsrf=ALiCzsaj_1XA32_BD0E2kHw6RYro-lM8FA%3A1655117443128&amp;tbm=bks&amp;q=inauthor%3A%22Bernard%2BI.%2BDuffey%22&amp;ved=2ahUKEwiF_Ij6oKr4AhU-7jgGHUpNBOI4ChD0CHoECAQQBQ\">Bernard I,<\/a> <a href=\"https:\/\/www.google.co.in\/search?sa=N&amp;hl=en&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;sxsrf=ALiCzsaj_1XA32_BD0E2kHw6RYro-lM8FA%3A1655117443128&amp;tbm=bks&amp;q=inauthor%3A%22Bernard%2BK.%2BDuffy%22&amp;ved=2ahUKEwiF_Ij6oKr4AhU-7jgGHUpNBOI4ChD0CHoECAQQBg\">Bernard K. Duffy. <\/a>The <a href=\"https:\/\/books.google.com\/books?id=vyo0BXNA_TwC&amp;printsec=frontcover&amp;dq=William%2Bcarlos%2Bwilliams&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwiF_Ij6oKr4AhU-7jgGHUpNBOI4ChDoAXoECAQQAg\"><em>A Poetry of Presence: The Writing of William Carlos<\/em><\/a> <a href=\"https:\/\/books.google.com\/books?id=vyo0BXNA_TwC&amp;printsec=frontcover&amp;dq=William%2Bcarlos%2Bwilliams&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwiF_Ij6oKr4AhU-7jgGHUpNBOI4ChDoAXoECAQQAg\"><em>Williams. <\/em><\/a>University of Wisconsin Press, 1986<\/li>\n<li>\n\t\t\tWallace, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Emily%2BM.%2BWallace%22\">Emily M. <\/a>and <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22William%2BCarlos%2BWilliams%22\">William Carlos Williams<\/a>. \u201cAn Interview with William Carlos Williams.\u201d <em>The<\/em> <em>Massachusetts Review <\/em>Vol. 14. No. 1 (1973): 130-148.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; XI&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Modern British Drama<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;DSC MENG 303 (Compulsory)<\/strong><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tG.B. Shaw:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Arms and the Man<\/em><\/p>\n<p style=\"margin-left:134.0pt;\">\n\t\tOscar Wilde:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>An Ideal Husband<\/em><\/p>\n<p style=\"margin-left:131.0pt;\">\n\t\tT.S. Eliot:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Murder in the Cathedral<\/em><\/p>\n<p style=\"margin-left:131.0pt;\">\n\t\tJohn Arden:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Sergeant Musgrave\u2019s Dance<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course is based on drama and its socio-cultural implications representing various realistic concerns of the modern society. It aims to introduce students to modern theatre movements and to make them familiar with the themes and techniques of modern drama, and also to expose them to the various technicalities and concerns of the playwrights<strong>.<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tRealism is the significant quality of Modern English Drama which prepares students to deal with real life problems, presented in the prescribed plays. The students will develop an understanding of sub-genres of drama \u2013 romantic comedy, poetic play and realistic drama through a detailed study of the technicalities of drama as a genre.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Oscar Wilde<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tRuby, Stephen. <em>The Cambridge Companion to Oscar Wilde<\/em>. Cambridge University Press, 1997.<\/li>\n<li>\n\t\t\tEllman, Richard. <em>Wilde and Ninetees<\/em>. Princeton University Press, 1966.<\/li>\n<li>\n\t\t\tPowell, Kerry. <em>Oscar Wilde and the Theatre of the 1890s<\/em>. Cambridge University Press, 1990.<\/li>\n<li>\n\t\t\tMikhail, E. H., editor. <em>Oscar Wilde: Interviews and Recollections. <\/em>Vol. I-II. Harper &amp; Row, 1979.<\/li>\n<li>\n\t\t\tGide, Andre. <em>Oscar Wilde: A Study<\/em>. Trans. Lucy Gordon. Gordon Press, 1975.<\/li>\n<li>\n\t\t\tStokes, John. \u201cWilde Interpretations.\u201d <em>Modern Drama <\/em>37.1 (1994): 156-174.<\/li>\n<li>\n\t\t\tDellamora, Richard. \u201cOscar Wilde, Social Purity, and An Ideal Husband.\u201d <em>Modern Drama <\/em>37.1 (1994): 120-138.<\/li>\n<li>\n\t\t\tLiberatore, Giulia. \u201cImagining an ideal husband: Marriage as a site of aspiration among pious Somali women in London.\u201d <em>Anthropological Quarterly <\/em>(2016): 781-812.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tLongxi, Zhang. \u201cThe Critical Legacy of Oscar Wilde.\u201d <em>Texas Studies in Literature and Language <\/em>30.1 (1988): 87-103.<\/li>\n<li>\n\t\t\tQuintus, John Allen. \u201cThe Moral Implications of Oscar Wilde\u2019s Aestheticism.\u201d <em>Texas Studies in Literature and Language <\/em>22. 4 (1980): 559-574.<\/li>\n<li>\n\t\t\tStringfellow, Sophie. \u201cOscar Wilde\u2019s Society Plays.\u201d (2016): 125-128.<\/li>\n<li>\n\t\t\tWelhausen, Candice, Gary Scharnhorst. \u201cA Recovered Interview with Oscar Wilde.\u201d <em>The Wildean <\/em>32 (2008): 2-5.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tT. S. Eliot<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tEliot, T. S. <em>Murder in the Cathedral. <\/em>1936. Harcourt Publishers, 1964.<\/li>\n<li>\n\t\t\tBloom, Harold, ed. <em>T.S. Eliot\u2019s Murder in the Cathedral. <\/em><a href=\"https:\/\/www.goodreads.com\/series\/203029-bloom-s-modern-critical-interpretations\">Bloom\u2019s Modern Critical<\/a> <a href=\"https:\/\/www.goodreads.com\/series\/203029-bloom-s-modern-critical-interpretations\">Interpretations.<\/a> Chelsea House Publications, 1988.<\/li>\n<li>\n\t\t\tOsborne, Carol. \u201cDemolishing the Castle: Virginia Woolf\u2019s Reaction to T.S. Eliot\u2019s \u201cMurder in the Cathedral.\u201d\u201d <em>CEA Critic <\/em>70. 3 (2008): 46-55.<\/li>\n<li>\n\t\t\tPickering, Jerry V. \u201cForm as Agent: Eliot\u2019s \u201cMurder in the Cathedral.\u201d\u201d<\/li>\n<\/ul>\n<p style=\"margin-left:101.95pt;\">\n\t\t<em>Educational Theatre Journal <\/em>20. 2 (1968): 198-207.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tShapiro, Leo. \u201cThe Medievalism of T. S. Eliot.\u201d <em>Poetry <\/em>56. 4 (1940): 202-213.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tJohn Arden<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tArden, John. <em>Arden Plays 1<\/em>. Methuen Publishing Ltd, 2002.<\/li>\n<li>\n\t\t\tHayman, Ronald. <em>John Arden. <\/em>Heinemann, 1968.<\/li>\n<li>\n\t\t\tLeeming, Glenda. <em>John Arden<\/em>. Longman, 1974.<\/li>\n<li>\n\t\t\tMarowitz, Charles, Tom Milne, Owen Hale, eds. <em>The Encore Reader: A Chronicle of New Drama. <\/em>Metheun, 1965.<\/li>\n<li>\n\t\t\tArden, John. <em>Serjeant Musgrave\u2019s Dance<\/em>. Methuen, 1982.<\/li>\n<li>\n\t\t\tSternlicht, Sanford. <em>A Reader\u2019s Guide to Modern British Drama<\/em>. Syracuse University Press, 2004.<\/li>\n<li>\n\t\t\tInnes, Christopher. <em>Modern British Drama: The Twentieth Century<\/em>. Cambridge University Press, 2002.<\/li>\n<li>\n\t\t\tTrussler, Simon. \u201cPolitical Progress of a Paralyzed Liberal: The Community Dramas of John Arden.\u201d <em>The Drama Review: TDR <\/em>13. 4 (1969): 181-191.<\/li>\n<li>\n\t\t\tMeeuwis, Michael. <a href=\"https:\/\/www.bibliovault.org\/BV.book.epl?ISBN=9780472131471\"><em>Everyone\u2019s Theatre: Literature and Daily Life in England<\/em>.<\/a> University of Michigan Press, 2019.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tG. B. Shaw<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tWard, A. C. <em>Arms and the Man: An Anti-Romantic Comedy in Three Acts. <\/em>1953. Orient Longman, 2000.<\/li>\n<li>\n\t\t\tAdams, Elsie Bonita. <em>Bernard Shaw and the Aesthetics<\/em>. Ohio State University Press, 1971.<\/li>\n<li>\n\t\t\tKamm, J\u00fcrgen. <em>Twentieth-Century Theatre and Drama<\/em>. Trier WVT, 1999.<\/li>\n<li>\n\t\t\tKaufmann, R. J<em>. G. B. Shaw: A Collection of Critical Essays. <\/em>Prentice Hall, 1965.<\/li>\n<li>\n\t\t\tKavanagh, Peter<em>. The Story of the Abbey Theatre: From its Origins in 1899 to the Present. <\/em>Devin-Adair, 1950.<\/li>\n<li>\n\t\t\tDikshit, A. K. <em>Arms and the Man: An Anti-Romantic Comedy in Three Acts. <\/em>Chitra Prakashan, Meerut, 1991.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tNote: The students have to opt any one out of the four courses: 304-307.<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course XII-i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; World Fiction<\/strong><\/p>\n<h3>\n\t\tCourse Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE I-MENG 304 (Elective)<\/h3>\n<p style=\"margin-left:143.0pt;\">\n\t\tDostoevsky:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Crime and Punishment <\/em>Ernest Hemingway:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Old Man and the Sea <\/em>Margaret Atwood:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Surfacing<\/em><\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tChinua Achebe:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Things Fall Apart<\/em><\/p>\n<p style=\"margin-left:143.0pt;\">\n\t\tV.S. Naipaul:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A House for Mr. Biswas<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tWorld literature speaks to people of more than one nationality. It facilitates insights into human nature which transcend nationalities and borders. The course will serve as a window to various novelists and their works across cultures and continents. It intends to offer insights into the great works of literature to explore the tensions, conflicts and issues of mankind in general, and presented in the texts in particular.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be able to contextualize the major themes in world fiction and their applicability in the contemporary society. They will develop understanding about moral dilemmas, separation, honour, struggles, defeat, change, belonging, etc. \u2013 the human concerns that cross nationalities and borders and unite mankind. They will also acquire life skills to handle their issues positively.<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Dostoevsky<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tPeace, Richard. <em>Fyodor Dostoevsky\u2019s Crime and Punishment: A Casebook. <\/em>Oxford University Press, 2006.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>Fyodor Dostoyevsky\u2019s Crime &amp; Punishment<\/em><strong>. C<\/strong>helsea House Publishers, 2003.<\/li>\n<li>\n\t\t\tDostoevsky, Foydor. <em>Notes<\/em> <em>from<\/em> <em>Underground<\/em>. Reprint edition. Vintage, 1994.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22George%2BGibian%22\">Gibian<\/a>, George. \u201cTraditional Symbolism in Crime and Punishment.\u201d <strong><em>PMLA<\/em><\/strong> 70. 5 (1955): 979-996.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tErnest Hemingway<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tHemingway, Ernest. <em>The Old Man and the Sea. <\/em>1952. Scribner, 1995.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>Ernest Hemingway\u2019s The Old Man and the Sea<\/em>. Infobase Publishing, 2008.<\/li>\n<li>\n\t\t\tBeegel, Susan F., Holland Broer. \u201cSantiago and the Eternal Feminine: Gendering La Mar in The Old Man and the Sea.\u201d <em>Bloom\u2019s Modern Critical Interpretations<\/em>, 2002.<\/li>\n<li>\n\t\t\tBurhans, Clinton S. \u201cThe Old Man and the Sea: Hemingway\u2019s Tragic Vision of Man.\u201d <em>American Literature <\/em>31.4 (1960): 446-455.<\/li>\n<li>\n\t\t\tMasruddin, Masruddin. \u201cLessons in Old Man and The Sea.\u201d <em>IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature <\/em>1.1 (2013).<\/li>\n<li>\n\t\t\tGurko, Leo. \u201cThe Heroic Impulse in <em>The Old Man and the Sea<\/em>.\u201d <em>The English Journal <\/em>44.7 (1955): 377-382.<\/li>\n<li>\n\t\t\tGurko, Leo. <em>The Old Man and the Sea. College English <\/em>17.1 (1955): 11-15.<\/li>\n<li>\n\t\t\tAtkins, John. <em>The Art of Ernest Hemingway<\/em>. Spring Books, 1952.<\/li>\n<li>\n\t\t\tBanham, Martin, ed. <em>The Cambridge Guide to Theatre<\/em>. Cambridge: Cambridge University Press, 1998.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tBrecht<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBrooker, Peter. <em>Key Words in Brecht&#8217;s Theory and Practice of Theatre. <\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Bertolt_Brecht#CITEREFThomsonSacks1994\">Thomson &amp; Sacks,1994<\/a>.<\/li>\n<li>\n\t\t\tThomson, Peter, Glendyr Sacks, eds. <em>The Cambridge Companion to Brecht<\/em>. Cambridge Companions to Literature. Cambridge: Cambridge University Press, 1994.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/Fredric_Jameson\">Jameson, Fredric.<\/a> <em>Brecht and Method. <\/em>Verso, 1998.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tMargaret Atwood<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAtwood, Margaret. <em>Survival: A Thematic Guide to Canadian Literature<\/em>. House of Anansi,1972.<\/li>\n<li>\n\t\t\tHowells, Coral Ann. <em>The Cambridge Companion to Margaret Atwood<\/em>. Cambridge University Press, 2006.<\/li>\n<li>\n\t\t\tThomas, Paul Lee, ed. <em>Reading, Learning, Teaching Margaret Atwood<\/em>. Peter Lang Publishing, 2007.<\/li>\n<li>\n\t\t\tNischik, Reingard M. <em>Margaret Atwood: Works and Impact<\/em>. Camden House, 2000.<\/li>\n<li>\n\t\t\tGleitman, Claire. \u201cAll in the Family: \u201cMother Courage\u201d and the Ideology in the \u201cGestus.\u201d<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<em>Comparative Drama <\/em><a href=\"https:\/\/www.jstor.org\/stable\/i40051187\">25. 2 (1991)<\/a>: 147-167.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKalpakli, Fatma. \u201cExploitation of Women and Nature in Surfacing<em>.\u201d Journal of Selcuk University Natural and Applied Science <\/em>(2014).<\/li>\n<li>\n\t\t\tJosie, Campbell, P. \u201cThe Woman as Hero in Margaret Atwood\u2019s Surfacing.\u201d <em>Mosaic: An Interdisciplinary Critical Journal <\/em>II.3 (1978): 17-28.<\/li>\n<li>\n\t\t\tLatef, S. N., Berzenji. \u201cThe Quest for Wholeness and Individuation in Atwood\u2019s Novel Surfacing: A Psycho Feminist Approach.\u201d <em>International Journal of Humanities and Cultural Studies <\/em>4. 2 (2017): 25-33.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tChinua Achebe<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAchebe, Chinua. <em>Hopes and Impediments: Selected Essays<\/em>. Doubleday, 1989.<\/li>\n<li>\n\t\t\tAchebe, Chinua. <em>English and the African Writer. <\/em>Indiana University Press, 1965.<\/li>\n<li>\n\t\t\tOhaeto, Ezenwa. <a href=\"https:\/\/archive.org\/details\/chinuaachebebiog0000ezen\/page\/109\"><em>Chinua Achebe: A Biography<\/em>. <\/a>Indiana University Press,1997.<\/li>\n<li>\n\t\t\tMackay, Mercedes. \u201cReview: <em>A Man of the People <\/em>by Chinua Achebe.\u201d <a href=\"https:\/\/en.wikipedia.org\/wiki\/African_Affairs\"><em>African Affairs <\/em><\/a>66 (1967): 81.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tV. S. Naipaul<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tGikandi, Simon, <a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;cs=0&amp;sxsrf=ALiCzsafWh9wDrz3ds7sIbQ4hmLH679rgA%3A1657706010725&amp;q=Abiola%2BIrele&amp;stick=H4sIAAAAAAAAAOPgE-LVT9c3NEwyL8pLSc-pUuLSz9U3MC2PN8mz0FLOKLfST87PyUlNLsnMz9MvL8osKUnNiy_PL8outkpNySzJL1rEyuOYlJmfk6jgWZSak7qDlXEXOxMHIwDCwFzSWQAAAA&amp;sa=X&amp;ved=2ahUKEwiB_5iPzPX4AhVc6jgGHSK5At8QmxMoAnoECCsQBA\">Abiola Irele,<\/a> eds. <em>The Cambridge History of African and Caribbean Literature<\/em>. Cambridge University Press, 2004.<\/li>\n<li>\n\t\t\tNaipaul, V. S. <em>A House for Mr. Biswas<\/em>. Penguin, 1969.<\/li>\n<li>\n\t\t\tHamner, Robert D., ed. <em>Critical Perspectives on V. S. Naipaul<\/em>. London, 1979.<\/li>\n<li>\n\t\t\tRamchand, Kenneth. <em>The West Indian Novel and Its Bacground<\/em>. New York, 1970.<\/li>\n<li>\n\t\t\tWhite, Landeg. <em>V. S. Naipaul: A Critical Introduction. <\/em>London, 1975.<\/li>\n<li>\n\t\t\tKukreti, Sumitra. <a href=\"http:\/\/impressions.org.in\/jan07\/ar_sumitrak.html\">\u201cExile and Alienation in V. S. Naipaul\u2019s <em>A House for Mr.<\/em><\/a> <a href=\"http:\/\/impressions.org.in\/jan07\/ar_sumitrak.html\"><em>Biswas. <\/em><\/a><em>Impressions <\/em>I.I (2007).<\/li>\n<li>\n\t\t\tGorra, Michael. <a href=\"https:\/\/books.google.com\/books?id=9m6PteVNcPAC\"><em>After Empire: Scott, Naipaul, Rushdie<\/em><\/a><em>. <\/em>University of Chicago Press, 2008.<\/li>\n<li>\n\t\t\tMustafa, Fawzia. <a href=\"https:\/\/archive.org\/details\/vsnaipaul0000must\"><em>V. S. Naipaul: Cambridge Studies in African and Caribbean Literature<\/em><\/a><em>.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\tCambridge University Press, 1995.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/www.researchgate.net\/scientific-contributions\/Tahereh-Siamardi-2086299517\">Tahereh, Siamardi,<\/a> <a href=\"https:\/\/www.researchgate.net\/scientific-contributions\/Reza-Didari-2086161337\">Reza Didari<\/a>. \u201cA Postcolonial Appraisal of V. S. Naipaul\u2019s <em>A House for Mr. Biswas<\/em>.\u201d <a href=\"https:\/\/www.researchgate.net\/journal\/International-Journal-of-Applied-Linguistics-and-English-Literature-2200-3452\"><em>International Journal of Applied Linguistics and English Literature <\/em><\/a>4.2 (2015):104- 111.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.researchgate.net\/profile\/Arsalan-Radman\">Arsalan, Radman. <\/a>\u201cThe Reciprocity of Home and Identity in V. S. Naipaul\u2019s <em>A House for Mr Biswas<\/em>: Postcolonial Dilemma of Deracination.\u201d 2018.<\/li>\n<li>\n\t\t\tKerry, McSweeney. <a href=\"http:\/\/www.worldcat.org\/oclc\/243600759\"><em>Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles,<\/em><\/a><\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<a href=\"http:\/\/www.worldcat.org\/oclc\/243600759\"><em>V.S. Naipaul<\/em><\/a><em>. <\/em>McGill-Queen\u2019s University Press, 1983.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8&nbsp;&nbsp;&nbsp; Nixon, Rob. <a href=\"http:\/\/www.worldcat.org\/oclc\/65212473\"><em>London Calling: V.S. Naipaul, Postcolonial Mandarin<\/em><\/a><em>. <\/em>Oxford University Press, 1992.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse-XII-ii&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; African Literature<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE I-MENG 305 (Elective)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tChinua Achebe:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A Man of the People <\/em>Ngugi wa Thiong\u2019o: <em>A Grain of Wheat <\/em>Nadin Gordimer:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>My Son\u2019s Story<\/em><\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tBessie Head:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Collector of Treasures <\/em>(Short Stories) Wole Soyinka:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A Dance of the Forests<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course introduces students to a variety of literary texts from Africa. By covering a wide range of genres and diverse geographical regions, the purpose is to acquire a general understanding of the key issues in African literature. It aims to demonstrate how creative writings help create an understanding of the socio-cultural and eco-political issues that define life and existence on the African continent. It intends to make students understand Africa from the perspectives of African ethos.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will develop critical learning that moves away from dominant Eurocentric and Western perspectives. They will be able to place a text in its socio-historical context and demonstrate an understanding of different contents, forms and contexts of African literature. They will understand African literary responses to colonialism, apartheid, negritude and slavery.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Chinua Achebe<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Achebe, Chinua. <em>Hopes and Impediments: Selected Essays<\/em>. Doubleday, 1989.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Ulli, Beier. <em>Introduction to African Literature. <\/em>Northwestern University, 1970.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Cook, M. G. <em>Modern Black Novelists: A Collection of Critical Essays<\/em>. Twentieth Century Views. Prentice Hall, 1971.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Njoku, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;sxsrf=ALiCzsboxKNvGq9klU_kXiOXLNhHEk8gAQ%3A1655174310416&amp;q=inauthor%3A%22Benedict%2BChiaka%2BNjoku%22&amp;tbm=bks\">Benedict Chiaka. <\/a><em>The Four Novels of Chinua Achebe: A Critical Study<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;dq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;printsec=frontcover&amp;q=inpublisher%3A%22P.%2BLang%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwisybPm9Kv4AhWYxTgGHfizBaUQmxMoAHoECB4QAg&amp;sxsrf=ALiCzsboxKNvGq9klU_kXiOXLNhHEk8gAQ%3A1655174310416\">Peter Lang<\/a>, 1984.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Lindfors, Bernth, Catherine Lynette Innes. <a href=\"https:\/\/books.google.co.in\/books?id=hzxaAAAAMAAJ&amp;q=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;dq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;printsec=frontcover&amp;sa=X&amp;ved=2ahUKEwiFqZTg9Kv4AhU58XMBHREaB2UQ6AF6BAgIEAI\"><em>Critical Perspectives on Chinua Achebe<\/em>.<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;dq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;printsec=frontcover&amp;q=inpublisher%3A%22Three%2BContinents%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwj7kZ-J9av4AhXr1jgGHfeGBqQQmxMoAHoECBwQAg&amp;sxsrf=ALiCzsZOxEYWZDKx8-o9f7kcJRbfhSjS2Q%3A1655174383631\">Three<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;dq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;printsec=frontcover&amp;q=inpublisher%3A%22Three%2BContinents%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwj7kZ-J9av4AhXr1jgGHfeGBqQQmxMoAHoECBwQAg&amp;sxsrf=ALiCzsZOxEYWZDKx8-o9f7kcJRbfhSjS2Q%3A1655174383631\">Continents Press<\/a>, 1978.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Killam, G. D. <em>The Writings of Chinua Achebe<\/em>. Pearson Education Ltd., 1997.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Lindfors, Bernth. <a href=\"https:\/\/books.google.co.in\/books?id=hGMdzAEACAAJ&amp;dq=Critical%2BBooks%2Ba%2Bman%2Bof%2Bthe%2Bpeople%2Bby%2Bchinua%2Bachebe&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwiTyKGg9av4AhUs6XMBHSAiAKU4ChDoAXoECAkQAg\"><em>Conversations with Chinua Achebe<\/em>.<\/a> Mississippi <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inpublisher%3A%22University%2BPress%2Bof%2BMississippi%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiW6a6l9av4AhVt-jgGHXrlBgsQmxMoAHoECCEQAg&amp;sxsrf=ALiCzsa_REIfTevUoeDJu5Kh0bvVXZ6KbQ%3A1655174442555\">University Press, <\/a>1997.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Mackay, Mercedes. \u201cReview: <em>A Man of the People <\/em>by Chinua Achebe.\u201d <a href=\"https:\/\/en.wikipedia.org\/wiki\/African_Affairs\"><em>African Affairs<\/em><\/a> 66: 81.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Ohaeto, Ezenwa. <a href=\"https:\/\/archive.org\/details\/chinuaachebebiog0000ezen\/page\/109\"><em>Chinua Achebe: A Biography<\/em><\/a>. Indiana University Press, 1997.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tThiong\u2019o<\/h3>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Dalvai, Stefanie. <a href=\"https:\/\/books.google.co.in\/books?id=ltaMDwAAQBAJ&amp;printsec=frontcover&amp;dq=Critical%2BBooks%2Bon%2BA%2BGrain%2Bof%2BWheat&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwi3lrnJ9av4AhUdIbcAHXMuDnY4ChDoAXoECAIQAg\"><em>Female Characters in Ngugi wa Thiong\u2019o\u2019s A Grain of Wheat<\/em>. <\/a><a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Critical%2BBooks%2Bon%2BA%2BGrain%2Bof%2BWheat&amp;printsec=frontcover&amp;q=inpublisher%3A%22GRIN%2BVerlag%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiZhbvd9av4AhU47zgGHWKSAfAQmxMoAHoECB4QAg\">GRIN Verlag<\/a>, 2019.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Jabbi, Bu-Buakei. \u201cThe Structure of Symbolism in <em>A Grain of Wheat.<\/em>\u201d <em>Research in African Literatures <\/em>16. 2. Special Issue on Ng\u0169g\u0129 wa Thiong\u2019o (1985): 210-242.<\/p>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Russell, West-Pavlov. <a href=\"https:\/\/www.jstor.org\/stable\/10.2979\/reseafrilite.44.3.160?searchText=A%20Grain%20of%20Wheat%20by%20THiongo&amp;searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DA%2BGrain%2Bof%2BWheat%2Bby%2BTHiongo%26so%3Drel&amp;ab_segments=0%2FSYC-6427%2Ftest&amp;refreqid=fastly-default%3Acfd8568c33d329050068f78ce9310ec2\">\u201cThe Politics and Spaces of Voice: Ng\u0169g\u0129&#8217;s <em>A Grain of Wheat <\/em>and<\/a> <a href=\"https:\/\/www.jstor.org\/stable\/10.2979\/reseafrilite.44.3.160?searchText=A%20Grain%20of%20Wheat%20by%20THiongo&amp;searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DA%2BGrain%2Bof%2BWheat%2Bby%2BTHiongo%26so%3Drel&amp;ab_segments=0%2FSYC-6427%2Ftest&amp;refreqid=fastly-default%3Acfd8568c33d329050068f78ce9310ec2\">Conrad\u2019s <em>Heart<\/em> <em>of<\/em> <em>Darkness.\u201d<\/em> <\/a><em>Research<\/em> <em>in<\/em> <em>African<\/em> <em>Literatures<\/em> 44. 3 (2013): 160-175.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tNadaine Gordimer<\/h3>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Clingman,&nbsp;&nbsp;&nbsp; Stephen.&nbsp;&nbsp;&nbsp; <a href=\"https:\/\/books.google.co.in\/books?id=YLa8QgAACAAJ&amp;dq=Critical%2BBook%2BMy%2BSon%27s%2BStory%2BNadine%2BGordimer&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwi1rMud9qv4AhU663MBHR00CKsQ6AF6BAgDEAI\"><em>The&nbsp;&nbsp;&nbsp; Novels&nbsp;&nbsp;&nbsp; of&nbsp;&nbsp;&nbsp; Nadine&nbsp;&nbsp;&nbsp; Gordimer:&nbsp;&nbsp;&nbsp; History&nbsp;&nbsp;&nbsp; from&nbsp;&nbsp;&nbsp; the&nbsp;&nbsp;&nbsp; Inside<\/em>.<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inpublisher%3A%22Bloomsbury%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiRyfOn9qv4AhUzg2MGHft2BOIQmxMoAHoECB4QAg\">Bloomsbury<\/a>, 1993.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Wagner, Kathrin Margarete. <a href=\"https:\/\/books.google.com\/books?id=UaVaAAAAMAAJ&amp;q=Critical%2BBook%2BMy%2BSon%27s%2BStory%2BNadine%2BGordimer&amp;dq=Critical%2BBook%2BMy%2BSon%27s%2BStory%2BNadine%2BGordimer&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;printsec=frontcover&amp;sa=X&amp;ved=2ahUKEwjb9O3K9qv4AhXQILcAHXGSA1Q4FBDoAXoECAgQAg\"><em>Rereading Nadine Gordimer<\/em><\/a>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Critical%2BBook%2BMy%2BSon%27s%2BStory%2BNadine%2BGordimer&amp;dq=Critical%2BBook%2BMy%2BSon%27s%2BStory%2BNadine%2BGordimer&amp;printsec=frontcover&amp;q=inpublisher%3A%22Indiana%2BUniversity%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjrlJvT9qv4AhWExDgGHaOlDR8QmxMoAHoECB4QAg\">Indiana University Press<\/a>,1994.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tBessie Head<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Wilhelm, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Cherry%2BWilhelm%22\">Cherry<\/a>. \u201cBessie Head: The Face of Africa.\u201d <em>English in Africa <\/em>10. 1 (1983): 1-13.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tWole Soyenka<\/h3>\n<p style=\"margin-left:58.9pt;\">\n\t\t\u00d8 Nkanga, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inauthor%3A%22Mbala%2BNkanga%22&amp;tbm=bks\">Mbala. <\/a><em>Structure of Time and Space in Wole Soyinka&#8217;s A Dance of the Forests. <\/em><a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=A%2Bdance%2Bof%2Bthe%2Bforests%2Bby%2Bsoyenka&amp;dq=A%2Bdance%2Bof%2Bthe%2Bforests%2Bby%2Bsoyenka&amp;printsec=frontcover&amp;q=inpublisher%3A%22Indiana%2BUniversity%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiejs6a-Kv4AhWg8DgGHVn3BTEQmxMoAHoECBUQAg\">Indiana<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=A%2Bdance%2Bof%2Bthe%2Bforests%2Bby%2Bsoyenka&amp;dq=A%2Bdance%2Bof%2Bthe%2Bforests%2Bby%2Bsoyenka&amp;printsec=frontcover&amp;q=inpublisher%3A%22Indiana%2BUniversity%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiejs6a-Kv4AhWg8DgGHVn3BTEQmxMoAHoECBUQAg\">University<\/a>, 1990.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 <em>College<\/em> <em>Literature<\/em> 27. 3 (2000).<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 <em>Callaloo<\/em> 16. 1 (1993).<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 <em>Botswana<\/em> <em>Notes<\/em> <em>and<\/em> <em>Records<\/em> 20 (1989).<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse-XII-iii&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Australian Literature<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE I-MENG 306 (Elective)<\/strong><\/p>\n<p style=\"margin-left:164.05pt;\">\n\t\tPatrick White:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Solid Mandala <\/em>David Malouf:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Remembering Babylon <\/em>David Williamson: <em>The Removalists<\/em><\/p>\n<p style=\"margin-left:164.05pt;\">\n\t\tJack Davis:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>No Sugar<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course aims to familiarize the students with the diversity within the Australian literature. It offers an insight into history through literature and stylistics of Australian fiction and drama. It also intends to cultivate students\u2019 ability to negotiate literary representations of diverse cultures within a nation.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tWith the study of distinct flavours of Australian literature, the students will be able to advance in literary response to the key issues in Australian literature and comprehend its historical background. They will also be able to participate in the debates on the issues such as Aboriginal culture, history, ethnicity, and identity. Also, they will gain knowledge on concepts of dualism, magic realism, new age theatre and postcolonial theatre.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition, one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Patrick White<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Wilde, William H., Joy Hooton, Barry Andrews. <em>The Oxford Companion to Australian Literature<\/em>. 2<sup>nd<\/sup> edition. Oxford University Press, 1994.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Olubas, <a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;cs=0&amp;sxsrf=ALiCzsY9bNfPal4H01yAW1YvC27tXaaXnQ%3A1654956518312&amp;q=Brigitta%2BOlubas&amp;stick=H4sIAAAAAAAAAOPgE-LRT9c3NErKK6pKKjBQAvMMjSuT8tKTcrWUM8qt9JPzc3JSk0sy8_P0y4syS0pS8-LL84uyi61SUzJL8osWsfI7FWWmAyUSFfxzSpMSi3ewMu5iZ-JgBACbaE9vXQAAAA&amp;sa=X&amp;ved=2ahUKEwiAh5C7yaX4AhWGIbcAHZxOBUwQmxMoAXoECDoQAw\">Brigitta, <\/a><a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;cs=0&amp;sxsrf=ALiCzsY9bNfPal4H01yAW1YvC27tXaaXnQ%3A1654956518312&amp;q=Elizabeth%2BMcMahon&amp;stick=H4sIAAAAAAAAAOPgE-LRT9c3NErKK6pKKjBQAvMMjUtyKqrMKrSUM8qt9JPzc3JSk0sy8_P0y4syS0pS8-LL84uyi61SUzJL8osWsQq65mRWJSallmQo-Cb7Jmbk5-1gZdzFzsTBCABxK_rtXwAAAA&amp;sa=X&amp;ved=2ahUKEwiAh5C7yaX4AhWGIbcAHZxOBUwQmxMoAnoECDoQBA\">Elizabeth McMahon, <\/a>eds. <em>Remembering Patrick White: Contemporary Critical Essays. <\/em>Brill, 2010.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Henderson, <a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;cs=0&amp;sxsrf=ALiCzsbDWIPorq9q32wW6pN3kwLSlfSvvA%3A1654956822030&amp;q=Ian%2BHenderson&amp;stick=H4sIAAAAAAAAAOPgE-LVT9c3NEwyL0wzKaiKV4JyKywykqoKDLSUM8qt9JPzc3JSk0sy8_P0y4syS0pS8-LL84uyi61SUzJL8osWsfJ6JuYpeKTmpaQWFefn7WBl3MXOxMEIAJkvXoRdAAAA&amp;sa=X&amp;ved=2ahUKEwiAmvnLyqX4AhWT-TgGHbhkBVwQmxMoAXoECEEQAw\">Ian,<\/a> <a href=\"https:\/\/www.google.com\/search?client=firefox-b-d&amp;cs=0&amp;sxsrf=ALiCzsbDWIPorq9q32wW6pN3kwLSlfSvvA%3A1654956822030&amp;q=Anouk%2BLang&amp;stick=H4sIAAAAAAAAAOPgE-LVT9c3NEwyL0wzKaiKV-IBc00NMkyTcrK1lDPKrfST83NyUpNLMvPz9MuLMktKUvPiy_OLsoutUlMyS_KLFrFyOebll2Yr-CTmpe9gZdzFzsTBCAAlB266WQAAAA&amp;sa=X&amp;ved=2ahUKEwiAmvnLyqX4AhWT-TgGHbhkBVwQmxMoAnoECEEQBA\">Anouk Lang<\/a>. <em>Patrick White Beyond the Grave: New Critical Perspectives<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;printsec=frontcover&amp;q=inpublisher%3A%22Anthem%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjPqeCMy6X4AhX3ILcAHRZyBq8QmxMoAHoECBwQAg&amp;sxsrf=ALiCzsZ4Zq26663NoObmonOXwpqfO6UW9w%3A1654956958165\">Anthem Press,<\/a> 2015.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Marr, David. <em>Patrick White: A Life<\/em>. Random House, 1991.<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Jessica, <a href=\"https:\/\/www.flipkart.com\/books\/gildersleeve-jessica~contributor\/pr?sid=bks\">Gildersleeve. <\/a><em>The Routledge Companion to Australian Literature<\/em>. Taylor &amp; Francis Ltd, 2021.<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 <em>Breslin, Bruce. James Morrill, Captive of Empire. Australian Scholarly, 2017.<\/em><\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tDavid Malouf<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 <em>The Complete Stories by David Malouf<\/em>. Pantheon, 2007.<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Hergenhan, Laurie<em>. The Penguin New Literary History of Australia<\/em>. 1988.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 Giffuni, Cathe. \u201cThe Prose of David Malouf.\u201d <em>Australian &amp; New Zealand Studies in Canada <\/em>7 (1992).<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Macintyre, Stuart<em>. A Concise History of Australia<\/em>. Cambridge University Press, 2004.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tDavid Williamson<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t\u00d8 <a href=\"https:\/\/en.wikipedia.org\/wiki\/Peter_Craven_(literary_critic)\">Craven, Peter<em>.<\/em><\/a> <a href=\"https:\/\/www.smh.com.au\/culture\/books\/the-irresistible-rise-and-occasional-fall-of-david-williamson-20211020-p591ln.html\">\u201cThe Irresistible Rise and Occasional Fall of David Williamson<\/a><em>.\u201d <\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Sydney_Morning_Herald\"><em>The Sydney<\/em><\/a> <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Sydney_Morning_Herald\"><em>Morning Herald <\/em><\/a>(2021)<strong>.<\/strong><\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 <em>Cochrane, Peter. \u201cWilliamson\u2019s World.\u201d The Sydney Morning Herald (1997).<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Williamson, David. \u201cInterview with David Williamson.\u201d <em>Kunapipi <\/em>(1979).<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Clark, Manning. <em>A Short History of Australia<\/em>. New American Library, 1980.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tJack Davis<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 <em>Chesson, Keith. Jack Davis: A Life-Story. Dent, 1934-1988.<\/em><\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 <em>Hodge, Bob. \u201cJack Davis and the Emergence of Aboriginal Writing.\u201d Critical Survey (1994).<\/em><\/p>\n<p style=\"margin-left:23.0pt;\">\n\t\t\u00d8 Bennet, Bruce Jenifer. <em>Oxford Literary History of Australia<\/em>. Strauss, 2001.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse-XII-iv&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Canadian Literature Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE I-MENG 307 (Elective)<\/h3>\n<p style=\"margin-left:152.0pt;\">\n\t\tRobertson Davis:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Fifth Business<\/em><\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tSharon Pollock:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Komagata Maru Incident<\/em><\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tM.G. Vassanji:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Book of Secrets<\/em><\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tLee Maracle:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Sundogs<\/em><\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course intends to create awareness about diversity in Canadian literature with its conflicting priorities as this is the literature of multicultural country, written in languages including Canadian English, Canadian French and Indigenous ones. The students will study native, immigrant and settler writers to understand the complexity of Canada and the Canadian literary canon.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will acquire familiarity with the Canadian literature with an ability to identify and underline critical issues that figure in Canadian literature. They will be able to discuss and interpret it vis-a-vis other writings of the world and to respond to terms like displacement, religion, identity and morality.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Robert Davies<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tLane, Richard J. <em>The Routledge Concise History of Canadian Literature<\/em>. Taylor &amp; Francis Ltd, 2022.<\/li>\n<li>\n\t\t\tArchibald, Macmurchy<em>. Handbook of Canadian Literature. <\/em>Westworth Press, 2019.<\/li>\n<li>\n\t\t\tDavies, Robert. <em>The Deptford Trilogy<\/em>. Penguin, 2011.<\/li>\n<li>\n\t\t\tDavies<em>, <\/em>J. Madison, ed. <em>Conversations with Robertson Davies<\/em>. 1989.<\/li>\n<li>\n\t\t\t<em>Fifth Business. The Canadian Encyclopedia.<\/em><\/li>\n<li>\n\t\t\tKroller, Eva-Marie, ed. <em>The Cambridge Companion to Canadian Literature<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;printsec=frontcover&amp;q=inpublisher%3A%22Cambridge%2BUniversity%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwi06Pa21qX4AhVu8jgGHc6jC2UQmxMoAHoECBoQAg&amp;sxsrf=ALiCzsaHQxi6GfIk0i174F-YtEqdJfg4ag%3A1654959999387\">Cambridge<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;printsec=frontcover&amp;q=inpublisher%3A%22Cambridge%2BUniversity%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwi06Pa21qX4AhVu8jgGHc6jC2UQmxMoAHoECBoQAg&amp;sxsrf=ALiCzsaHQxi6GfIk0i174F-YtEqdJfg4ag%3A1654959999387\">University Press,<\/a> 2017.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSharon Pollock<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNothof, Anne, ed. <em>Sharon Pollock: Essays on her Work<\/em>. Guernica Press, 2000.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<em>Coates, Donna, ed. Sharon Pollock: First Woman of Canadian Theatre. University of Calgary Press, 2015.<\/em><\/li>\n<li>\n\t\t\tGrace, Sherrill. <em>Making Theatre: A Life of Sharon Pollock<\/em>. Talonbooks, 2008.<\/li>\n<li>\n\t\t\tNew<em>, <\/em>W. H. <em>A History of Canadian Literature<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=0&amp;q=inpublisher%3A%22McGill-Queen%27s%2BUniversity%2BPress%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiP992h16X4AhVMFLcAHZNmAAwQmxMoAHoECCEQAg&amp;sxsrf=ALiCzsZnDt8hq7s9VKHX5zuJ-QgIbuDFbw%3A1654960223357\">McGill-Queen\u2019s University Press,<\/a> 2003.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tVassanji<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMalik, Amin. \u201cAmbivalent Affiliations and the Postcolonial Condition: The Fiction of M. G. Vassanji.\u201d <em>World Literature Today <\/em>67. 2 (1993).<\/li>\n<li>\n\t\t\tDelbaere, Jeanne. \u201cRe-Configuring the Postcolonial Paradigm: The Fiction of M. G. Vassanji.\u201d <em>Reconfigurations: Canadian Literatures and Postcolonial Identities<\/em>. Eds. Marc Maufort and Franca Bellarsi. Peter Lang, 2002.<\/li>\n<li>\n\t\t\tOjwang, Dan Odhiambo. \u201cBetween Ancestors and Amarapurs: Immigrant Asianness in M. G. Vassanji\u2019s Fiction.\u201d <em>Re-Imagining Africa: New Critical Perspectives<\/em>. Eds. Sue Kossew and Diane Schwerdt. Nova Science Publishers, 2001.<\/li>\n<li>\n\t\t\tKanwar, Neelima. \u201cSacred and Spiritual themes in M.G. Vassanji\u2019s <em>The Assassin\u2019s Song <\/em>and <em>The Magic of Saida.<\/em>\u201d <em>Transnational Imaginaries in M.G Vassanji. <\/em>Eds. Karim Murji and Asma Sayed. University of Alberta Press, 2016.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tLee Maracle<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tWithrow, William Henry<em>. Canadian History and Literature<\/em>. Forgotten Books, 2018.<\/li>\n<li>\n\t\t\tMaracle<em>, <\/em>Lee. <em>My Conversations with Canadians<\/em>. Book hub, 2017.<\/li>\n<li>\n\t\t\tKanwar, Neelima. <em>Resistant Voices: Reading Native Canadian Women Writers<\/em>. Anamika Publishers, 2009.<\/li>\n<li>\n\t\t\tSingh, Alka. <em>Issues in Canadian Literature<\/em>. Anubhav Publishing House, 2016.<\/li>\n<li>\n\t\t\t<em>Brill, Berry, Susan de Ramirez. Contemporary American Indian Literatures &amp; the Oral Tradition. University of Arizona Press,1999.<\/em><\/li>\n<li>\n\t\t\tMaracle<em>, <\/em>Lee <em>and Marlatt Warland<\/em>. <em>Telling It: Women and Language Across Cultures. <\/em>Raincoast Book Distribution, 1990.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<p>\t<br clear=\"all\"><\/p>\n<p align=\"center\">\n\t\t<strong><u>Ability Enhancement Course <\/u><\/strong><\/p>\n<p>\n\t\t<strong>COURSE: <\/strong>Ability Enhancement Course&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n<p>\n\t\t<strong>Course Name<\/strong>: <em><u>Literary Terms<\/u><\/em><\/p>\n<p>\n\t\t<strong>Course Code: <\/strong>AEC MENG 308 (Compulsory, Non-CGPA)<strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Max. Marks: <\/strong>100<\/p>\n<p>\n\t\t<strong>Credits<\/strong>: 4<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\t<strong>Book Prescribed:<\/strong><\/p>\n<ol>\n<li>\n\t\t\t<em>A Glossary of Literary Terms,<\/em> (Eleventh Ed.) by M. H. Abrams and Geoffrey Galt Harpham (List of terms prescribed are appended)<\/li>\n<li>\n\t\t\t<em>Indian Literary Criticism: Theory and Interpretation <\/em>by G. N. Devy (Prescribed page numbers appended)<\/li>\n<li>\n\t\t\t<em>Sanskrit Non-Translatables: The Importance of&nbsp; Sanskritizing English<\/em> by Rajiv Malhotra and Satyanarayana Dasa Babaji (Prescribed page numbers appended)<\/li>\n<\/ol>\n<p>\n\t\t<strong>Objectives of the Course<\/strong>: The course is designed to acquaint the students with the nuances of significant literary terms, an understanding of which is immanent for specialization in English Language and Literature. Knowledge of literary terms goes a long way in honing the ability of the students, in relation to their field of specialization and the choice of career.<\/p>\n<p>\n\t\t<strong>Course Outcomes<\/strong>: The course will familiarize the students with the technical know-how of reading, understanding and critically appreciating literature in specific and assessing life in general. The course shall, hence, add immense practical value to the professional and personal repertoire of the students.<\/p>\n<p>\n\t\t<strong>Pattern of Testing<\/strong>: The course is Non-CGPA, thus, the evaluation shall be completely internal. The pattern of Mid-term examination shall be at the discretion of the teachers teaching the course.<\/p>\n<table border=\"1\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td style=\"width:64px;\">\n<p align=\"center\">\n\t\t\t\t\t\t<strong>Sr. No.<\/strong><\/p>\n<\/td>\n<td style=\"width:362px;\">\n<p align=\"center\">\n\t\t\t\t\t\t<strong>Examination<\/strong><\/p>\n<\/td>\n<td style=\"width:213px;\">\n<p align=\"center\">\n\t\t\t\t\t\t<strong>Marks<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:64px;\">\n<p align=\"center\">\n\t\t\t\t\t\t1.<\/p>\n<\/td>\n<td style=\"width:362px;\">\n<p align=\"center\">\n\t\t\t\t\t\tInternal Assessment<\/p>\n<\/td>\n<td style=\"width:213px;\">\n<p align=\"center\">\n\t\t\t\t\t\t20<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:64px;\">\n<p align=\"center\">\n\t\t\t\t\t\t2.<\/p>\n<\/td>\n<td style=\"width:362px;\">\n<p align=\"center\">\n\t\t\t\t\t\tEnd of Semester Examination<\/p>\n<\/td>\n<td style=\"width:213px;\">\n<p align=\"center\">\n\t\t\t\t\t\t80<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p style=\"margin-left:36.0pt;\">\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\t<strong>Pattern of Testing:<\/strong><\/p>\n<ol>\n<li>\n\t\t\tThe Question Paper shall be set in a way that each of the three sections is given 33 percent weightage each (27 marks out of 80).<\/li>\n<li>\n\t\t\tAmple internal choice should be offered to the students in each section.<\/li>\n<li>\n\t\t\tThe questions shall be based on the literary terms, asking the students to elaborate the terms along with suitable examples.<\/li>\n<li>\n\t\t\tNo Question shall be set from the sections marked \u201cFor Background Reading.\u201d<\/li>\n<li>\n\t\t\tThe paper shall be of 80 marks for Regular and ICDEOL students and of 100 marks for Private students.<\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\t&nbsp;<strong>Suggested Readings:<\/strong><\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\tAuger, Peter. <em>The Anthem Dictionary of Literary Terms and Theory.<\/em> London: Anthem Press, 2010.<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\tBaldick, Chris. <em>The Concise Oxford Dictionary of Literary Terms<\/em>. USA: Oxford University Press, 2001.<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\tCuddon, J.A. and M.A.R. Habib. <em>A Dictionary of Literary Terms and Literary Theory <\/em>(5<sup>th<\/sup> Edition). Wiley Blackwell, 2013.<\/p>\n<p style=\"margin-left:36.0pt;\">\n\t\tChilds, Peter and Roger Fowler. <em>The Routledge Dictionary of Literary Terms<\/em>. London: Routledge, 2006.<\/p>\n<h2 align=\"left\">\n\t\tKapoor, Kapil. <a href=\"https:\/\/www.amazon.in\/Literary-theory-Indian-Conceptual-Framework\/dp\/8176710946\/ref=sr_1_6?crid=32DP2DO2PDAWY&amp;keywords=Kapil+Kapoor&amp;qid=1689584519&amp;sprefix=kapil+kapoo%2Caps%2C705&amp;sr=8-6\" target=\"_blank\">Literary Theory: Indian Conceptual Framework<\/a>. Affiliated East-West Press Limited, 2012.<\/h2>\n<p align=\"center\">\n\t\t<strong>List of Terms<\/strong><\/p>\n<p align=\"center\">\n\t\t<strong>From <em>A Glossary of Literary Terms <\/em>by M.H. Abrams<\/strong><\/p>\n<table border=\"1\" cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tAffective Fallacy<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tHeroic Couplet<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tAlliteration<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<ol>\n<li>\n\t\t\t\t\t\t\tHuman Humans jjljkljjlkjlkjlkjH&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hyperbole<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tAnti-climax<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tImagery<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tAnti-hero<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tIntentional Fallacy<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tAntithesis<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tMetre<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tBallad<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tMotif and Theme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tBathos and Anticlimax<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tMyth<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tBlank Verse<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tNovel<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tBesque<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tOde<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tCacophony<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tOnomatopoeia<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tCanon of Literature<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tParadox<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tCarpe Diem<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tPathetic Fallacy<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tChorus<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tPersonification<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tComedy<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tPoetic Diction<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tConfidant<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tPoetic Justice<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tDeus ex Machina<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tPoetic License<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tDramatic Monologue<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tProse<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tElegy<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tRhyme<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tEpic<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tRoman a Clef<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tEpigram<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tRomance<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tEpiphany<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tSatire<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tEpithet<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tShort Story<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tEuphemism<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tSonnet<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tFigurative Language<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tThree Unities<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tFolklore<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tTragedy<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tFree Verse<\/p>\n<\/td>\n<td style=\"width:295px;\">\n<p>\n\t\t\t\t\t\tTragicomedy<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p align=\"center\">\n\t\t&nbsp;<\/p>\n<p align=\"center\">\n\t\t<strong>From <em>Indian Literary Criticism<\/em> by G. N. Devy<\/strong><\/p>\n<p>\n\t\tChapter 1:&nbsp;&nbsp; \u201cBharatamuni\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 3-17<\/p>\n<p>\n\t\tChapter 3:&nbsp;&nbsp; \u201cBhartrihari\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 23-31<\/p>\n<p>\n\t\tChapter 5:&nbsp;&nbsp; \u201cAnandavardhana\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 38-50<\/p>\n<p>\n\t\tChapter 15: \u201cSri Aurobindo\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 185-198<\/p>\n<p align=\"center\">\n\t\t<strong>From<em> Sanskrit Non-Translatables: The Importance of Sanskritizing English<\/em> by Rajiv Malhotra and Satyanarayana Dasa Babaji<\/strong><\/p>\n<p>\n\t\t&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cIntroduction\u201d &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. Xxxi-xlix&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Background Reading)<\/p>\n<p>\n\t\t&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cNotes\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 227-229&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Background Reading)<\/p>\n<p>\n\t\tChapter 11: \u201cKavya\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pg. 179-192<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h1>\n\t\tSemester &#8211; IV<\/h1>\n<h3>\n\t\tCourse \u2013 XIII&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Contemporary Literary Theory Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC I-MENG 401 (Compulsory)<\/h3>\n<ol>\n<li>\n\t\t\tAgyeya<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cMemory and Country\u201d<\/li>\n<\/ol>\n<\/li>\n<li>\n\t\t\tFerdinand de Saussure<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cThe Object of Study\u201d<\/li>\n<li>\n\t\t\t\t\t\u201cNature of the Linguistic Sign\u201d<\/li>\n<\/ol>\n<\/li>\n<li>\n\t\t\tJacques Derrida<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cStructure, Sign and Play in the Discourse of the Human Sciences\u201d<\/li>\n<\/ol>\n<\/li>\n<li>\n\t\t\tTerry Eagleton<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cCapitalism, Modernism and Postmodernism\u201d<\/li>\n<\/ol>\n<\/li>\n<li>\n\t\t\tRoland Barthes<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cThe Death of the Author\u201d<\/li>\n<\/ol>\n<\/li>\n<li>\n\t\t\tElaine Showalter<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cFeminist Criticism in the Wilderness\u201d<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p style=\"margin-left:185.05pt;\">\n\t\t[Lodge, David, ed. <em>Modern Criticism and Theory: A Reader<\/em>: London: New York: Longman, 1988. For Essays: 1-5]<\/p>\n<ol>\n<li value=\"7\">\n\t\t\tJ. Hillis Miller<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cCulture Studies and Reading\u201d<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p style=\"margin-left:200.05pt;\">\n\t\t[Wolfreys, Julian. <em>Literary Theories: A Reader and Guide<\/em>.<\/p>\n<p style=\"margin-left:164.05pt;\">\n\t\tEdinburgh: Edinburgh University Press, 1997.]<\/p>\n<ol>\n<li value=\"8\">\n\t\t\tHomi K. Bhabha<\/p>\n<ol style=\"list-style-type:lower-alpha;\">\n<li>\n\t\t\t\t\t\u201cDissemination: Time, Narrative and the Margins of Modern Nation\u201d<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p style=\"margin-left:149.0pt;\">\n\t\t[Ashcroft, Bill, Gareth Griffiths and Helen Tiffin, eds. <em>The Post- Colonial Studies Reader. <\/em>London and New York: Routledge, 1995.]<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tPerspectives and Points-of-View are the keywords in contemporary academia and professional lives, and the grand route to this widening of perspective is through a comprehensive understanding of different organized methods to evaluate and analyze a text. The course aims to develop this aspect of critical faculty of the students by acquainting them with various theories that provide a guided and specialized microscopic view in the context of a text. Herein the focus is on important literary critics, ideas and different schools of literary theory. To meet the purpose, the course prescribes different movements and literary concepts such as nation, structuralism, post-structuralism, feminism, deconstruction, postcolonialism and cultural studies.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will be equipped to explore and understand numerous aspects through which literary theory is applied to texts and extended to day-to-day life. They will be able to read and analyze literary texts through multiple perspectives and lenses in the light of literary theories prescribed in the course. It will enable them to read, write and apply theories, and formulate the relationship between the author and the work.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition, one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tGuerin, Morgan, et al. <em>A Handbook of Critical Approaches to Literature<\/em>. Oxford University Press, 2010.<\/li>\n<li>\n\t\t\tKapoor, Kapil. <em>Literary Theory: Indian Conceptual Framework<\/em>. Affiliated East-West Press, 1998.<\/li>\n<li>\n\t\t\tNayar, Pramod, K. An Introduction to Cultural Studies. Viva Books, 2016.<\/li>\n<li>\n\t\t\tBarry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. Manchester University Press, 2017.<\/li>\n<li>\n\t\t\tGandhi, Leela. <em>Postcolonial Theory: A Critical Introduction.<\/em>1998. Oxford University Press, 2005.<\/li>\n<li>\n\t\t\tDahiya, Bhim S. <em>The Literary Theory and Criticism: A New Perspective. <\/em>Doaba Publishers, 2003.<\/li>\n<li>\n\t\t\tMongia<em>, <\/em>Padmini, ed. <em>Contemporary Post-colonial Theory: A Reader<\/em>. 2020.<\/li>\n<li>\n\t\t\tAshcroft, Bill, Gareth Grifith and Helen Tiffin, eds. <em>The Post-Colonial Studies Reader.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:58.9pt;\">\n\t\tRoutledge, 1995.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBrydon, Diana, ed. <em>Post-Colonialism: Critical Concepts in Literary and Cultural Studies<\/em>. Routledge, 2000.<\/li>\n<li>\n\t\t\tYoung, Robert C. <em>Post Colonialism: An Historical Introduction<\/em>. Blackwell, 2002.<\/li>\n<li>\n\t\t\tJoseph, John, ed. <em>Ferdinand de Saussure<\/em>. Routledge, 2013.<\/li>\n<li>\n\t\t\tCaputo, John D. <em>Radical Hermeneutics: Deconstruction and the Hermeneutic Project<\/em>. Indiana University Press, 1988.<\/li>\n<li>\n\t\t\tSelden, Widdowson, et al<em>.<\/em>, ed. <em>Readers Guide to Contemporary Literary Theory<\/em>. Routledge, 2016.<\/li>\n<li>\n\t\t\tMoi, Toril. <em>Sexual\/Textual Politics<\/em>. Routledge, 1985.<\/li>\n<li>\n\t\t\tMcLeod, John. <em>Beginning Postcolonialism<\/em>. Manchester University Press, 2000.<\/li>\n<li>\n\t\t\tMoore-Gilbert, Bart. <em>Postcolonial Theory: Contexts, Practices, Politics. <\/em>Verso, 1997.<\/li>\n<li>\n\t\t\tMiller, J. Hillis. <em>Black Holes: Boustrophedonic Reading Cultural Memory in the Present<\/em>. Stanford University Press, 1999.<\/li>\n<li>\n\t\t\tDunne, Eamonn. <em>J. Hillis Miller and the Possibilities of Reading: Literature after Deconstruction<\/em>. Bloomsbury, 2012.<\/li>\n<li>\n\t\t\tWolfreys<em>, <\/em>Julian, ed. <em>The J. Hillis Miller Reader. <\/em>2004.<\/li>\n<li>\n\t\t\tMiller, J. Hillis. \u201cWhy Literature? A Profession.\u201d <em>Procedia-Social &amp; Behavioral Sciences<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:58.9pt;\">\n\t\t(2010).<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tSchwarz, Daniel R. \u201cReading (Deconstruction) J. Hillis Miller: Humanist and Pluralist.\u201d <em>CRCL<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:58.9pt;\">\n\t\t(2016).<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBhabha, Homi K. <em>Nation and Narration<\/em>. Routledge, 1990.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tHall, Donald. <em>Literary and Cultural Theory: From Basic Principles to Advanced Applications.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:58.9pt;\">\n\t\tWadsworth Publishing Co. Inc, 2000.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tSzeman<em>, <\/em>Imre, Timothy Kaposy, eds. <em>Cultural Theory: An Anthology. <\/em>Blackwell Publishers, 2010.<\/li>\n<li>\n\t\t\t\u201cCultural Liminality\/Aesthetic Closure? The \u201cInterstitial Perspective\u201d of Homi Bhabha.\u201d<\/li>\n<\/ul>\n<p style=\"margin-left:58.9pt;\">\n\t\t<em>Literary Imagination <\/em>1.1 (99):109-25.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tR\u00f6ttger-Hogan,&nbsp; &nbsp;Elizabeth.&nbsp; &nbsp;\u201cRASA:&nbsp;&nbsp; IDEALISM, AND REALISM: PREMCHAND&#8217;S LITERARY ESSAYS.\u201d <em>Journal of South Asian Literature <\/em>21.2 (1986): 79-85.<\/li>\n<li>\n\t\t\tPremchand, Munshi. \u201cThe Nature and Purpose of Literature.\u201d <em>Social Scientist <\/em>39.11-12 (2011): 82-86.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/indianhistorycollective.com\/munshi-premchand-natureandpurposeofliterature-progressivewritersassociation-faiz-manto-mulkrajanand\/\">https:\/\/indianhistorycollective.com\/munshi-premchand-natureandpurposeofliterature-<\/a> <a href=\"https:\/\/indianhistorycollective.com\/munshi-premchand-natureandpurposeofliterature-progressivewritersassociation-faiz-manto-mulkrajanand\/\">progressivewritersassociation-faiz-manto-mulkrajanand\/<\/a><\/li>\n<li>\n\t\t\t<a href=\"http:\/\/herald.dawn.com\/news\/1153823\/for-premchand-good-literature-was-about-truth-and-humanity\">http:\/\/herald.dawn.com\/news\/1153823\/for-premchand-good-literature-was-about-truth-and-<\/a> <a href=\"http:\/\/herald.dawn.com\/news\/1153823\/for-premchand-good-literature-was-about-truth-and-humanity\">humanity<\/a><\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.thehindu.com\/books\/literary-review\/hari-narayan-on-munshi-premchands-essays\/article7485165.ece\">https:\/\/www.thehindu.com\/books\/literary-review\/hari-narayan-on-munshi-premchands-<\/a> <a href=\"https:\/\/www.thehindu.com\/books\/literary-review\/hari-narayan-on-munshi-premchands-essays\/article7485165.ece\">essays\/article7485165.ece<\/a><\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; XIV&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Indian Writing in English Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSC I-MENG 402 (Compulsory)<\/h3>\n<p style=\"margin-left:77.0pt;\">\n\t\tRaja Rao:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Kanthapura<\/em><\/p>\n<p style=\"margin-left:77.0pt;\">\n\t\tR.K. Narayan:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>The Vendor of Sweets<\/em><\/p>\n<p style=\"margin-left:77.0pt;\">\n\t\tAnita Desai:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Clear Light of Day<\/em><\/p>\n<p style=\"margin-left:77.0pt;\">\n\t\tA.K. Ramanujan:&nbsp;&nbsp;&nbsp;&nbsp; \u201cThe Snakes,\u201d \u201cObituary,\u201d \u201cThe Striders\u201d<\/p>\n<p style=\"margin-left:176.05pt;\">\n\t\tKeki N. Daruwala: \u201cRuminations,\u201d \u201cThe Fighting Eagles,\u201d \u201cThe Mistress,\u201d \u201cBoat-ride Along the Ganga\u201d<\/p>\n<p style=\"margin-left:74.0pt;\">\n\t\tNissim Ezekiel:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cPoet, Lover, Birdwatcher,\u201d \u201cEnterprise, \u201cThe Visitor\u201d<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tIndian Literature has a rich heritage comprising texts in all genres, from Epics and Novels to Criticism and Theory. The course aims to acquaint the students with the nuances of Indian literature, in all its facets and dimensions. It is designed to familiarize the students with the emergence and growth of Indian writing in English in the backdrop of colonial experience, concerning different issues related to caste, class, gender and politics. The course offers a platform to rationally analyze the social, political and cultural issues reflected in the works of Indian English writers<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, the students will be able to appreciate the artistic and innovative nuances of the English language used by the Indian English writers in addition to various issues taken up by them to sensitize Indian masses. Also, they will be able to learn by reading the poetry pieces of modern Indian English poets, about the upcoming issues encountered by the Indian society in recent times.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Raja Rao<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAlterno, Letizia. <em>Raja Rao: An Introduction. <\/em>Foundation, 2011<strong>.<\/strong><\/li>\n<li>\n\t\t\tDayal, P. <em>Raja Rao: A Study of His Books<\/em>. Atlantic, 1991.<\/li>\n<li>\n\t\t\tParmeswaran, Uma. <em>A Study of Representative Indo-English Novelists<\/em>.<\/li>\n<li>\n\t\t\tRao, A. V. Krishna. <em>The Indo-Anglian Novel and the Changing Tradition<\/em>. Rao and Raghvan Publishers, 1972.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMukherjee, Meenakshi. <em>The Twice Born Fiction: Themes and Techniques of the Indian English Novel<\/em>. Heinemann, 1971.<\/li>\n<li>\n\t\t\tVerghese, Paul C. <em>Problems of the Indian Creative Writer in English<\/em>. Somaiya Publications, 1971.<\/li>\n<\/ul>\n<h3>\n\t\tR. K. Narayan<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tNarayan, R. K. <em>The Vendor of Sweets<\/em>. 1976. Penguin, 1983.<\/li>\n<li>\n\t\t\tSundaram, P. S. <em>R. K. Narayan<\/em>. Arnold Heinemann, 1973.<\/li>\n<li>\n\t\t\tPousse, Michael, P. Lang. <em>R. K. Narayan: A Painter of Modern India<\/em>. 1995.<\/li>\n<li>\n\t\t\tBhatnagar, M. K. <em>New Insights into the Novels of R. K. Narayan<\/em>. Atlantic, 2002.<\/li>\n<li>\n\t\t\tIyengar, K. S. <em>Indian Writing in English. <\/em>Asia Publishing House, 1970.<\/li>\n<li>\n\t\t\tSingh, R. S. <em>Indian Novel in English. <\/em>Arnold Heinemann, 1980.<\/li>\n<li>\n\t\t\tWilliams, H. M. <em>Studies in Modern Fiction in English<\/em>. Vol. I. Calcutta Writers\u2019 Workshop, 1971.<\/li>\n<\/ul>\n<h3>\n\t\tAnita Desai<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBande, Usha. Choudhary, Bidulata. <em>Women and Society in the Novels of Anita Desai<\/em>. Creative, 1995.<\/li>\n<li>\n\t\t\tKhanna, Shashi. <em>Human Relationships in Anita Desai\u2019s Novels<\/em>. Sarup &amp; Sons, 1995.<\/li>\n<li>\n\t\t\tStanley, Deborah H., ed. <em>Contemporary Literary Criticism<\/em>. Gale Research, 1997.<\/li>\n<li>\n\t\t\tJain, Jasbir. <em>Stairs to the Attic: The Novels of Anita Desai. <\/em>Printwell, 1986.<\/li>\n<li>\n\t\t\tPrasad, Madhusudan. <em>Anita Desai: The Novelist. <\/em>New Horizons, 1981.<\/li>\n<li>\n\t\t\tSolanki, Mrinalini. <em>Anita Desai\u2019s Fiction: Pattern of Survival Strategies. <\/em>Stosius Inc\/Advent Books, 1993.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPoetry<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tK, Abhay. <em>The Bloomsbury Anthology of Great Indian Poems<\/em>. Bloomsbury India, 2019.<\/li>\n<li>\n\t\t\tKing, Bruce. <em>Modern Indian Poetry in English<\/em>. OUP, 2005.<\/li>\n<li>\n\t\t\tMitra, Zenia. <em>Indian Poetry in English: Critical Essays<\/em>. PHI Learning Pvt. Ltd., 2012.<\/li>\n<li>\n\t\t\tWalsh, William. <em>Indian Literature in English<\/em>. Longman, 1990.<\/li>\n<li>\n\t\t\tKing, Bruce. <em>Three Indian Poets: Nissim Ezekiel, Dom Moraes and A. K. Ramanujan<\/em>. Oxford University Press, 1991.<\/li>\n<li>\n\t\t\tMehrotra, Arvind Krishna. <em>An Illustrated History of Indian Literature in English.<\/em><\/li>\n<\/ul>\n<p style=\"margin-left:77.0pt;\">\n\t\tPermanent Black, 2003.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tDaruwala, K. N., ed. <em>Two Decades of Indian Poetry<\/em>. Vikas, 1980.<\/li>\n<li>\n\t\t\tInamdar, F. A., ed. <em>Critical Spectrum: The Poetry of Keki N. Daruwala<\/em>. 1991. Mittal Publications, 2007.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tNote: The students have to opt any one out of the two courses: 403-404.<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course XIV-i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Modern European Drama Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE II-MENG 403 (Elective)<\/strong><\/p>\n<p style=\"margin-left:155.0pt;\">\n\t\tBertolt Brecht:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Mother Courage and Her Children<\/em><\/p>\n<p style=\"margin-left:155.0pt;\">\n\t\tHenrik Ibsen:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Ghosts<\/em><\/p>\n<p style=\"margin-left:155.0pt;\">\n\t\tAnton Chekhov:&nbsp;&nbsp;&nbsp; <em>The Cherry Orchard<\/em><\/p>\n<p style=\"margin-left:155.0pt;\">\n\t\tSamuel Beckett<em>:&nbsp;&nbsp;&nbsp; Waiting for Godot<\/em><\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tA very significant line of modern critical thinking owes its genesis to Europe, and its ideologies are best manifest in literary representations. The European drama is an outcome of different sea changing events of twentieth century and it reflects the ethos of European masses. The course aims to introduce the students to the key European dramatic texts that have shaped Modern dramatic writing from seminal playwrights such as Brecht, Ibsen, Chekhov and Beckett.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, the students will be able to understand the important theatrical concepts and practices. Also, they will be able to dwell on the philosophical angst of human beings as encountered and represented by the modern European dramatists.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the given units one question with internal choice will be set. In addition one question of general nature with internal choice will be set. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:293.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks<\/p>\n<p style=\"margin-left:329.05pt;\">\n\t\tPrivate Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings: Brecht<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBanham, Martin, ed. \u201cBrecht, Bertolt.\u201d <em>The Cambridge Guide to Theatre<\/em>. Cambridge University Press, 1998.<\/li>\n<li>\n\t\t\tBrooker, Peter. \u201cKey Words in Brecht\u2019s Theory and Practice of Theatre.\u201d <em>The Cambridge Companion to Brecht<\/em>. Peter Thomson, Glendyr Sacks<a href=\"https:\/\/en.wikipedia.org\/wiki\/Bertolt_Brecht#CITEREFThomsonSacks1994\">. Cambridge University Press, 1994<\/a>.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tThomson, Peter, Glendyr Sacks, eds. <em>The Cambridge Companion to Brecht<\/em>. Cambridge Companions to Literature.Cambridge University Press, 1994.<\/li>\n<li>\n\t\t\tClaire, Gleitman. \u201cAll in the Family: \u201cMother Courage\u201d and the Ideology in the \u201cGestus.\u201d<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<em>Comparative Drama <\/em><a href=\"https:\/\/www.jstor.org\/stable\/i40051187\">25. 2 (1991)<\/a>: 147-167.<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/Fredric_Jameson\">Jameson, Fredric.<\/a> <em>Brecht and Method. <\/em>Verso, 1998.<\/li>\n<\/ul>\n<h3>\n\t\tHenrik Ibsen<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tIbsen, Henrik. <em>Ghosts: Four Major Plays<\/em>. Oxford University Press, 1981.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/Maurice_Valency\">Valency, Maurice.<\/a> <em>The Flower and the Castle: An Introduction to Modern Drama<\/em>. Macmillan, 1963.<\/li>\n<li>\n\t\t\tMoses, Montrose J. <a href=\"https:\/\/en.wikisource.org\/wiki\/The_Encyclopedia_Americana_(1920)\/Ghosts_(play)\"><em>Ghosts.<\/em><\/a> Ed. George Edwin. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Encyclopedia_Americana\"><em>Encyclopedia Americana<\/em><\/a>.1920.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/William_Archer_(critic)\">Archer,<\/a> William, C. H. Herford, eds. <em>The Collected Works of Henrik Ibsen<\/em>. Sagwan Press, 2018.<\/li>\n<li>\n\t\t\tMcFarlane, James, ed. <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Oxford_Ibsen\"><em>The Oxford Ibsen.<\/em><\/a> Oxford University Press, 1960;1977.<\/li>\n<li>\n\t\t\tPal, Swati. <em>Modern European Drama Ibsen to Beckett<\/em>. Pencraft International<em>, <\/em>2011.<\/li>\n<li>\n\t\t\tRahaman, Mijanur. <em>Modern European Drama &amp; Postcolonial Literature\u2019s. <\/em>J Publication, 2021.<\/li>\n<\/ul>\n<h3>\n\t\tChekhov<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tHirst, David L. <em>Tragicomedy: Variations of Melodrama: Chekhov and Shaw<\/em>. Routledge, 1984.<\/li>\n<li>\n\t\t\tBrantley, Ben. <a href=\"http:\/\/theater.nytimes.com\/2009\/01\/16\/theater\/reviews\/16orch.html?pagewanted=all\">\u201cTheater Review: <em>The Chery Orchard.<\/em><\/a>\u201d <em>The New York Times <\/em>2009.<\/li>\n<li>\n\t\t\t<em>Gottlieb, Vera. The Cambridge Companion to Chekhov. Cambridge University Press, 2000.<\/em><\/li>\n<li>\n\t\t\tDonaldson<em>, <\/em>Ian, ed. <em>Transformations in Modern European Drama<\/em>. Humanities Press, 1983.<\/li>\n<li>\n\t\t\tPanwar, Dinesh, Rohit Phutela. <em>Modern European Drama: Text to Criticism. <\/em>Paragon International Publishers, 2015.<\/li>\n<li>\n\t\t\tHossain, Akram. <em>Modern European Drama &amp; Literary Criticism<\/em>. Ray Book Concern, 2021.<\/li>\n<\/ul>\n<h3>\n\t\tBeckett<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tAckerley, C. J., <a href=\"https:\/\/en.wikipedia.org\/wiki\/S._E._Gontarski\">S. E. Gontarski<\/a>, eds. <em>The Grove Companion to Samuel Beckett. <\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Grove_Press\">Grove Press<\/a>, 2004.<\/li>\n<li>\n\t\t\tFletcher, John. <em>About Beckett. <\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Faber_and_Faber\">Faber and Faber<\/a>, 2010.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/S._E._Gontarski\">Gontarski, S. E.<\/a>, ed. <em>A Companion to Samuel Beckett<\/em>. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Wiley-Blackwell\">Blackwell,<\/a> 2010.<\/li>\n<li>\n\t\t\tFriedman, N. \u201cGodot and Gestalt: The Meaning of Meaningless.\u201d <em>The American Journal of Psychoanalysis <\/em>49.3 (2009).<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/en.wikipedia.org\/wiki\/S._E._Gontarski\">Gontarski, S. E. <\/a><em>Edinburgh Companion to Samuel Beckett and the Arts<\/em>. Edinburgh University Press, 2019.<\/li>\n<li>\n\t\t\tGurnow, M. \u201cNo Symbol Where None Intended: A Study of Symbolism and Allusion in Samuel Beckett&#8217;s Waiting for Godot\u201d<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse XIV-ii&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; American Drama<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE II-MENG 404 (Elective)<\/strong><\/p>\n<p style=\"margin-left:149.0pt;\">\n\t\tEugene O\u2019Neill:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Desire under the Elms <\/em>Arthur Miller:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Death of a Salesman <\/em>Tennessee Williams: <em>The Glass Menagerie<\/em><\/p>\n<p style=\"margin-left:149.0pt;\">\n\t\tEdward Albee:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Who\u2019s Afraid of Virginia Woolf?<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course aspires to acquaint the students to the \u201cBig Four\u201d of American Drama. This acquaintance shall go a long way in the students\u2019 understanding of the American stage in particular, and American life in general, as it was in the twentieth century with its connect to the Great American Dream. As these value systems have garnered a global presence in contemporaneity, an insight into its foundation is targeted through this course.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThis course will equip the students to approach American drama with the perspective of history, art and different emerging ideas and trends after second world war. The students will be able to fathom deeply the American culture and the changes in the American drama due to great depression, second world war, material expansion, American dream, and alienation in personal life due to cut-throat competition.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Eugene O\u2019 Neill<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBloom, Harold, ed. <em>Desire<\/em> <em>Ynder<\/em> <em>the<\/em> <em>Elms.<\/em> Chelsea House Publication, 2007.<\/li>\n<li>\n\t\t\tEugene O\u2019Neill. Bloom\u2019s Modern Critical Views. Chelsea House Publication. 1st edition. 2007.<\/li>\n<li>\n\t\t\tDubost, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=critical%2Bbooks%2Bon%2Bdesire%2Bunder%2Bthe%2Belms&amp;pg=PT271&amp;printsec=frontcover&amp;q=inauthor%3A%22Thierry%2BDubost%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjW4OqY56n4AhVz7HMBHW0aAQsQmxMoAHoECBUQAg&amp;sxsrf=ALiCzsaRjUoHmlAeIEhh-RwTSv_wpyiZGQ%3A1655101938750\">Thierry.<\/a> <em>Eugene O\u2019Neill and the Reinvention of Theatre Aesthetics<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=critical%2Bbooks%2Bon%2Bdesire%2Bunder%2Bthe%2Belms&amp;pg=PT271&amp;printsec=frontcover&amp;q=inpublisher%3A%22McFarland%2C%2BIncorporated%2C%2BPublishers%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjW4OqY56n4AhVz7HMBHW0aAQsQmxMoAHoECBsQAg&amp;sxsrf=ALiCzsaRjUoHmlAeIEhh-RwTSv_wpyiZGQ%3A1655101938750\">McFarland,<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=critical%2Bbooks%2Bon%2Bdesire%2Bunder%2Bthe%2Belms&amp;pg=PT271&amp;printsec=frontcover&amp;q=inpublisher%3A%22McFarland%2C%2BIncorporated%2C%2BPublishers%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjW4OqY56n4AhVz7HMBHW0aAQsQmxMoAHoECBsQAg&amp;sxsrf=ALiCzsaRjUoHmlAeIEhh-RwTSv_wpyiZGQ%3A1655101938750\">Incorporated, Publishers, <\/a>2019.<\/li>\n<li>\n\t\t\tLee, E. Andrew. \u201cGothic Domesticity in Eugene O\u2019Neill\u2019s \u201cDesire Under the Elms.\u201d <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22E.%2BAndrew%2BLee%22\">https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au:%22E.+Andrew+Lee%22<\/a><strong><em>The Eugene O\u2019Neill Review <\/em><\/strong>33. 1 (2012): 71-90.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tArthur Miller<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMiller, Arthur. <em>Death of a Salesman. <\/em>Viva Books, 2007<strong>.<\/strong><\/li>\n<li>\n\t\t\tMiller, Arthur. Moss, Leonard. <em>Arthur Miller<\/em>. Grove Press, 1967.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>Arthur<\/em> <em>Miller:<\/em> <em>Twentieth<\/em><em> Century Views. <\/em>Chelsea House, 2003.<\/li>\n<li>\n\t\t\tArdolino, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Frank%2BR.%2BArdolino%22\">Frank R. <\/a><em>\u201c<\/em>The Mythological Significance of Happy in <em>Death of a Salesman<\/em>.\u201d <em>The Arthur Miller Journal <\/em>4. 1 (2009): 29-33.<\/li>\n<li>\n\t\t\t\u201cThe Nature of Tragedy in Arthur Miller&#8217;s <em>Death<\/em> <em>of<\/em> <em>a<\/em> <em>Salesman<\/em>. <em>South<\/em> <em>Atlantic<\/em> <em>Review<\/em> 61. 4 (1996): 97-106.<\/li>\n<li>\n\t\t\tMiller, Arthur. \u201cTragedy and the Common Man\u201d<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tTennessee Williams<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tThompson, Judith J. <em>Tennessee Williams &amp; Plays<\/em>. Lang Publishing, 2002.<\/li>\n<li>\n\t\t\tBloom, Harold. <em>Tennessee Williams\u2019s The Glass Menagerie<\/em>. Infobase Publishing, 2007.<\/li>\n<li>\n\t\t\tBeaine, Lester. \u201c<em>The Glass Menagerie<\/em>: From Story to Play.\u201d <em>Modern Drama <\/em>8.2 (1965): 142- 149.<\/li>\n<li>\n\t\t\tJacobs, Daniel. \u201cTennessee Williams: The Uses of Declarative Memory in <em>The Glass Menagerie.<\/em>\u201d <em>Journal of the American Psychoanalytic Association <\/em>50.4 (2002): 1259-1270.<\/li>\n<li>\n\t\t\tSiebold, Thomas. <em>Readings on The Glass Menagerie<\/em>. Greenhaven Press, 1998.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.youtube.com\/watch?v=nDPMBDiwL0M&amp;t=15s\">https:\/\/www.youtube.com\/watch?v=nDPMBDiwL0M&amp;t=15s<\/a><\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tEdward Albee<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tEslin, Martin. <em>The Theatre of the Absurd. <\/em>Penguin, 1963.<\/li>\n<li>\n\t\t\tBigsby, C. W. E., ed. <em>Edward Albee: A Collection of Critical Essays. <\/em>Prentice Hall, 1975.<\/li>\n<li>\n\t\t\tAmacher, Richard, C. <em>Edward Albee<\/em>. Twayne Publishers, 1969.<\/li>\n<li>\n\t\t\tAbbotson, Susan C. W. <em>Masterpieces of 20th-century American Drama<\/em>. Greenwood Publishing Group, 2005.<\/li>\n<li>\n\t\t\tAlbee, Edward. <em>Conversations with Edward Albee<\/em>. Mississippi University Press, 1988.<\/li>\n<li>\n\t\t\tAlbee, Edward. <em>Which Theatre is the Absurd One? <\/em>The New York Times,1962.<\/li>\n<li>\n\t\t\tBottoms, Stephen J. <em>Albee: Who\u2019s Afraid of Virginia Woolf? <\/em>Cambridge University Press, 2000.<\/li>\n<li>\n\t\t\tMel, Gussow. \u201cEdward Albee: A Singular Journey, A Biography.\u201d (1999).<\/li>\n<li>\n\t\t\tLuere, Jeane. \u201cTerror and Violence in Edward Albee: From <em>Who&#8217;s Afraid of Virginia Woolf? <\/em>To<\/li>\n<\/ul>\n<p style=\"margin-left:41.0pt;\">\n\t\t<em>Marriage Play<\/em>.\u201d <em>South Central Review <\/em>7.1 (1990): 50-58.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tNote: The students have to opt any one out of the three courses: 405-407.<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course &#8211; XVI&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Indian Writing in Translation Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE III-MENG 405 (Elective)<\/strong><\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tKalidas:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Abhijnanshakuntalam<\/em><\/p>\n<p style=\"margin-left:293.05pt;\">\n\t\t(English translation by M. R. Kale. Pub. Motilal Banarasidas)<\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tPremchand:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cIntent of Literature\u201d<\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tBhisham Sahni:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Tamas<\/em><\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tU. R. Ananthamurthy:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Samskara<\/em><\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tMahasweta Devi:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Rudali<\/em><\/p>\n<p style=\"margin-left:254.05pt;\">\n\t\t(English translation by Anujam Katyal. Pub. Seagull)<\/p>\n<p style=\"margin-left:122.0pt;\">\n\t\tShiv K. Kumar:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Luna<\/em><\/p>\n<p style=\"margin-left:257.05pt;\">\n\t\t(English translation by Ish Kumar)<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tIndia, unlike the European construct of a nation, has always been a heterogeneous nation &#8211; ethnically, culturally and linguistically. The literature in India has been composed in varied languages, each representing, apart from the universal characteristics, the culture specific nuances of the \u201cregion\u201d it represents. The course strives to acquaint the students to Indian literature composed in languages other than English, through their English translation. It intends to foreground the basic tenets of translation to the students. The course offers translation and contextualization of the texts from different socio-cultural climes prevalent in the different parts of India.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe students will become adept at comparative analysis of the different regional texts prescribed in the course. It will enable them to understand the regional nuances and cultural contexts of multifaceted Indian ethos via different texts and themes, and also the way of expression manifest in different languages.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tPrivate&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Students:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&#215;5=25&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the given units one question with internal choice will be set. In addition one question of general nature with internal choice will be set. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Kalidasa<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKalidas. <em>Abhijnanasakuntalam. <\/em>Pashva Publications, 1992.<\/li>\n<\/ul>\n<p>\t<br clear=\"all\"><\/p>\n<p style=\"margin-left:2.75pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKale, M. R. <em>The Abhijnanasakuntalam of Kalidas. <\/em>11<sup>th<\/sup> edition. Motilal Banarsidass, 2010.<\/li>\n<li>\n\t\t\tKalidas. <em>Abhijnanashakuntalam: The Recognition of Shakuntala. <\/em>Translated by Vinay Dharwadker. Penguin, 2016.<\/li>\n<li>\n\t\t\tRao, Mani, trans. <em>Kalidasa for the 21<sup>st<\/sup> Century Reader<\/em>. Aleph Book Company, 2014.<\/li>\n<\/ul>\n<h3>\n\t\tBhisham Sahni<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tSahni, Bhisham. <em>Tamas. <\/em>2001. Penguin, 2001.<\/li>\n<li>\n\t\t\tMalik, Seema. <em>Partition and Indian English Women Novelists. <\/em>Prestige, 2007.<\/li>\n<li>\n\t\t\tKumar, Sukrita Paul. <em>Narrating Partition: Texts, Interpretations, Ideas. <\/em>Penguin, 2006.<\/li>\n<li>\n\t\t\tSahni, Bhisham<strong>. <\/strong><em>Themes, Symbols and Metaphors of Partition in Indian Literature: A Critical Analysis of Tamas. <\/em>2020.<\/li>\n<li>\n\t\t\tTiwari, Sahni, Bhisham. <em>Tamas: A Critical Introduction, Summary, Analysis<\/em>. Surjeet Publications, 2007.<\/li>\n<li>\n\t\t\tSharma, I. D. <em>Tamas: A Critical Analysis<\/em>. Studies in Indian-English Literature. 1995. Prakash Book Depot, 2002.<\/li>\n<li>\n\t\t\tSudha. \u201cWitnessing Partition through Literature: Probing into Bhisham Sahni\u2019s <em>Tamas<\/em>\u201d. <em>Proceedings of the Indian History Congress <\/em>73 (2012).<\/li>\n<li>\n\t\t\tDahiya, Sumitra. \u201cThemes, Symbols and Metaphors of Partition in Indian Literature: A Critical Analysis of <em>Tamas <\/em>by Bhisham Sahni.\u201d <em>The Criterion: An International Journal in English <\/em>11.I (2020).<\/li>\n<li>\n\t\t\tSharma, A. \u201cThe Psychological Condition of Women during Partition in Bhisham Sahni\u2019s Novel \u2018Tamas\u2019.\u201d SMART MOVES JOURNAL IJELLH, 1.3 (2017): 1\u20136.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tU. R. Ananthamurthy<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tMurthy, U. R. Anantha. <em>Samskara: A Rite for a Dead Man<\/em>. Trans. A. K. Ramanujan. 1976. Oxford University Press, 1989.<\/li>\n<li>\n\t\t\tMukherjee, Meenakshi. <em>Realism and Reality: The Novel and Society in India<\/em>. Oxford University Press, 1985.<\/li>\n<li>\n\t\t\tBaral, K. C., Damodar Venkat Rao, Sura Prasad Rath, eds. <em>U. R. Anantha Murthy\u2019s Samskara: A Critical Reader<\/em>. Pencraft International, 2005.<\/li>\n<li>\n\t\t\tPandya, Indubala. \u201cAnantha Murthy\u2019s <em>Samskara<\/em>: A Novel of Complex Structure and Narrative Technique.\u201d <em>Indian Literature <\/em>30. 3 (119) (1987): 135-146.<\/li>\n<li>\n\t\t\tNirja Misra, Vijay L. Sharma, R. K. Kaul. \u201cSamskara: Three Critics on Ananthamurthy\u2019s Novel.\u201d <em>Indian Literature <\/em>25. 5 (1982).<\/li>\n<li>\n\t\t\tMurthy, U. R. Anantha. \u201cDeglamourise English.\u201d An Interview with Gagandeep Singh. <em>The Tribune. <\/em>24 April 2005.<\/li>\n<li>\n\t\t\tS. Chitra. \u201cHollowness of Cultural Hegemony in U. R. Ananthamurthy\u2019s <em>Samskara.<\/em>\u201d <em>International Journal of English: Literature, Language and Skills <\/em>7.3 (2018).<\/li>\n<li>\n\t\t\tThillainayagam, S. <em>Feminist Literary Essays<\/em>. Indian Publishers, 1999.<\/li>\n<\/ul>\n<p style=\"margin-left:36.55pt;\">\n\t\tArora, Sudhir K. \u201cNation Flows: An In-depth Analysis of U. R. Anantha Murthy\u2019s <em>Samskara.\u201dNation: Translation and Bhasha Literatures. <\/em>Ed. by Harbir Singh Randhawa Sarup, 2013.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tShiv Kumar<\/h3>\n<p style=\"margin-left:36.55pt;\">\n\t\tSekhon, Sant Singh, Kartar Singh Duggal. <em>A History of Punjabi Literature<\/em>. Sahitya Akademi, 1992.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tSingh, Pankaj. \u201cReconstruction of Legend in Contemporary Panjabi Drama in India.\u201d <em>Modern Drama <\/em>38.1 (1995): 109-122.<\/li>\n<li>\n\t\t\tKumar, Akshaya. \u201cFrom Spiritual to Subaltern: Shifting Semantics of \u201cKissa Pooran Bhagat\u201d in Modern Punjabi Literature.\u201d <em>Indian Literature <\/em>47.2 (2003): 131-148.<\/li>\n<li>\n\t\t\tSingh, Manjit. \u201cShiv Kumar Batalvi: His Life, Works and Place in Panjabi Literature.\u201d Inflibnet.<\/li>\n<li>\n\t\t\tSoza, Sa. <em>Shiv Kumar Batalvi<\/em>. Sahitya Akademi, 2001.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tMahasweta Devi<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tChakravarty, Sumita S. \u201cCan the Subaltern Weep? Mourning as Metaphor in <em>Rudali<\/em>.\u201d <em>Redirecting the Gaze: Gender, Theory and Cinema in the Third World. <\/em>ED. Diana Robin, et al. Sunny Press, 1999.<\/li>\n<li>\n\t\t\tMenon, Ritu. <em>Women Who Dared<\/em>. National Book Trust, 2002.<\/li>\n<li>\n\t\t\t<em>Rudali: From Fiction to Performance<\/em>. By Mahasweta Devi, Usha Ganguli, Anjum Katyal. 1997.<\/li>\n<li>\n\t\t\tSubramanyam, Radha. \u201cClass, Caste and Performance in \u2018Subaltern\u2019 Feminist Film Theory and Praxis: An Analysis of <em>Rudali<\/em>.\u201d <em>Cinema Journal <\/em>1996<em>.<\/em><\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse XVI -i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Literature and Gender Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE III-MENG 406 (Elective)<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:126.1pt;\">\n\t\tVirginia Woolf:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>A Room of One\u2019s Own<\/em><\/p>\n<p style=\"margin-left:126.1pt;\">\n\t\tCaryl Churchill:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Cloud Nine<\/em><\/p>\n<p style=\"margin-left:126.1pt;\">\n\t\tToni Morrison:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Beloved<\/em><\/p>\n<p style=\"margin-left:216.1pt;\">\n\t\tBinodini Dasi:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>An Autobiography <\/em>(Translated into English by Rimli Bhattacharya)<\/p>\n<p style=\"margin-left:216.1pt;\">\n\t\tManobai Bandhopadhyay and Jhimli Mukherjee Panday: <em>A Gift of Goddess Lakshmi: A Candid Biography of the First Transgender Principal<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course aims to sensitize the students with the social construction of gender. The prescribed literary texts offer insights into selected literary texts and cultural conditions from the standpoint of gender theory \u2013 masculinity, femininity and transgender. The course aspires to broaden the horizon towards the socio-politico-cultural dilemmas of contemporary living.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, the students will be able to visualize and understand the concepts of gender beyond the discourse of masculine and feminine gender. The students will be able to analyze and critique socio-cultural construction of gender and the multiple issues addressed herein.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the given units one question with internal choice will be set. In addition one question of general nature with internal choice will be set. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:329.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Virginia Woolf<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/www.google.com\/search?sa=N&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Fiona%2BRobinson%22&amp;ved=2ahUKEwjj8cmn-av4AhWwILcAHbasAD84ChD0CHoECAoQBA\">Robinson<\/a>, Fiona, <a href=\"https:\/\/www.google.com\/search?sa=N&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Tim%2BSmith-Laing%22&amp;ved=2ahUKEwjj8cmn-av4AhWwILcAHbasAD84ChD0CHoECAoQBQ\">Tim Smith-Laing<\/a>. <a href=\"https:\/\/books.google.co.in\/books?id=sJeuzgEACAAJ&amp;dq=Woolf%2Ba%2Broom%2Bof%2Bone%27s%2Bown&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjj8cmn-av4AhWwILcAHbasAD84ChDoAXoECAoQAQ\"><em>An Analysis of Virginia Woolf\u2019s A Room of One\u2019s Own<\/em>.<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inpublisher%3A%22Macat%2BInternational%2BLimited%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwitqLmr-av4AhWeTWwGHfEgA_EQmxMoAHoECBsQAg\">Macat International Limited<\/a>, 2017.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/books.google.com\/books?id=BFiqCgAAQBAJ&amp;printsec=frontcover&amp;dq=Woolf%2Ba%2Broom%2Bof%2Bone%27s%2Bown&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjKifDG-av4AhXF7XMBHWkPBG44FBDoAXoECAgQAg\"><em>A Study Guide to Virginia Woolf&#8217;s A Room of One\u2019s Own<\/em>.<\/a> <a href=\"https:\/\/www.google.com\/search?sa=N&amp;biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Gale%2C%2BCengage%2BLearning%22&amp;ved=2ahUKEwjKifDG-av4AhXF7XMBHWkPBG44FBD0CHoECAgQBQ\">Cengage Learning<\/a>, 2015.<\/li>\n<li>\n\t\t\tSaloman, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Randi%2BSaloman%22\">Randi. <\/a>\u201cUnsolved Problems: Essayism, Counterfactuals, and the Futures of <em>A<\/em> <em>Room<\/em> <em>of<\/em> <em>One\u2019s<\/em> <em>Own<\/em>.\u201d <em>Tulsa<\/em> <em>Studies<\/em> <em>in<\/em> <em>Women\u2019s<\/em> <em>Literature<\/em> 32. 1 (2013): 53-73.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCaryl Churchill<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/books.google.com\/books?id=H8T2DAAAQBAJ&amp;printsec=frontcover&amp;dq=Churchill%27s%2Bcloud%2Bnine&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwi37JiL-qv4AhWa63MBHf7VBccQ6AF6BAgFEAI\"><em>A Study Guide for Caryl Churchill\u2019s Cloud Nine<\/em>. <\/a><a href=\"https:\/\/www.google.com\/search?biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Gale%2C%2BCengage%2BLearning%22&amp;sa=X&amp;ved=2ahUKEwi37JiL-qv4AhWa63MBHf7VBccQ9Ah6BAgFEAU\">Cengage Learning,<\/a> 2016.<\/li>\n<li>\n\t\t\tKeyssar, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Helene%2BKeyssar%22\">Helene. <\/a>\u201cThe Dramas of Caryl Churchill: The Politics of Possibility.\u201d <em>The<\/em> <em>Massachusetts<\/em> <em>Review <\/em>24. 1 (Woman: The Arts 1) (1983): 198-216.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tToni Morrison<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tTally, <a href=\"https:\/\/www.google.com\/search?biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Justine%2BTally%22&amp;sa=X&amp;ved=2ahUKEwjXgrbb-qv4AhXlmuYKHYqOBNoQ9Ah6BAgHEAU\">Justine. <\/a><a href=\"https:\/\/books.google.co.in\/books?id=4vp-AgAAQBAJ&amp;printsec=frontcover&amp;dq=Morrison%2BBeloved&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjXgrbb-qv4AhXlmuYKHYqOBNoQ6AF6BAgHEAI\"><em>Toni Morrison\u2019s Beloved: Origins<\/em>. <\/a><a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Morrison%2BBeloved&amp;printsec=frontcover&amp;q=inpublisher%3A%22Taylor%2B%26%2BFrancis%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiVpvLo-qv4AhXxTmwGHZ3RAksQmxMoAHoECCAQAg\">Taylor &amp; Francis,<\/a> 2008.<\/li>\n<li>\n\t\t\tBloom, Harold. <a href=\"https:\/\/books.google.com\/books?id=1jvVeZstLqYC&amp;printsec=frontcover&amp;dq=Morrison%2BBeloved&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjXgrbb-qv4AhXlmuYKHYqOBNoQ6AF6BAgGEAI\"><em>Toni Morrison\u2019s Beloved<\/em><\/a>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Morrison%2BBeloved&amp;printsec=frontcover&amp;q=inpublisher%3A%22Bloom%27s%2BLiterary%2BCriticism%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjA3cf2-qv4AhXIRmwGHevoCoQQmxMoAHoECB0QAg\">Bloom\u2019s Literary Criticism<\/a>, 2009.<\/li>\n<li>\n\t\t\tMoglen, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Helene%2BMoglen%22\">Helene. <\/a>\u201cRedeeming History: Toni Morrison\u2019s <em>Beloved<\/em>.\u201d <em>Cultural<\/em> <em>Critique<\/em> 24 (1993): 17- 40.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tBinodini Das<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tDutt, <a href=\"https:\/\/www.google.com\/search?biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Bishnupriya%2BDutt%22&amp;sa=X&amp;ved=2ahUKEwjvlIK3_Kv4AhVy7XMBHcgxC3wQ9Ah6BAgFEAU\">Bishnupriya,<\/a> <a href=\"https:\/\/www.google.com\/search?biw=1536&amp;bih=746&amp;tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Urmimala%2BSarkar%2BMunsi%22&amp;sa=X&amp;ved=2ahUKEwjvlIK3_Kv4AhVy7XMBHcgxC3wQ9Ah6BAgFEAY\">Urmimala Sarkar Munsi<\/a>. <a href=\"https:\/\/books.google.co.in\/books?id=ERtBDwAAQBAJ&amp;printsec=frontcover&amp;dq=Binodini%2BDasi%2BAn%2BAutobiography&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjvlIK3_Kv4AhVy7XMBHcgxC3wQ6AF6BAgFEAI\"><em>Engendering Performance: Indian Women<\/em><\/a> <a href=\"https:\/\/books.google.co.in\/books?id=ERtBDwAAQBAJ&amp;printsec=frontcover&amp;dq=Binodini%2BDasi%2BAn%2BAutobiography&amp;hl=en&amp;newbks=1&amp;newbks_redir=1&amp;sa=X&amp;ved=2ahUKEwjvlIK3_Kv4AhVy7XMBHcgxC3wQ6AF6BAgFEAI\"><em>Performers in Search of <\/em><\/a><em>an Identity. <\/em><a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Binodini%2BDasi%2BAn%2BAutobiography&amp;printsec=frontcover&amp;q=inpublisher%3A%22SAGE%2BPublications%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjlxfK9_Kv4AhXhUGwGHcXpDfgQmxMoAHoECBQQAg\">S<\/a>age, 2010.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tManobai Bandhopadhyay<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBandhopadhyay, Manobai and Jhimli Mukherjee Panday. <em>A Gift of Goddess Lakshmi: A Candid Biography of the First Transgender Principal<\/em>. Penguin, 2016.<\/li>\n<li>\n\t\t\tSubramaniam, Kalki. <em>We Are Not the Others: Reflections of a Transgender Activist<\/em>. Notion Press, 2021.<\/li>\n<li>\n\t\t\tNanjundaswamy, S, M. R. Gangadhar. <em>Transgender Challenges in India<\/em>. AAYU, 2016.<\/li>\n<li>\n\t\t\tGrewal, J. S. <em>Love and Gender in The Rigveda and Medieval Punjabi Literature<\/em>. IIAS, 2010.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse \u2013 XVI-ii&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Native Writing<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; DSE III-MENG 407 (Elective)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tMaria Campbell:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Half-Breed <\/em>Drew Hayden Taylor:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Someday <\/em>Kim Scott:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>Benang<\/em><\/p>\n<p style=\"margin-left:152.0pt;\">\n\t\tSally Morgan:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <em>My Place<\/em><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThe course aims to acquaint and make students appreciate the historical, social, cultural, political and racial diversity in Native literature. It offers a platform to the marginalized voices from the developed countries. It aspires to sensitize the students towards a plethora of cultures and traditions, some unlike the ones they have known thus far.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tUpon completion of the course, the students will be able to understand and appreciate the role of history, culture and traditions in the development of Native writing. They will be able to recognize and critique different stereotypes and taboos created and sustained to suppress the native people, and how the native people resisted by vociferously articulating themselves.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the prescribed texts one question with internal choice will be set. In addition one question with internal choice will be set on the background and will be of general nature. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks Private Students: 3&#215;25=75 Marks<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Maria Campbell<\/strong><\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tKaur, Sandeep. \u201cResisting Internal Colonialism: A Critical Study of Maria Campbell\u2019s <em>Half- breed.<\/em>\u201d <em>International Journal of English and Literature <\/em>(<em>IJEL<\/em>) 5. 4 (2015): 55-64.<\/li>\n<li>\n\t\t\tShyamala, C. G. \u201cWho Is a Half-breed? A Comparative Study of Maria Campbell\u2019s <em>Half-breed <\/em>and Beatrice Culleton\u2019s <em>In Search of April Raintree.<\/em>\u201d <em>Research and Criticism<\/em>. Journal of the Department of English, Banaras Hindu University, Varanasi, India.<\/li>\n<li>\n\t\t\tUdhayakama, S. \u201cDiscrimination, Racism and Poverty in Campbell\u2019s <em>Half-breed.<\/em>\u201d <em>Shanlax International Journal of English <\/em>1.3 (2013).<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tDrew Hayden Taylor<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tD\u00e4wes, <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Birgit%2BD%C3%A4wes%22\">Birgit.<\/a> \u201cAn Interview with Drew Hayden Taylor.\u201d <em>Contemporary Literature <\/em>44. 1 (2003): 1-18.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tSamjaila, T. H., Soumya Jose. <em>Sixties Scoop and First Nations Women: A Study of Drew Hayden Taylor\u2019s Someday <\/em>(2017): 395-402.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tKim Scott<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\t<a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inauthor%3A%22Katharina%2BDellbr%C3%BCgge%22&amp;tbm=bks\">Dellbr\u00fcgge, <\/a>Katharina. <em>Form and Functions of Aboriginality in Kim Scott\u2019s Benang: From the Heart. <\/em><a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Kim%2BScott%27s%2BBenang&amp;printsec=frontcover&amp;q=inpublisher%3A%22GRIN%2BVerlag%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwi6pPXJ_6v4AhU7TGwGHUF6DQcQmxMoAHoECB0QAg\">GRIN Verlag,<\/a> 2010.<\/li>\n<li>\n\t\t\tWheeler<em>, <\/em>Belinda, ed. <em>A Companion to the Works of Kim Scott<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;dq=Kim%2BScott%27s%2BBenang&amp;printsec=frontcover&amp;q=inpublisher%3A%22Camden%2BHouse%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwjLj8_k_6v4AhVGTWwGHfQfCWUQmxMoAHoECBwQAg\">Camden House<\/a>, 2016.<\/li>\n<li>\n\t\t\tHarman, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inauthor%3A%22Kristyn%2BEvelyn%2BHarman%22&amp;tbm=bks\">Kristyn Evelyn. <\/a><em>Ice Dreaming: Reading Whiteness in Kim Scott\u2019s Benang: From the Heart<\/em>. University of Tasmania, 2004.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSally Morgan<\/h3>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\t\tBird, <a href=\"https:\/\/www.google.com\/search?tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Delys%2BBird%22&amp;sa=X&amp;ved=2ahUKEwjf0KmagKz4AhWBheYKHYa8DFEQ9Ah6BAgKEAU\">Delys<\/a>, <a href=\"https:\/\/www.google.com\/search?tbm=bks&amp;tbm=bks&amp;q=inauthor%3A%22Dennis%2BHaskell%22&amp;sa=X&amp;ved=2ahUKEwjf0KmagKz4AhWBheYKHYa8DFEQ9Ah6BAgKEAY\">Dennis Haskell<\/a>. <em>Whose Place? A Study of Sally Morgan\u2019s My Place<\/em>. <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Sally%2BMorgan%2BMy%2BPlace&amp;dq=Sally%2BMorgan%2BMy%2BPlace&amp;printsec=frontcover&amp;q=inpublisher%3A%22Angus%2B%26%2BRobertson%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiN3sejgKz4AhUbR2wGHWKhAo8QmxMoAHoECBwQAg\">Angus &amp;<\/a> <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;gbpv=1&amp;bsq=Sally%2BMorgan%2BMy%2BPlace&amp;dq=Sally%2BMorgan%2BMy%2BPlace&amp;printsec=frontcover&amp;q=inpublisher%3A%22Angus%2B%26%2BRobertson%22&amp;tbm=bks&amp;sa=X&amp;ved=2ahUKEwiN3sejgKz4AhUbR2wGHWKhAo8QmxMoAHoECBwQAg\">Robertson<\/a>, 1992.<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Salhia%2BBen-Messahel%22\">Ben-Messahel<\/a>,&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Salhia.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cSpeaking&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; with&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sally&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Morgan.\u201d <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Salhia%2BBen-Messahel%22\">https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au:%22Salhia+Ben-<\/a> <a href=\"https:\/\/www.jstor.org\/action\/doBasicSearch?si=1&amp;Query=au%3A%22Salhia%2BBen-Messahel%22\">Messahel%22<\/a><em>Antipodes <\/em>l. 14. 2 (2000): 99-103.<\/li>\n<li>\n\t\t\tTheodoridou, <a href=\"https:\/\/www.google.co.in\/search?hl=en&amp;q=inauthor%3A%22Eleni%2BTheodoridou%22&amp;tbm=bks\">Eleni.<\/a> <em>Aboriginality in Sally Morgan\u2019s My Place. <\/em>GRIN Verlag, 2005.<\/li>\n<\/ul>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tCourse &#8211; Elective II&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Contemporary Short Fiction<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Course Code&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; GE-MENG 408 (Compulsory Interdisciplinary)<\/strong><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tUnit &#8211; I<\/h3>\n<ol>\n<li>\n\t\t\tBaburao, Bagul. \u201c<em>Jevha Mi Jaat Chorli Hoti\u201d <\/em>(<em>\u201cWhen I Hid My Caste.\u201d<\/em>) Originally written in 1963 (English Translation by Jerry Pinto released in 2018). Publishers: Speaking Tigers.<\/li>\n<li>\n\t\t\tKrishna Sobti. \u201c<em>Sikka Badal Gaya.<\/em>\u201d Translated from the Original Hindi by Jaidev. 1997- 12-31. Vol. 3 No. 2 (1997): <em>Summerhill<\/em>.<\/li>\n<li>\n\t\t\tHaruki Murakami: \u201cKino.\u201d <em>Men Without Women, <\/em>2015. Translated by Philip Gabriel and Ted Gossen from Japanese.<\/li>\n<li>\n\t\t\tEtgar Keret: \u201cWhat, of this Goldfish, Would You Wish?\u201d <em>Suddenly, A Knock on the Door<\/em><\/li>\n<\/ol>\n<p style=\"margin-left:77.0pt;\">\n\t\t(Miriam Shlesinger, Nathan Englander and Sondra Silverston Translators) 2012.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tUnit II<\/h3>\n<p>\t<br clear=\"all\"><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<ol>\n<li>\n\t\t\tRuskin Bond \u201cSnake Trouble.\u201d<\/li>\n<li>\n\t\t\tShashi, Deshpande: \u201cThe Dark Holds No Terror.\u201d 2000.<\/li>\n<li>\n\t\t\tJaiwanti, Dimri<em>. <\/em>\u201cDim Wit.\u201d <em>Inner Eye and Other Stories<\/em>.<\/li>\n<\/ol>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<h3>\n\t\tUnit &#8211; III<\/h3>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Unit -IV<\/strong><\/p>\n<p>\t<br clear=\"all\"><\/p>\n<p>\n\t\t&nbsp;<\/p>\n<ol>\n<li>\n\t\t\tIntan Paramaditha: \u201cVampire\u201d <em>Apple and Knife <\/em>(2019).<\/li>\n<li>\n\t\t\tTim Winton: \u201cThe Turning.\u201d <em>The Turning. <\/em>2004.<\/li>\n<li>\n\t\t\tLesley Nneka Arimah: \u201cWhat it Means When a Man Falls from The Sky.\u201d United Kingdom. April 2017.<\/li>\n<\/ol>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<ol>\n<li>\n\t\t\tAlice Munro: \u201cDear Life.\u201d <em>Dear Life. <\/em>2012.<\/li>\n<li>\n\t\t\tChimamanda Ngozi Adichie: \u201cZikora\u201d (39 pages). African American, 2021. Standalone Story.<\/li>\n<\/ol>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tDeion of the Course<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\tThis course is designed to study critical concepts and the diversity of experience reflected in modern and contemporary short stories. It introduces students to close readings of short stories representing a variety of time periods and nationalities and aims to motivate students for indulging in reading, discussion, and written analysis in order to develop skills in literary analysis, interpretation and familiarity with the conventions of the genre. Short stories play a significant role in exposing societal realities crisply and engagingly and an integral part of this course is to study how our society finds its essence and values through this genre. It includes writings from Indian, African American, American, Australian, Israeli, Japanese, British, Indonesian, South Asian, and other artistic, literary and cultural traditions. It is a representative list of modern writings (mostly post-World War II) which reflect on the complexities of life, powerfully as well as with an immense sense of humour. There is a wealth of short stories from across the world often capturing the oral, the episodic, and the momentary truths of vernacular lives. The course is designed to give a glimpse of the multicultural and the multilingual reality we live in, which exist distinctly but are interconnected and overlapping at multiple levels. The course intends to affirm and reaffirm humans urge to tell and hear stories.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tObjectives of the Course<\/h3>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p style=\"margin-left:41.0pt;\">\n\t\tOne of the chief components of this course is to look at short fiction as a specific category in literature with its own unique characteristics. The course proposes an in-depth analysis of twelve stories to study the form while delving into various themes contextualized in time, locale and history as well as the biographical and psychic trajectory of the author. The stories are selected keeping in mind the need to broaden the perspective of the readers. For this purpose, each story belongs to a different subgenre and represents different modes of writing. As the writers belong to different countries, hence the present collection almost serves as a window to the literature of various countries. The selected stories represent a few specific subgenres, such as feminist writing, lyrical writing, partition narrative, magic realism, folklores, myth and legend, cli-fi writings, writings in translation, among several other forms of writings.<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tCourse Outcomes<\/h3>\n<ul>\n<li>\n\t\t\tThe students will be able to formulate an interpretive thesis (as opposed to one which merely reports something factual about a literary text).<\/li>\n<li>\n\t\t\tThe students will be competent enough to compose an essay which either analyzes a literary text, for example by focusing on literary elements such as theme, character, setting, point of view, plot, imagery, metaphor, symbolism, etc., or analyzes the characteristic themes, features, and\/or techniques of a given writer&#8217;s works, or analyzes more than one literary text by comparing and contrasting works by more than one short story writer.<\/li>\n<li>\n\t\t\tThe students will be enabled to identify a range of key terms that are essential to an introductory level understanding of literature, particularly the short story.<\/li>\n<li>\n\t\t\tThe students will be able to explain the ways in which the short story provides a literary experience which is both similar to and different from that of the novel.<\/li>\n<li>\n\t\t\tBy the end of the course the students will have gained direct acquaintance with some representative 20th and 21st century writers. The course will also equip the students with techniques of textual analysis, and the strategies required in using literary texts to comprehend broader cultural, social and political issues.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tGeneral Course Requirements and Recommendations<\/h3>\n<ul>\n<li>\n\t\t\tStudents will read twelve short stories that come from a variety of nationalities, cultures or perspectives, and represent various stages and notable achievements in the historical development of the genre.<\/li>\n<li>\n\t\t\tStudents will regularly engage in thoughtful discussions of the assigned readings.<\/li>\n<li>\n\t\t\tStudents will study (through assigned readings and\/or classroom or online discussion) the cultural contexts from which the literature emerges.<\/li>\n<li>\n\t\t\tStudents will study concepts that are essential to an understanding of the short story as a genre.<\/li>\n<\/ul>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tPattern of Testing:<\/h3>\n<p style=\"margin-left:41.0pt;\">\n\t\t<strong>Instructions: <\/strong>Question No. 1 will be compulsory. The students have to write short notes on <strong>five<\/strong><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\titems (in about 100 words) out of given 10 items.<\/p>\n<p style=\"margin-left:302.05pt;\">\n\t\tRegular Students: 5&#215;4=20 Marks ICDEOL Students: 5&#215;4=20 Marks Private Students: 5&#215;5=25 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tFrom each of the given units one question with internal choice will be set. In addition, one question of general nature with internal choice will be set. The students have to attempt any <strong>three <\/strong>questions out of these.<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<div>\n<p>\n\t\t&nbsp;<\/p>\n<p>\n\t\t&nbsp;<\/p>\n<h3>\n\t\tSuggested Readings:<\/h3>\n<p>\t<br clear=\"all\"><\/p>\n<p style=\"margin-left:41.0pt;\">\n\t\tRegular Students: 3&#215;20=60 Marks ICDEOL Students: 3&#215;20=60 Marks<\/p>\n<p style=\"margin-left:77.0pt;\">\n\t\tPrivate Students: 3&#215;25=75 Marks<\/p>\n<\/div>\n<p>\n\t&nbsp;<\/p>\n<ul style=\"list-style-type:circle;\">\n<li>\n\t\tAston, N. M., ed. <em>Dalit Literature and African-American Literature<\/em>. Prestige, 2001.<\/li>\n<li>\n\t\tBhatia, Nandi, Anjali Gera Roy, eds. <em>Partitioned Lives: Narratives of Home, Displacement and Resettlement<\/em>. Pearson Education India, 2012.<\/li>\n<li>\n\t\tBrowns, Julie, ed<em>. Ethnicity and the American Short Story. <\/em>Garland, 1997.<\/li>\n<li>\n\t\tCleary, Joseph N. <em>Literature, Partition and the Nation-State: Culture and Conflict in Ireland, Israel and Palestine<\/em>. Cambridge University Press, 2002.<\/li>\n<li>\n\t\tCuddon, J. A. <em>The Penguin Dictionary of Literary Terms and Literary Theory<\/em>. Penguin, 1999.<\/li>\n<li>\n\t\tFatma, Gulnaz. <em>A Short History of the Short Story: Western and Asian Traditions<\/em>. Modern History Press, 2012.<\/li>\n<li>\n\t\tGelfant, Blanche, et al. <em>The Columbia Companion to the Twentieth-Century American Short Story<\/em>. Columbia University Press, 2000.<\/li>\n<li>\n\t\tHart, James, et al, eds. <em>Oxford Companion to American Literature. <\/em>Oxford University Press, 1995.<\/li>\n<li>\n\t\tHayes, Kevin J<em>. A Journey Through American Literature. <\/em>Oxford University Press, 2012<em>.<\/em><\/li>\n<li>\n\t\tLimbale, Sharankumar. <em>Towards an Aesthetic of Dalit Literature. <\/em>Orient Longman, 2004.<\/li>\n<\/ul>\n<p>\n\t&nbsp;<\/p>\n<\/p><\/div>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MA English Syllabus (Effective from the Academic Session 2022-23) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Department of English Himachal Pradesh University (NAAC Accredited \u201cA\u201d Grade University) Summer Hill, Shimla-171005 &nbsp; Contents &hellip; <a href=\"https:\/\/hpu.ac.in\/english-department\/syllabus\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1441","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Syllabus - Department of English<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hpu.ac.in\/english-department\/syllabus\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Syllabus - Department of English\" \/>\n<meta property=\"og:description\" content=\"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MA English Syllabus (Effective from the Academic Session 2022-23) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Department of English Himachal Pradesh University (NAAC Accredited \u201cA\u201d Grade University) Summer Hill, Shimla-171005 &nbsp; Contents &hellip; Continue reading &rarr;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/hpu.ac.in\/english-department\/syllabus\/\" \/>\n<meta property=\"og:site_name\" content=\"Department of English\" \/>\n<meta property=\"article:modified_time\" content=\"2026-08-14T06:55:40+00:00\" \/>\n<meta property=\"og:image\" content=\"\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"78 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/\",\"url\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/\",\"name\":\"Syllabus - Department of English\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/#primaryimage\"},\"thumbnailUrl\":\"file:\\\/\\\/\\\/C:\\\/Users\\\/DELL\\\/AppData\\\/Local\\\/Temp\\\/msohtmlclip1\\\/01\\\/clip_image002.gif\",\"datePublished\":\"2026-08-14T06:50:19+00:00\",\"dateModified\":\"2026-08-14T06:55:40+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/#primaryimage\",\"url\":\"file:\\\/\\\/\\\/C:\\\/Users\\\/DELL\\\/AppData\\\/Local\\\/Temp\\\/msohtmlclip1\\\/01\\\/clip_image002.gif\",\"contentUrl\":\"file:\\\/\\\/\\\/C:\\\/Users\\\/DELL\\\/AppData\\\/Local\\\/Temp\\\/msohtmlclip1\\\/01\\\/clip_image002.gif\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/syllabus\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Syllabus\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/#website\",\"url\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/\",\"name\":\"Department of English\",\"description\":\"Department of English\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/hpu.ac.in\\\/english-department\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Syllabus - Department of English","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/hpu.ac.in\/english-department\/syllabus\/","og_locale":"en_US","og_type":"article","og_title":"Syllabus - Department of English","og_description":"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MA English Syllabus (Effective from the Academic Session 2022-23) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Department of English Himachal Pradesh University (NAAC Accredited \u201cA\u201d Grade University) Summer Hill, Shimla-171005 &nbsp; Contents &hellip; Continue reading &rarr;","og_url":"https:\/\/hpu.ac.in\/english-department\/syllabus\/","og_site_name":"Department of English","article_modified_time":"2026-08-14T06:55:40+00:00","og_image":[{"url":"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image002.gif","type":"","width":"","height":""}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"78 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/","url":"https:\/\/hpu.ac.in\/english-department\/syllabus\/","name":"Syllabus - Department of English","isPartOf":{"@id":"https:\/\/hpu.ac.in\/english-department\/#website"},"primaryImageOfPage":{"@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/#primaryimage"},"image":{"@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/#primaryimage"},"thumbnailUrl":"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image002.gif","datePublished":"2026-08-14T06:50:19+00:00","dateModified":"2026-08-14T06:55:40+00:00","breadcrumb":{"@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/hpu.ac.in\/english-department\/syllabus\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/#primaryimage","url":"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image002.gif","contentUrl":"file:\/\/\/C:\/Users\/DELL\/AppData\/Local\/Temp\/msohtmlclip1\/01\/clip_image002.gif"},{"@type":"BreadcrumbList","@id":"https:\/\/hpu.ac.in\/english-department\/syllabus\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/hpu.ac.in\/english-department\/"},{"@type":"ListItem","position":2,"name":"Syllabus"}]},{"@type":"WebSite","@id":"https:\/\/hpu.ac.in\/english-department\/#website","url":"https:\/\/hpu.ac.in\/english-department\/","name":"Department of English","description":"Department of English","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/hpu.ac.in\/english-department\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"permalink_manager":null,"_links":{"self":[{"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/pages\/1441","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/comments?post=1441"}],"version-history":[{"count":5,"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/pages\/1441\/revisions"}],"predecessor-version":[{"id":1449,"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/pages\/1441\/revisions\/1449"}],"wp:attachment":[{"href":"https:\/\/hpu.ac.in\/english-department\/wp-json\/wp\/v2\/media?parent=1441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}