Paper 5: ENG-HC-3016
History of English Literature and Forms
Credits: 5 (Theory) +1 (Tutorial)
Marks: 80 (End-Semester Examination) + 20 (Internal Assessment)
This paper introduces students to the History of English Literature and the major literary forms. It adopts a chronological approach to the study of poetry, drama, fiction and non-fictional prose, showing the development of each form as it moves through the various periods of English literature and its expansion into global English writing. While authors have been named in some instances as representative of forms and periods, in other cases, especially in the 20th and 21st centuries, the expansion of the field has meant that individual authors are too numerous to name. Hence certain directions and areas of study have been indicated.
Questions in this paper should be linked to the manner in which the different Units have been structured with focus on forms and periods and the authors named used as examples. The sections on 20th and 21st century developments are too complex and widespread to have individual authors named – this may be read and evaluated in terms of a general picture and authors of choice.
Objectives: To prepare the ground for the detailed study of the literature featured in subsequent papers and give a strong historical sense of literary development.
Outcomes:
• Acquire a sense of the historical development of each literary form.
• Gain understanding of the contexts in which literary forms and individual texts
emerge.
• Learn to analyze texts as representative of broad generic explorations.
Unit 1: Poetry from Chaucer to the Present:
• Chaucer and narrative poetry
• Spenser, Shakespeare, Milton (sonnet, sonnet sequences and the epic poem)
• John Donne and metaphysical poetry
• Dryden, Pope and the heroic couplet
• Romantic Poetry (lyric, sonnet, ode, pastoral, blank verse)
• Tennyson, Browning, Hopkins (from Victorian to Modern)
• Modern and postmodern Poetry and its international associations
• Walcott, Ramanujan and Postcolonial poetry
Unit 2: Drama from Everyman to the Present
• Miracles, Moralities and Interludes
• Marlowe and the University Wits
• Elizabethan Stage, Shakespeare and Jonson
• Jacobean Drama, Webster
• Restoration, Wycherley and Congreve
• Goldsmith, Sheridan and the sentimental drama
• The Irish drama
• Modern and postmodern Drama (England, Europe, America)
• Postcolonial drama (India, Africa, West Indies)
Unit 3: Fiction
• Narrative precursors
• The Eighteenth century novel (Defoe, Richardson, Fielding, Sterne)
• The Gothic novel (Walpole, Beckford, Radcliffe)
• Walter Scott and the historical novel
• The nineteenth century women novelists
• The Victorian novel (Dickens, Thackerey, Hardy)
• Modernism and the novel (Conrad, Lawrence, Virginia Woolf, James Joyce)
• Postmodernism and the Novel (England and America)
• Postcolonialism and the novel (South Asia and Africa)
Unit 4: Non Fictional Prose (Life Writing, Essays, Philosophical and Historical Prose, Satire)
• 16th century prose (John Foxe, Hooker, Hakluyt, Burton, Bacon)
• 17th and 18th century prose
• Thomas Browne, Jeremy Taylor, Milton, Izaak Walton, Dryden)
• Hobbes, Locke and Swift
• Addison and Steele (the rise of the periodicals)
• Berkeley, Hume, Gibbon
• Johnson, Boswell, Burke
• 19th Century Prose (Essays, Criticism, Scientific Prose, Life Writing)
• Lamb, Hazlitt, de Quincey,
• Wollstonecraft, Godwin
• Coleridge, Wordsworth,
• Darwin
• Carlyle, Ruskin, Pater, Arnold
• Lytton Strachey
• 20th and 21st century prose
• Literary Criticism and Theory
• Nationalist movements and polemical writing
• Letters, Autobiographies, Biographies
• Travel writing
• Journalistic prose (editorials, op-ed pieces, reports)
Paper 6: ENG-HC-3026
American Literature
Credits: 5 (Theory) + 1 (Tutorial)
Marks: 80 (End-Semester Examination) + 20 (Internal Assessment)
This paper seeks to acquaint the students with the main currents of American literature in its social and cultural contexts. The texts incorporated in the paper are a historical reflection of the growth of American society and of the way the literary imagination has grappled with such growth and change. A study of the paper, hence, should lead to an acquaintance with the American society in its evolutionary stages from the beginnings of modernism to the present as well as with exciting generic innovations and developments that have tried to keep pace with social changes.
Texts:
• Tennessee Williams: The Glass Menagerie
• Mark Twain: The Adventures of Huckleberry Finn
• Edgar Allan Poe: ‘The Purloined Letter’
• F. Scott Fitzgerald: ‘The Crack-up’
• Anne Bradstreet: ‘The Prologue’
• Emily Dickinson: ‘A Bird Came Down the Walk’; ‘Because I Could not Stop for
Death’
• Walt Whitman: Selections from Leaves of Grass: ‘O Captain, My Captain’; ‘Passage
to India’ (lines 1–68)
• Langston Hughes: ‘I too’
• Robert Frost: ‘Mending Wall’
• Sherman Alexie: ‘Crow Testament’; ‘Evolution’
Suggested Topics and Background Prose Readings for Class Presentations Topics
• The American Dream
• Social Realism, Folklore and the American Novel
• American Drama as a Literary Form
• The Slave Narrative
• Questions of Form in American Poetry
Paper 7: ENG-HC-3036
British Poetry and Drama: 17th and 18th Centuries
Credits: 5 (Theory) + 1 (Tutorial)
Marks: 80 (End-Semester Examination) + 20 (Internal Assessment)
This paper aims to familiarize the students with British literature in the 17th and 18thcenturies, a time-period which sees the emergence and establishment of greatly diverse kinds of writings. The selected texts may encourage the students to look at the economic, political and social changes in (primarily) Britain during this period, such as the shifts from the Puritan Age to the Restoration and Neoclassical periods. The paper also seeks to familiarize the students with the larger contexts that generated such literatures as well as the possible impacts of the literature on society. The significance of the scientific revolution during this period may also be studied in relation to the literary productions.
Texts:
• John Milton: Paradise Lost: Book I
• John Webster: The Duchess of Malfi
• Aphra Behn: The Rover
• John Dryden: Mac Flecknoe
• Alexander Pope: The Rape of the Lock
Suggested Topics and Background Prose Readings for Class Presentations Topics
• Religious and Secular thought in the 17th
Century
• The Stage, the State and the Market
• The Mock-epic and Satire
• Women in the 17th Century
• The Comedy of Manners
Paper 5: ENG-HG-3016
British Literature
Credits: 5 (Theory) + 1 (Tutorial)
Marks: 80 (End-Semester Examination) + 20 (Internal Assessment)
This paper is designed to offer a representative sampling of the major literary traditions of British life and culture through a study of texts in different genres. The paper will comprise of 80 marks external examination and 20 marks internal evaluation.
Section A
Poetry: 30 marks
• William Shakespeare: ‘Sonnet 116’
• John Milton: ‘On his Blindness’
• Samuel Taylor Coleridge: ‘Christabel’
• W. B. Yeats: ‘The Second Coming’
• Ted Hughes: ‘The Thought-Fox’
• Emily Bronte: ‘Remembrance’
• Dylan Thomas: ‘Poem in October’
• Vicky Feaver: ‘Slow Reader’
Section B
Fiction: 30 marks
• Elizabeth Gaskell: Mary Barton
• James Joyce: “The Dead”
• E. M. Forster: “The Celestial Omnibus”
• William Trevor: The Story of Lucy Gault
Section C
Drama: 20 marks
• Oscar Wilde: The Importance of Being Earnest
● J. B. Priestley: An Inspector Calls
Paper 6: ENG-HG-3026
Language and Linguistics
Credits: 5 (Theory) + 1 (Tutorial)
Marks: 80 (End-Semester Examination) + 20 (Internal Assessment)
• Language: language and communication; language varieties: standard and non- standard language; language change..
Paper 1: ENG-SE-3014
CREATIVE WRITING
Credits: 4 Marks: 100 (80+20)
The students in this course will focus on three creative genres, fiction, non-fiction and poetry. The emphasis will be to build proficiency in readings and writings. The course encourages active class participation and lots of writings. One of the basic objectives of the course is to allow students to explore ideas, feelings, experiences and effectively communicate these stimulus using the written word. Each lecture will be tied to reading of texts, techniques, narratology and rhetorical positions. The set of readings will be given during the course and may vary each semester, whenever the course is on offer.
The weightage of the programme will depend on:
10% --class lectures;
20% --journal writings on discussions of ideas, photographs, paintings, memories and experiences;
30%-- class participation/assignments/workshops/writings following prompts/writing with music
40%-- submission of fiction (20000 words) /non-fiction(20000 words) / poetry(15 poems of 150000 words) at the time of completion of the course.
Section A: Poetry 15 Marks
Discussion/ Class participation topics:
• What is good poetry?
• Writing poetry
• Why poetry
• Reading poetry
The students will be introduced to
• History of poetry,
• Forms of poetry.
• Rhetoric and prosody.
• Images and symbols
Section B: Fiction 30 Marks
Discussion/ Class participation topics:
• What is a good story?
• Writing short stories
• Writing novels
• Characterisation
• Structure
• Dialogues
The selected texts will inform of style, sentence structure, and tone and how these connect to the purpose and meaning/effect of the story. There will be specific texts highlighting
• Lyrical Prose
• Focus on group rather than individual
• Narratology
• Use of symbols
• Individual and the collective voice
• Use of time
• Repetition
• Gender roles
Section C Non-Fiction 15 Marks
Discussions and assignments:
The students will be introduced to
• Forms of essays
• Memoirs
• Travelogues
• Report writing
• Literary journalism
Section D: Workshop (1000 --3000words) 20 Marks
• Discussing-- why you write, how you write, and what you hope to gain from this course.
• How is your writing different /similar to others?
• Reading stories by Writers-in-residence and by participants.
• Consider how this course has changed your writing skills.
• How has this course helped you to encourage reading of various texts?
• How has this course helped you to understand of literature?
• How have you grown as a writer?
• Discussion on Publication and Market.
• Prompt writings for each section.
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ALT-CC-3016
Alternative English I
Credits: 5 (Theory) + 1 (Tutorial) =6 Marks: 100 (80+20)
This paper would seek to acquaint students with the major genres of English literature through texts which are landmarks of each genre. The texts have been carefully chosen to effectively represent the distinctive qualities of a particular genre. Moreover, students are encouraged to read the prescribed texts in their social and cultural contexts.
Poetry: 30 Marks
• Shakespeare: Sonnet 65
• John Donne: A Valediction: Forbidding Mourning
• William Wordsworth: Tintern Abbey
• Alfred Tennyson: Tears, Idle Tears
• Matthew Arnold: Scholar Gypsy
• Robert Frost: Stopping by Woods on a Snowy Evening
• T.S Eliot: Marina
• W.B Yeats: Among School Children
Drama: 20 Marks
• Shakespeare: A Midsummer Night's Dream
• John Osborne: Look Back in Anger
Fiction: 30 Marks
• Jane Austen: Emma
• Ernest Hemingway: Farewell to Arms
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DSC 1-C:
ENG-RC-3016
British Literature
Credits: 5 (Theory) + 1 (Tutorial) =6 Marks: 100 (80+20)
This paper is designed to offer a representative sampling of the major literary traditions of British life and culture through a study of texts in different genres. The paper will comprise of 80 marks external examination and 20 marks internal evaluation.
Section A
Poetry: 30 marks
(12+12+6)
• William Shakespeare: ‘Sonnet 116’
• John Milton: ‘On his Blindness’
• Samuel Taylor Coleridge: ‘Christabel’
• W. B. Yeats: ‘The Second Coming’
• Ted Hughes: ‘The Thought-Fox’
• Emily Bronte: ‘Remembrance’
• Dylan Thomas: ‘Poem in October’
• Vicky Feaver: ‘Slow Reader’
Section B
Fiction: 30 marks
• Elizabeth Gaskell: Mary Barton
• James Joyce: “The Dead”
• E. M. Forster: “The Celestial Omnibus”
• William Trevor: The Story of Lucy Gault
Section C
Drama: 20 marks
• Oscar Wilde: The Importance of Being Earnest
• J. B. Priestley: An Inspector Calls
**************************
SEC 1
ENG-SE-3014
CREATIVE WRITING
Credits: 4 Marks: 100 (80+20)
The students in this course will focus on three creative genres, fiction, non-fiction and poetry. The emphasis will be to build proficiency in readings and writings. The course encourages active class participation and lots of writings. One of the basic objectives of the course is to allow students to explore ideas, feelings, experiences and effectively communicate these stimulus using the written word. Each lecture will be tied to reading of texts, techniques, narratology and rhetorical positions. The set of readings will be given during the course and may vary each semester, whenever the course is on offer.
The weightage of the programme will depend on:
10% --class lectures;
20% --journal writings on discussions of ideas, photograghs, paintings, memories and experiences;
30%--- class participation/assignments/workshops/writings
following prompts/writing with music
40%-- submission of fiction (20000 words)/non-fiction(20000 words)/poetry(15 poems of 150000 words) at the time of completion of the course.
Section A: Poetry 15 Marks
Discussion/ Class participation topics:
• What is good poetry?
• Writing poetry
• Why poetry
• Reading poetry
The students will be introduced to
• History of poetry,
• Forms of poetry.
• Rhetoric and prosody.
• Images and symbols
Section B: Fiction 30 Marks
Discussion/ Class participation topics:
• What is a good story?
• Writing short stories
• Writing novels
• Characterisation
• Structure
• Dialogues
The selected texts will inform of style, sentence structure, and tone and how these connect to the purpose and meaning/effect of the story. There will be specific texts highlighting
• Lyrical Prose
• Focus on group rather than individual
• Narratology
• Use of symbols
• Individual and the collective voice
• Use of time
• Repetition
• Gender roles
Section C Non-Fiction 15 Marks
Discussions and assignments:
The students will be introduced to
• Forms of essays
• Memoirs
• Travelogues
• Report writing
• Literary journalism
Section D: Workshop (1000 --3000words) 20 Marks
• Discussing-- why you write, how you write, and what you hope to gain from this course.
• How is your writing different /similar to others?
• Reading stories by Writers-in-residence and by participants.
• Consider how this course has changed your writing skills.
• How has this course helped you to encourage reading of various texts?
• How has this course helped you to understand of literature?
• How have you grown as a writer?
• Discussion on Publication and Market.
• Prompt writings for each section.
