BA I_Sem. II (Syllabus and QP Pattern)

 

B.A. Part I (Discipline Specific Core)

(Paper –II) (Semester – II)

Modern Indian Writing in English Translation

(CBCS along with NEP)

Detailed Syllabus

Poems –

Unit 1.

             Rabindra Nath Tagore:

  i) Light, Oh Where is the Light?

 ii) When My Play Was With Thee

Amrita Pritam:

i) I Say Unto Waris Shah

Unit 2. G. M. Muktibodh:

 i) The Void

ii) So Very Far

Play -

Unit 3.  Satish Alekar– Mahanirvan

Unit 4. Satish Alekar– Mahanirvan 

 

Pattern of Question Paper

Semester II  (Paper –II)                                           Total Marks – 40

            Q. 1. Multiple choice questions with four alternatives.                                              (08)

                        (4 on Poems & 4 on Mahanirvan  to be set)

            Q.2.Answer the following questions in about 250-300 words.                                  (08)

                        ( A or B on Unit 1 & 2)

            Q.3. Answer the following questions in about 250-300 words.                                 (08)

                        (A or B on Mahanirvan)

Q.4. Write short notes in about 100-150 words each. (4 out of 6)                             (16)

            ( 3 on Poems & 3 on Mahanirvan to be set)

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*Note: Semester II: 10 Marks for Internal Evaluation: Unit Test

BA III_Sem. VI Syllabus/QP Pattern

 

B. A. Part III Special English

INTRODUCTION TO LITERARY CRITICISM (CBCS)

Semester VI (Paper XII) (DSE- E136)

Module V:	Romantic Criticism: William Wordsworth’s Theory of Poetic Diction (From William Wordsworth’s Preface to Lyrical Ballads)
Module VI:	Victorian Criticism: Matthew Arnold’s Touchstone Method ( From Matthew Arnold’s The Study of Poetry)
Module VII:	Modern Criticism: T S Eliot’s Tradition and Individual Talent (1919)
Module VIII:	Practical Criticism: Poetry

 

Question Paper Pattern

Total Marks: 40

Q1.	Objective type Question	Marks
	A) Multiple choice questions with four alternatives.	4
	B) Answer the following questions in one word/phrase/sentence each.	4
	(Q1. A and B to be set on topics covering Module V to VII) (At least one item to be set on each Module) .
Q2.	Answer in the questions 250-300 words each.               (A or B to be set on Module V, VI, and VII)	10
Q3.	Answer the questions in about 250-300 words each.     (A or B to be set on Module V, VI, and VII)	10
Q4.	Write critical appreciation of the given poem with the help of points such as title, theme, content, devices, message, style, rhyme-scheme, diction, type of poem, tone, stanza-pattern, metre, etc. (Based on Module VIII)	12

 

Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

 

ENGLISH POETRY (CBCS)

Semester VI (Paper XIII) (DSE – E137)

Module V:	Topics For Background Readings:
	1. Victorian Poetry
	2. Modern English Poetry
	3. Modern Indian English Poetry
Module VI:	Selections from Victorian Poetry:
	1. The Lady Of Shallot (by Alfred Lord Tennyson)
	2. My Last Duchess (by Robert Browning)
	3. Love Came Down At Christmas (by Christiana Rossetti)
Module VII:	Selections from Modern English Poetry:
	1. No Second Troy (by W. B. Yeats)
	2. The Hollow Men (by T. S. Eliot)
	3. Tonight I Can Write (by Pablo Neruda)
Module VIII:	Selections from Modern Indian English Poetry:
	1. The Professor (by Nissim Ezekiel)
	2. A Hot Noon in Malabar (by Kamala Das)
	3. A River (by A. K. Ramanujan)
	4. A Kind of Happiness (by Jayanta Mahapatra)

Question Paper Pattern

Q. 1	A) Four multiple choice questions with four alternatives	04
	B) Answer the following questions in one word/ phrase/sentence each.	04
	(Q. 1 A and B to be set on Module VI, VII and VIII)
Q. 2	Answer the following questions in about 250-300 words.  (A or B to be set on Module V)	10
Q. 3	Answer the following questions in about 250-300 words.  (A or B to be set on VI, VII or VIII)	10
Q. 4	Write Short Notes in about 100-150 words each (3out of 4)  (Two be set on Module V and two be on Module VI, VII or VIII)	12

 

*Note: Semester VI: 10 Marks for internal Evaluation: STUDENTS’ GROUP PROJECT

 

English Drama:

Semester VI (Paper XIV) (DSE – E138)

MODULE V	Types of Drama
MODULE VI	Comedy as a Form
MODULE VII	Nagmandala – Girish Karnad
MODULE VIII	Harvest – Manjula Padmanabhan

 

PATTERN OF QUESTION PAPER

Marks: 40

Q1. A) Four multiple choice questions with four alternatives                      (4)

B) Answer the following questions in one word/ phrase/sentence each.    (4)

(Q. 1 A and B to be set on Module VII and VIII)

Q.2. Answer the following questions in about 250-300 words.          (10)

(A or B to be set on Module V and VI)

Q.3. Answer the following questions in about 250-300 words.          (10)

(A or B to be set on VII and VIII)

Q.4. Write Short Notes in about 100-150 words each (3out of 4)      (12)

(Two be set on Module V and VI and two be on Module VII and VIII)

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*Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

 

 

 

 

 

ENGLISH NOVEL (CBCS) Discipline Specific Elective

SEMESTER VI (Paper XV) (DSE – E139)

MODULE V	Historical and Psychological Novel
MODULE VI	Satirical Novel and Epistolary novel
MODULE VII	Animal Farm: A Fairy Tale - George Orwell
MODULE VIII	The Guide - R. K. Narayan

 

PATTERN OF QUESTION PAPER

Marks: 40

Q1. A) Four multiple choice questions with four alternatives                      (4)

B) Answer the following questions in one word/ phrase/sentence each.    (4)

(Q. 1 A and B to be set on Module VII and VIII)

 Q.2. Answer the following questions in about 250-300 words.                 (10)

(A or B to be set on Module V and VI)

Q.3. Answer the following questions in about 250-300 words.                  (10)

(A or B to be set on VII and VIII)

Q.4. Write Short Notes in about 100-150 words each (3out of 4)              (12)

(Two be set on Module V and VI and two be on Module VII and VIII)

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*Note: Semester VI: 10 Marks for internal Evaluation: STUDENTS’ GROUP PROJECT

 

 

 

 

English Special LANGUAGE AND LINGUISTICS (CBCS) Discipline Specific Elective

Semester VI – Paper XVI (DSE - E140)

·         MODULE V Phrases

·         MODULE VI Clauses

·         MODULE VII Subordination and Coordination

·         MODULE VIII Basic and Derived Structures

i)             Inversion / Fronting

ii)            Negation

iii)          Interrogation

iv)          Exclamation

v)            Omission of Certain Elements (Relative Pronouns, Comparative Clauses, Tag Questions)

vi)          Passivisation

vii)         Subject Raising

viii)       Style Transformation

 

QUESTION PAPER PATTERN

Q. 1 a) Identify elements of clause (S, P, O, C, A) (4/6)                               (4)

        b) Transformation of sentence (to be set on Module VIII) (4/6)           (4)

Q.2 a) Write short notes. (2 each to be set on Module V & VI) (2/4)         (10)

        b) Give form and function labels to the underlined phrases. (4/6)      (4)

Q.3 a) Write short notes (To be set on Module VII) (2/3)                           (10)

        b) Identify the subordinate clauses and state their form and function. (4/6)                                                                                                                (4)

Q. 4. Do as directed. (to be set on Module VIII) (4/6)                                  (4)

 

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Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

Andrew Davies and his views about Adaptation

 Andrew Davies and his views about Adaptation:

            Andrew Davies, a screenplay writer, has achieved “fame” in his capacity as adapter. According to Andrew Davies, Adaptation is, indeed the art form of democracy.  He “sums up” what audience look for in a good adaptation. He has identified ten “secrets” to becoming a successful adapter:

1. Read the book.

2. Ask yourself: Why this book, and why now?

3. Ask yourself: Whose story is this, really?

4. Don’t be afraid to change things, especially openings.

5. Don’t start without a plan.

6. Never use a line of dialogue if you can achieve the effect with a look.

7. Crystallize dialogue to its essence.

8. Write scenes that aren’t in the book.

9. Avoid voice-over, flashbacks, and characters talking directly to camera.

10. Break your own rules when it feels like the right thing to do.

Davies ‘secrets’ reveal certain things:

Ø  The adapter need not be a servant of the adapted author.

Ø  He is free to change the text to appeal to a mass contemporary rather than a elite audience.

Ø  Adaptation is an art of democratization, a “freeing” of a text from the confined territory of its author and of its readers.

Ø  The devotion to an author’s words is the death knell of the adaptation.

Significantly enough, Davies’ advice seems to be to liberate the text. Thus he makes adaptation, the art form of democracy, indeed. Actually, his ‘secrets’ are governed by democratic values. In other words, his secrets are the rules of commonality. According to Davies the adapter need not be a servant of the adapted author. He must be free to change the text to appeal to a mass contemporary. He should think of the mass rather than elite audience. In this way adaptation is the art of democratization. It is the art of “freeing” a text from the confined territory of the author and of its readers. The adapter should ‘liberate’ the text. It is not necessary that he should pay devotion to the author’s words. Thus, he makes adaption – the art form of democracy. Adaptation brings literature to the masses. It also brings the masses to literature. Adaptation dilutes, simplifies, and therefore appeals to many rather than the few. 

Adaptation

Adaptation and Linda Hutcheon:

Linda Hutcheon is a Canadian theorist. She has written a detailed book A Theory of Adaptation. According to Hutcheon, a famous film theorist, to adapt a work means ‘to adjust, to alter, to make suitable’. She has given three interconnected perspectives regarding literary adaptations. She says an adaptation is an extensive “transposition” of a particular work or works. This process involves the change of medium or the change of context. In the process of transposition, the interpretations differ as there are varied points of views.  There can be a transposition from a real to imaginary or from a historical account to biography, etc. Secondly, she looks at adaptation as “a process of creation”. The act of adaptation always involves both re-interpretation and re-creation. In other words, it is called appropriation and salvaging. Salvaging refers to the act of saving an old text from being forgotten, or paying homage to a previous text. Thirdly, Hutcheon calls it “a process of reception”.  It is a process of intertexuality. Hutcheon says the process of adaptation is the process of appreciation. It is the process of taking possession of another’s story. Adaptation is, actually, reappearance but reappearance without any imitation. It is a combination of “telling” and “showing” forms of narration. Being shown a story is not the same as being told it.

According to Hutcheon adaptations always reflect the presence of the prior text. She says that an adaptation is a derivation… not derivative – a work that is second without being secondary. With a change in form there occurs a considerable change in both the depiction of story and its receiving. She believes that films are better when they are completely faithful to the original. Thus, she focuses on the notion of fidelity. Further, she says adaptation includes performance, orchestration, summary, critical commentary, sequels, prequels, etc. It also includes the modes like transformation and imitation. All imitations are indeed interpretations. Adaptations are the texts of one sort or another rather than realizations of texts. Adaptation is “repetition with replication”. Adaptation’s ‘target’ text is always another work of art, another form of coded discourse.  She has played a prominent role in democratization of the subject – ‘Adaptation’.