Wednesday, 12 August 2015

Interview of Paula



TOWARDS RAINBOW NATION: IN CONVERSATION WITH PAULA VILJOEN, SOUTH AFRICAN FILM MAKER AND YOGA INSTRUCTOR

Image: Paula

About Paula Viljoen
Paula Viljoen’s journey so far is enriching and exciting. She knows something of everything. Her formal education in Commerce and secretarial practice, a new turn to her career through media studies and advertising, her work experience in Europe, contribution as a lady film producer having a company Antlion Films, contribution to educational resources, her association with B K Iyengar Yoga Institute and running it’s center as a Yoga instructor in Southern Cape Town is a spectacular journey within a very short span of life. Her interest in Ayurveda leads her to start Herb Farming in Rondevlei, Western Cape. It must be an interesting project. She is a combination of strong determination and a discipline. Let me unravel this dynamic multifaceted personality through an interview.  

About the Author
Dr. Sangita Ghodake is an associate professor in English, PDEA’s Baburaoji Gholap College, Sangvi, Pune, affiliated to
 Savitribai Phule Pune University, Pune, India. She is a true academician and a sincere researcher.

Hello Paula, Let me begin by complementing you that you are a wonderful human being. I am a foreign student, and a researcher of South African Literature. My M. Phil. and Ph. D. research shares second hand experience of apartheid and post-apartheid South Africa. I would like to know more about the nation from a permanent resident like you.

Sangita: We condemn unjust laws introduced by apartheid policy. What is your perspective?
Paula: I honestly believe that any injustice leads to marginalization. As human beings very strong feelings are invoked and violent reactions are a response to injustice. An educated person can look at things from a different perspective and perhaps resolve the situation through negotiations.
In South Africa during Apartheid there was a strong censorship policy in place, so ignorance in many cases kept the majority of people deluded.  In this day and age with the Internet and Social Media we all have a voice and can change things that are unjust.  This is the way of the future.  “Education and a sound and uncorrupt justice system”.
Sangita: Would you like to share your personal experience during apartheid regime?
Paula: When I was at University during the late 1970s there were many political/activist students at the University. We had an integrated University but the majority of them were whites.  On one occasion I noticed the CID (SECURITY POLICE) harassing a fellow student for no apparent reason.  This was unjust and I tried to assist my fellow student.  I was pushed out of the way and he was arrested or what they called in those days ‘detained’.  I was unable to find out where he was being held and a few days later he was released, rather battered and bruised.  From that day onwards, wherever I went I had a shadow, all my letters were opened and lewd phone calls  were received at all times of the day and night.  To me we all have a voice and wherever possible we need to speak out and not just look the other way.
Sangita: Turning to present day status of the nation as a ‘Rainbow Nation’, tell us about social fabric of the society.
Paula: South Africa under the apartheid government had certain categories for races in South Africa. Black – majority, Coloured, Chinese, Indian, White and Honoroury White, Japanese and so on.  In the New South Africa there is not colour segregation but 11 different vernacular languages. From the majority down to the minority.  Zulu, Xhosa, Afrikaans, English, Sotho sa Leboa, Tswana, Sotho, Swati, Venda, Ndebele ,Tsonga.  In different provinces they become the majority language.  All languages have a place in the diverse culture of South Africa. Due to the painful pass-laws of the past government I would not like to classify myself as any race but as ‘English Speaking South African’.
Sangita: You have mentioned diverse culture of South Africa. India and South Africa are known for ‘Unity in Diversity’. What is your opinion?
I think that this is a forward thinking constitution as we cannot separate the nation into different cultures.  South Africa is known as the Rainbow Nation because the democracy gives a voice to all the South Africans, and this multicultural diversity adds to the tapestry of the nation.  Where there is a place, no matter how small for all.
Sangita: The fathers of both the Nations fought against British imperialism and brought the dawn of spring of hope. Nelson Mandela often quoted that India gave Mohandas Gandhi to South Africa and South Africa returned Mahatma Gandhi to India. What would you like to say about them?
Paula: Both these men were for a peaceful solution to the colonial regimes into which they were born. Both were highly educated men, observing their people and lack of education.  In their policies of peaceful protest they out-staged the dreadful colonial attitudes. When Mahatma Ghandi visited South Africa during the apartheid regime he was treated as a 2nd class citizen. As an educated man he wrote about this indiscretion and had to flee the country due to his outspoken attitude. He then went back to India in order to “free” his own people, sacrificing his own personal comfort, rallying against the minority and finally succeeded.  Likewise Nelson Mandela from his confined exile on Robben Island, led a peaceful protest, rallying the entire world to boycott South Africa in order to abolish the Apartheid system. Both stand for ‘simple living and high thinking’.
Sangita: South African History would be incomplete without the acknowledgement of Nelson Mandela. How would you describe him as an activist and a social reformer?
Paula: It will be very difficult for us to forget Nelson Mandela as a country, he stood up for human rights and in his way never moved away from that path, until his dying day he was dealing with the world’s problems and advising peaceful negotiations. As a grandfather he could have sat out his old age with his wife Graca Michel but he continued to bring the truth to humankind. So in essence his legacy is global and if we took a lesson from him, do not judge others, they were ignorant in that moment, forgive and forget. In South Africa we have a saying ‘Sumunye’, meaning ‘we are one’.
Sangita:  Let me turn to your interest in knowing Viljoen ancestry. Tell us something about your roots.
Paula: I often wonder if there was a way of tracing all humans back to the beginning of time, whether we would be of the same genes. In Venda South Africa there is a Zionist group claiming that they were the 12th tribe of Israel, genetically there was a test done and their DNA is the same as the Israeli Zionists, although they look completely different. So humans are fundamentally the same and if we could all work towards an inner sanctity we would not have to look at our Ancestry to find our Roots. But as a subject and as a wonderful storyline we can weave the tapestry of our ancestors. This is what fascinates me.
Sangita: Do you read creative literature? What types of books do you read?
Paula: I live to read , or read to live , belonging to a wonderful book-club, diverse in its readership and get to read things that I would never have thought of reading. My choice would be novels on historic events and human psychology. Fact or fiction books are such an important part of education. There has recently been a dabate in South African Academia regarding what novels or literature should be used in higher education. Most stated that African writers should be set works for African universities and not Old Colonial passé authors that no longer have any significance to any higher learning.
Sangita: I am a huge fan of Nobel Laureates Nadine Gordimer and J. M. Coetzee. I like Zakes Mda’s autobiography too. What are your impressions?
Paula: As Nadine Gordimer said once “nothing factual that I write or say will be as truthful as my fiction.” I think that in all three cases they are brilliant at portraying the psyche of human beings and their storytelling abilities draw you into the characters, some rather normal, others more perverse but all the same the question of how diverse we are as humans and that so much of our suffering comes from the mind. Zakes Mda has recently refuted the idea that Nelson Mandela was the savior of the nation, I love the debate it opens up because one cannot place any human being in that position as we then lose our own identity and are not able to make our own decisions, blaming the other for anything that goes wrong. Always food for thought, but all three has spoken their minds, their own truths.
Sangita: Let us turn to your films production house. Would you like to promote media studies in Humanities?
Paula: Film Production has changed drastically since I was in the media game. With Social Media and access to information on a global scale, there are endless opportunities for students to succeed. As long as there is freedom of speech and non censorship there is no end to the truth that is to be told. In the past we were beholden to the often biased opinions of the Editor or censorship board. Nowadays the media are put under the sword if they over exaggerate stories or sensationalize a story in order to get viewership. Keep telling the stories this will be what I would advise the students.
Yes. I would promote media studies in academics. We are living in the era of information technology. Virtual classrooms are introduced in advanced universities. Media and Film studies can be prominent attraction of today’s youth.
Sangita: Yoga and Ayurveda have been practiced in India from time immemorial.  We are happy to see that the foreigners like you are devoting their lives for the spread of it. How did you inter into it?
Paula: Many years working not stop in the Film Industry, took its toll on my mental and physical being. I decided to move to that little farm in the country that we all threaten to retire to in times of stress. Well I made the decision to change my life as it seem rather empty spiritually. I moved to the farm and planted herbs, medicinal plants and found a Yoga teacher. The seed was planted after my first Savasana (corpse pose), my mind and body felt so renewed afterwards that I was hooked into the endless journey of the science of yoga.
Sangita: We would love to know about your philosophy of Yoga, Global approach to it, and its practice on the international level.
Paula: The Philosophy of yoga is a vast subject dating back 5000 years. Patanjali considered as the father of yoga wrote three books on Grammar, Ayurveda, Yoga. Within the yoga scripts taken from many different Vedas he brought us the yoga of today. Firstly we need to look at our Moral Discipline, and individual observances, Yama and Niyama. Taking the eight limbs of yoga as an all encompassing science we will find the universal peace that Mahatma Ghandi and Nelson Mandela believed in so strongly. Yoga means to Yoke or to join. “To join our soul with the Universal soul”.  Internationally this is growing as the inner awareness is being emphasized and that all humans are in essence the same, and the peace it brings in the stressful first world.
Sangita: Since you have invited us to watch wild life of Africa I would like to know about it.
Paula: I would say something about preserving wild life. Again it comes down to diversity. We live on a planet that encompasses an environment that is a fine balance. Due to over population, ignorance and greed we as humans have the capacity to preserve this fine balance. Until every human being realizes this we have to continue to create awareness on Social Media, silent and non violent protest. We put people on Mars why we cannot find a way for every living thing to live in harmony is sometimes beyond me.
Sangita: Coming back from wild life to your passion of herb farming, what kinds of herbs do you grow on your farm?
Paula: In South Africa we have a huge water problem. We either have too much at a time or too little. Where we live there is a shortage of water and all the water on the farm is collect in rain tanks from the roof. In this way not much water is spare to grow many vegetables, as they are water hungry. Herbs are however very resilient, many coming from the warm winter rainfall areas of the Med. Indigenous herbs also have a high survival rate in the dry times. We grow medicinal herbs, mainly indigenous and herbs for manufacture in Pesto. It is a smallholding but sustains us as our needs are very few. To supplement the income, we grow seedlings, teach yoga and do healing work.  Any excess food we trade with our neighbours for something that they have so in some ways moving away from currency using seed currency is the way of the future.
Sangita: What are the issues and challenges of higher education in South Africa?
Paula: I believe that education should be free to all. This is not the case in South Africa and higher education is extremely expensive. Also the education in primary and secondary education is very poor so that the standards in South African Universities are very low. In the past the Universities were on a par with many International Universities, but nowadays there are too many bought Certificates in a rather corrupt system. We have to provoke new social imagination. Our culture of Narcissism is evident in the culture of consumer, corporate driven capitalism. We are deprived of being socially accountable. 
Sangita: Can collaboratios and MOUs are the need of the hour?
Paula: Absolutely vital for global equanimity, understanding each other and education about other cultures can bring about global tolerance. It should be encouraged on every level.
Sangita: What is your life philosophy? What message would you like to give to the youth?
Paula: If we take care of your bodies and nurture our souls, harming none we can harmonize with the earth and all its intracasies. Take time to do yoga and meditation each day, work hard and contribute to society, giving back what you have received.  My Guru BKS Iyengar said “The body is like the cloth to the soul.  It is our duty to take care of it”.
 Let me conclude with formal vote of thanks. Paula is continuously working and updating herself in her field. She is an earnest spiritualist, yoga practitioner and a passionate lover of nature. She influences others in positive way. We are proud of you. I wish you all the very best for your future endeavors.




Departmental Library





Film Shows based on Syllabus















Syllabi MA I II & SYBCS











































































University of Pune
Revised Course Structure of English at Post Graduate level to be implemented
from the academic year 2014-15-
M. A. English Part-II-Credit System (Semester III & IV)
Semester-III
Paper 3.1: Indian Writing in English (Core Paper)
Any three papers out of the following eight options:
Paper 3.2: English Language and Literature Teaching
Paper 3.3: Poetry in English
Paper 3.4: Drama in English
Paper 3.5: Linguistics and Stylistics
Paper 3.6: Semantics and Pragmatics
Paper 3.7: Cultural Studies
Paper 3.8: American Literature
Paper 3.9: Research Methodology
Semester-IV
Paper 4.1: Indian Writing in English (Core Paper)
Any three papers out of the following eight options:
Paper 4.2: English Language and Literature Teaching
Paper 4.3: Poetry in English
Paper 4.4: Drama in English
Paper 4.5: Linguistics and Stylistics
Paper 4.6: Semantics and Pragmatics
Paper 4.7: Cultural Studies
Paper 4.8: American Literature
Paper 4.9: Research Methodology






















Revised Course Structure of English at Post Graduate level to be
implemented from the academic year 2014-2015
M. A. English (Credit System)
Part-II- (Semester- III&IV)
Paper-3.1: Indian Writing in English (Core Paper)
(1) Objectives
1) To introduce students to major movements and figures of Indian Literature in English
through the study of selected literary texts
2) To create literary sensibility and emotional response to the literary texts and implant
sense of appreciation of literary text
3) To expose students to the artistic and innovative use of language employed by the
writers
4) To instill values and develop human concern in students through exposure to literary
texts
5) To enhance literary and linguistic competence of students
(2) Allotment of Credits: One credit is equal to 15 clock hours and every semester is allotted
four credits (60 clock hours).
(3) Course Contents
Semester- III
Unit-I: The Princes- Manohar Malgaonkar -15 clock hours
Unit- II: A Fine Balance- Rohinton Mistry -15 clock hours
Unit – III: Derozio to Aurobindo -15 clock hours
Henry Derozio: 1) The Harp of India, 2) India-My Country
3) To the Pupils of the Hindu College
Toru Dutt: 1) Lakshman 2) The Lotus 3) Our Casuarina Tree
Swami Vivekananda: Kali the Mother (Complete Works of Swami
3
Vivekananda, vol.4, p.384 Advaita Ashram, 14th rpt. 1992)
Tagore: Playthings
Joseph Furtado: The Fortune Teller (Available in Gems of English Prose and
Poetry, Orient Blackswan, 2013)
Sri Aurobindo: 1) The Pilgrim of the Night 2) The Stone Goddess 3) Surreal
Science (An Anthology of Commonwealth Poetry edited by C
D Narasimhaiah, Macmillan, 1990)
Unit-IV: Roses in December- M. C. Chhagla -15 clock hours
Paper-4.1: Indian Writing in English (Core Paper)
Semester- IV
Unit-I: The Shadow Lines- Amitav Ghosh -15 clock hours
Unit- II: The Inheritance of Loss- Kiran Desai -15 clock hours
Unit-III: Dom Moraes to Present Day -15 clock hours
Dom Moraes: 1) Letter to my Mother 2) Future Plans
Nissim Ezekiel: 1) Background, casually, 2) Enterprise 3) Poet, Lover, Birdwatcher
4) Goodbye Party for Miss Pushpa T. S.
Kamala Das: An Introduction
A. K. Ramanujan: Obituary (An Anthology of Commonwealth Poetry)
Shiv K Kumar: Indian Women/ Pilgrimage
Jayant Mahapatra: Dawn at Puri
Imtiyaz Dharker: Purdah I
Syed Ammanuddin: Don’t Call me Indo-Anglian (An Anthology of Commonwealth
4
Poetry)
Note: Unless otherwise stated the poems are all available in Indian English Poetry edited by
Makarand Paranjape, (Macmillan, 1993)
Unit- IV: Mahanirvan- Satish Alekar -15 clock hours
4) Suggestions for teachers:
Teachers are expected to discuss literary background, movements, important writers and works
in the beginning. The selected texts are representatives of a specific genre. Teachers are expected
to compare and contrast these texts with their contemporaries from Indian Writing in English.
The topics are suggested as examples only; teachers may discuss other relevant topics as well.
5) Select Bibliography
Deshmane, Chetan, ed. Muses India: Essays on English-Language Writers from
Mahomet to Rushdie. Jefferson, NC, and London: McFarland & Co., 2013.
Naik, M. K. A History of Indian English Literature. Delhi: Sahitya Akademi, 1992.
Devy, G. N. After Amnesia: Tradition and Changes in Indian Literary Criticism.
Hydrabad: Orient Longman and Sangam Books, 1992.
Mukherji, Minakshi . The Twice Born Fiction. New Delhi: Heinemann, 1971.
Nandy, A. The Intimate Enemy: Loss and Recovery of Self Under Colonialism. Delhi,
OUP, 1983.
Radhakrishnan, N. Indo Anglian Fiction: Major Trends and Themes. Madras: Emerald.
1984.
Rao, Krishna. The Indo-Anglian Novels and the Changing Tradition. Mysore: Rao and
Raghavan, 1973.
Vishwanathan,G. Masks of Conquest: Literary Study and British Role in India. New
York: Colombia University Press, 1989.
Iyenger,K R S. Indian Writing in English. New Delhi. Sterling Publisher, 1984.
Olney, James,(Ed.) Autobiography Essays-Theoretical and Critical. New Jersy: Princeton
U P.1980.
Anderson, Linda. Autobiography. Landon: Rontledge,2001.
Pradeep Trikha, Ajmar. Multiple Celebration, Celebrating Multiplicity: Girish Karnad.
Madras:ARAW LII publication,2009.
Ansani, Shyam M. New Dimensions of Indian English Novels, Delhi: Doaba House,
1987.
Devy, G.N. An Another Tongue: Essays on Indian English Literature, Madras:
Macmillan India Ltd. 1995.
Gandhi, Leela. Post-Colonialism, New : Oxford University Press, 2002.
Gokak, V K Indian and World Culture, Delhi: Sahitya Akademi, 1989.
Gupta, Balram G S. (Ed.) Studies in Indian Fiction in English, Gulbarga: JIWE
Publications, 1987.
Jain, Jasbir. Beyond Postcolonialism: Dreams and Realities of a Nation, Jaipur: Rawat
Publications, 2006.
5
Jha, Gauri Shankar. Current Perspectives in Indian English Literature. New Delhi,
Atlantic Publishers, 2006.
Kumar, Gajendra and Uday Shankar Ojha. The Post Modern Agony and Ecstasy of
Indian English Literature, New Delhi: Sarup Book Publishers, 2009.
Mehrotra, Arvind Krishna (Ed.) A Concise History of Indian Literature in English,
Ranikhet: Permanent Black, 2010.
Narasimhaiah, C D. (Ed.) Makers of Indian English Literature, Delhi: Pencraft
International, 2000.
Awari, M.D. Arun Joshi as a Novelist, Snevardhan, Pune, 2014
Amur, G. S. (Ed.) Indian Reading in Common Wealth Literature. New Delhi: Sterling
Publishers, 1985.
Mehrotra, A. K. (Ed.) Twelve Modern Indian Poets. Calcutta: OUP, 1992.
Nandy Pritish. Indian Poetry in English Today, Delhi: OUP, 1976.
Sarang, Vilas. (Ed.) Indian English Poetry since 1950, Anthology. Hyderabad: Disha
Books, 1990.
Ameeruddin, Syed (ed.) Indian Verse in English, Madras: Poet Press India, 1977.
Deshpande Gauri. (Ed.) An Anthology of Indian English Poetry, Delhi: Hind Pocket
Books,n.d.
Dwivedi, A.N. (Ed.) Indian Poetry in English, New Delhi: Arnold Heinemann, 1980.
King, Bruse. Modern Indian Poetry in English, Delhi: OUP,1987.
Kharat, S. Cheating & Deception Motif in the Plays of Girish Karnad, Sahitya Manthan,
Kanpur,2012
Parthasarathy, R. (Ed.) Ten Twentieth – Century Indian Poets, Delhi: Oxford University
Press, 1976.
Peeradina, S. (ed.) Contemporary Indian Poetry in English, Bombay: The Macmillan Co.,
1972.
Sett, A.K. (ed.) An Anthology of Modern Indian Poetry, Londan: John Murray, 1929.
Singh, R.P.N.(ed.) A Book of English Verse on Indian Soil, Bombay: Orient Longmans,
1967.
Jain R. S. Dalit Autobiography. Nagar, Ritu Publications. 2010
Pandey Sudhakar, Raj Rao (Ed.). Image of India in Indian Novel in English, Orient
Blackswan, 1991
Holeyannavar Nagraj (ed.) Trends in Indian English Drama: A Study and Perspectives.
Manglam Publishers, New Delhi, 2014
Question Paper Format-Semester-III
Paper- 3.1- Indian Writing in English
Time: 3 Hours Marks: 50
Q 1. Background question (Any one out of three) Marks 10
(Long answer questions on the background and features of literary schools/movements and/or
comparison of the schools/movements/ prescribed writers/poets)
Q 2. Questions on ‘The Princess’- Manohar Malgonkar Marks 10
6
(Any two out of three)
Q 3. Questions on ‘A Fine Balance’- Rohinton Mistry Marks 10
(Any two out of three)
Q 4. Questions on Poetry- Derozio to Aurobindo Marks 10
(Any two out of three)
(The nature of questions may be comparative)
Q 5. Questions on ‘Roses in December’- M.C.Chagla Marks 10
(Any two out of three)
Question Paper Format-Semester-IV
Paper- 4.1- Indian Writing in English
Time: 3 Hours Marks: 50
Q 1. Background question (Any one out of three) Marks 10
(Long answer questions on the background and features of literary schools/movements and/or
comparison of the schools/movements/ prescribed writers/poets)
Q 2. Questions on ‘The Shadow Lines’- Amitav Ghosh - Marks 10
(Any two out of three)
Q 3. Questions on ‘The Inheritance of Loss- Kiran Desai Marks 10
(Any two out of three)
Q 4. Questions on Poetry- Dom Moraes to Present Day Marks 10
(Any two out of three)
(The nature of questions may be comparative)
Q 5. Questions on ‘Mahanirvan- Satish Alekar Marks 10
(Any two out of three)




































Paper 3.4: Drama in English
(1) Objectives
1) To introduce students to major movements related to drama, works and dramatists through
study of selected texts
2) To create literary sensibility for appreciation in students and expose them to artistic and
innovative use of language by writers and to various worldviews
3) To instil values and develop human concern in students through exposure to literary texts
4) To enhance literary and linguistic competence of students
(2) Allotment of Credits: One credit is equal to 15 clock hours and every semester is allotted
four credits (60 clock hours).
(3) Course Contents
Semester- III
Unit-I: Sophocles: Antigone (12 Clock Hours)
Unit-II: Christopher Marlowe: Doctor Faustus (12 Clock Hours)
Unit-III: William Shakespeare: Hamlet (18 Clock Hours)
Unit-IV: Ben Jonson: Volpone (15 Clock Hours)
Paper 4.4: Drama in English
Semester IV
Unit-I: Anton Chekhov: Cherry Orchard (15 Clock Hours)
Unit-II: Luigi Pirandello: Six Characters in Search of an Author (15 Clock Hours)
Unit-III: John Osborne: Look back in Anger (15 Clock Hours)
Unit-IV: Edward Albee: The Zoo Story (15 Clock Hours)
(4) Suggestions for Teachers
It is important that teachers introduce students to the socio-political and historical background of
the prescribed period, the tendencies and trends dominant in the period, the stylistic features of
the prescribed authors and the major characteristics of their works. Such information provides
students with background and necessary contexts. Teachers can encourage students to read
original texts prescribed, literary histories and critical works. Exercises into literary pieces,
practical criticism and analytical discussions may be conducted in the classroom for effective
understanding. Teachers can make use of ICT methods to create interest and promote literary
sensibility in students.
19
(5) Select Bibliography
Standard and recognized editions of textbooks and reference books may be used as bibliography
for the course contents.
Nicoll, Allardyce, Theory of Drama (New York, Thomas Crowell Co., 1931)
Boulton, Marjorie, Anatomy of Drama
Brooks Cleanth and Fiedelston, Understanding Drama
Antigone
Sophocles, The Three Theban Playstr. By Robert Fagles, Harmondsworth, Penguin Classics,
1984.
Else Gerald, The Origin and Early Form of Greek Tragedy. Martin Lectures, vol.20. Cambridge:
Harvard University Press, 1965.
Kott, Jan The Eating of Gods: An Interpretation of Greek Tragedy, New York: Random House,
1973.
Steiner, George The Death of Tragedy, London: Faber and Faber, 1961.
Adams, S.M. Sophocles the Playwright, Toronto: Toronto University Press, 1957
Bowra, Sir Maurice. Sophoclean Tragedy, Oxford, 1944.
Fergusson, Francis. The Idea of a Theatre (chapter 1) London: Oxford University Press, 1949.
Goheen, R.F. The Imagery of Sophocles’ Antigone: A Study of Poetic Language and Structure,
Princeton: Princeton University Press, 1951
Jones, John. On Aristotle and Greek Tragedy (section3, chapters 5 and 6) London: Chatto and
Windus, 1962.
Kitto, H.D.F. Form and Meaning in Drama: A Study of Six Greek Plays and of Hamlet
(chapter5) London: Methuen, 1964
------------- Sophocles, Dramatist and Philosopher, London: Oxford University Press, 1958.
Doctor Faustus
Christopher Marlowe. Doctor Faustus, edited by Kitty Dutta, New Delhi: Oxford University
Press, 1980 rpt. 1986
Bradbrook, M. C. Themes and Conventions of Elizabethan Tragedy, Cambridge, 1935
Jump John D. (ed.) Christopher Marlowe, Doctor Faustus: A Casebook: London: Macmillan, 19
Leech, Clifford. Marlowe: A Collection of Critical Essays, London, 1964
Levin Harry, TheOverreacher: A Study of Christopher Marlowe. London: 1952
Hamlet
William Shakespeare. Hamlet, ed. by Jenkins, New Arden Edition, 19
Bowers, Fredson. Elizabethan Revenge Tragedy, Princeton, NJ: Princeton University Press, 1940
Bradley, A. C. Shakespearean Tragedy, London: Macmillan, 1904.severalrpts.
Nicoll, Allardyce.(ed.) Shakespeare Survey. vol. 9. New Delhi: S. Chand and Company, 1980,
rpt. 1987
Wilson, John Dover. What Happens in Hamlet? Cambridge: 1935
Volpone
Ben Jonson. Volpone, ed. by M G Nayar, Chennai: Macmillan India,1979;rpt 1989
---------Volpone, ed.by Philip Brockbank, London: The New Mermaids, 1968
Una Ellis-Fermor. Jacobean Drama, University Paperbacks, Methuen, 1935
20
Barish, Jona.(ed.) Ben Jonson: A Collection of Critical EssaysPrentice-Hall: 1963
The Cherry Orchard
Anton Chekhov: Selected Works, vol.2. Moscow: Progress Publishers,1973
Styan, J.L. The Dark Comedy, Cambridge, 1962.
Six Characters in Search of an Author
Styan, J. L. Modern Drama in Theory and Practice, 3 vols. Cambridge, 1981.
Look Back in Anger
John Osborne, Look Back in Anger ed. by Prashant Sinha, Mumbai: Oxford University Press,
1992.
Anderson, Michael. Anger and Detachment: A Study of Arden, Osborne and Pinter. London:
Putnam Publishing, 1976
Gascoigne, Bamber, Twentieth Century Drama, London: Hutchinson, 1962.
Taylor, John Russell. Anger and After.Baltimmore: Penguin Books, 1963.
------------- John Osborne: Look Back in Anger: A Casebook. London: Macmillan, 1968.
The Zoo Story
Hayman, Ronald. Edward Albee.
Esslin, Martin. Absurd Drama, Harmondsworth: Penguin, 1965.
---------- The Theatre of the Absurd.Garden City NJ, Doubleday, 1961.
Question paper Pattern- Semester-III
Paper 3.4: Drama in English
Time: 3 Hours Marks: 50
Q. 1 Long answer questions on the background and features of literary
schools/movements and/or comparison of the schools/movements/ prescribed
playwrights Marks 10
(Any one out of three)
Q. 2 Long answer questions on Antigone Marks 10
(The nature of questions may be comparative)
(Any one out of three)
Q. 3 Long answer questions on Doctor Faustus Marks 10
(The nature of questions may be comparative)
(Any one out of three)
Q. 4 Long answer questions / Short notes on Hamlet Marks 10
(The nature of questions may be comparative)
(Any one out of two Long answer questions OR Any two out of three Short notes)
Q. 5 Long answer questions / Short notes on Volpone Marks 10
(The nature of questions may be comparative)
(Any one out of two Long answer questions OR Any two out of three Short notes)
21
Question paper Pattern- Semester-IV
Paper 4.4: Drama in English
Time: 3 Hours Marks: 50
Q. 1 Long answer questions on the background and features of literary
schools/movements and/or comparison of the schools/movements/ prescribed
playwrights Marks 10
(Any one out of three)
Q. 2 Long answer questions on Cherry Orchard Marks 10
(The nature of questions may be comparative)
(Any one out of three)
Q. 3 Long answer questions on Six Characters in Search of an Author Marks 10
(The nature of questions may be comparative)
(Any one out of three)
Q. 4 Long answer questions / Short notes on Look back in Anger Marks 10
(The nature of questions may be comparative)
(Any one out of two Long answer questions OR Any two out of three Short notes)
Q. 5 Long answer questions / Short notes on The Zoo Story Marks 10
(The nature of questions may be comparative)
(Any one out of two Long answer questions OR Any two out of three Short notes)






3.5: Linguistics and Stylistics
(1) Objectives:
1. To acquaint the students with different theoretical and practical
aspects and components of linguistics and stylistics.
2. To make students aware of the relation between linguistics and
stylistics
3. To give them practice in the application of the basic concepts in
stylistics to literary texts.
4. To demonstrate how the basic concepts in Semantics and Pragmatics
are applied in the stylistic analysis of literary texts
(2) Allotment of Credits: One credit is equal to 15 clock hours and
every semester is allotted four credits (60 clock hours). The
allotment is as given below:
(3) Course Contents:
Semester-III
Unit -I- Orientation/Basics of Linguistics: (15 clock hours)
a) What is linguistics? Linguistics as a scientific study
b) Synchronic and diachronic
c) Syntagmatic and paradigmatic relations
d) Langue and parole, competence and performance
e) Substance and form
f) Ordinary language and literary language.
Unit-II – Phonological aspects of Literature: (15 clock hours)
a) Different types of rhymes and Sound patterns based on repetition of individual sounds ( i.
e. consonants/vowels/both)
b) The concept of meter, Different types of ‘feet’ or Sound patterns based on repetition of
stress patterns
c) Onomatopoeia, Sound symbolism
d) The importance spoken word and pauses in literature
Unit-III- Lexico-semantic aspects of Literature: (15 clock hours)
a) Lexical i. content words and function words ii. Lexical sets iii. Collocations iv.
selectional restrictions iv. Lexical cohesion.
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b) Semantic - Synonymy, antonymy, hyponymy, ambiguity, tautology, contradiction,
semantic anomaly, semantic entailment, anaphora denotative and connotative meaning.
Unit -IV- Syntactic aspects of Literature: (15 clock hours)
a) Periodic an loose sentence structure
b) Direct and indirect speech, Free Direct and Free indirect speech
c) Significance of sentence length and sentence types (declarative, interrogative,
imperative, simple, compound, complex)
d) Active and passive voice e) Syntactic cohesion
4.5: Linguistics and Stylistics
Semester-IV
Unit -I: Orientation/Basics of Stylistics: (15 clock hours)
a) i. What is style? What is stylistics? The nature and scope of stylistics.
ii) A brief history of stylistics: Rhetoric to Present day.
iii) Strengths and limitations of stylistics.
b) Linguistics and stylistics, literature and stylistics, practical criticism and stylistics,
stylistics and the levels of language (style, register and dialect), grammar and style
c) Types: i. Linguistic stylistics ii. Literary stylistics iii. Reader-response stylistics
Unit-II- Stylistics of Poetry (15 clock hours)
a) i) The concept of poetic diction
ii) The concept of poetic licence
iii) Figures of speech/poetic devices
b) Creativity in the use of Language:
i. The concept of Foregrounding
ii) Different types of Repetition
iii) Parallelism
iv) Different types of Deviation
Unit -III- Stylistics of Drama: (15 clock hours)
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a) Theatre and drama, Drama as a semiotic text, Dramatic text and performance text,
Dramatic dialogues and everyday conversations
b) Dramatic dialogues and speech act theory,
The Co-operative and Politeness principle in relation to drama,
Positive and negative face, face threatening and face saving,
Turn taking and adjacency pairs.
Unit-IV- Stylistics of Fiction: (15 clock hours)
i. Fiction as narrative form of discourse
ii. Universe of discourse
iii. Narrative strategies in fiction
iv. Exploring the point of view in fiction
v. Use of distal deixis in fiction
(4) Suggestions for Teachers:
This is basically application-oriented, practical course and hence the teacher should carry out a
variety of application based activities/tasks in the classroom. Student involvement could be
ensured through student activities like doing practical exercises requiring identification of
relevant linguistics and stylistic devices and explaining their purpose/relevance or contribution to
literary effect /meaning. The students may be given practical assignments, and the teacher may
act as facilitator and monitor student activities.
(5) Select Bibliography:
Austin, J. L. (1962), How to do things with words, Oxford: Clarendon Press
Black, Elizabeth (2006), Pragmatic Stylistics, (Edinburgh)
Chatman, Seymour (ed.) (1971), Literary Style : A Symposium, Oxford : OUP
Crystal, David – A Dictionary of Applied Linguistics and Stylistics
Cummings, M. and R. Simmons (1983), The Language of Literature : A Stylistic Introduction
to the Study of Literature, London : Pergamon
Elam, K. (1980), The Semiotics of Theatre and Drama, London : Methuen
Fowler, Roger (1971), The Language of Literature, London :Routledge and Kegan
Freeman, D. C. (1970), Linguistics and Literary Style, New York : Holt Rinehart and Winston
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Halliday and Hasan, (1976),Cohesion in English, Longman.
Halliday, M.A.K. et al, (2004), An Introduction to Functional Grammar,3rdedition,London,
Arnold.
Khairnar, Bharati (2013), Stylistic Analysis of Chinua Achebe’s Fictional Works, Aadi Publication, Jaipur, India.
Krishnaswamy, N., S. K. Verma and N. Nagarajan (1992), Modern Applied Linguistics, Madras:
Macmillan
Leech, Geoffrey (1969), A Linguistic Guide to English Poetry, London: Longman
Leech Geoffrey and Short M. (1981), Style in Fiction,Harlon Longman.
Lesley Jeffries and Dan McIntyre, (2010), Stylistics, Cambridge ( UK) : CUP.
Lyons, J. (1981), Language and Linguistics, Cambridge: CUP.
Prakasam, V. (1996), Stylistics of Poetry : A Functional Perspective, Hyderabad : Omkar Publishers
Paul Simpson,(2004), Stylistics; A Resource Book for Students, Routledge, London and New York.
Thomas, G. Meaning in Interaction, London: Longman
Thornborrow and Shan Wareing (1998), Patterns in Language : An Introduction to Language and Literary Style, London : Routledge
Tragott and Pratt, 91980), Linguistics for the Students of Literature, Harcourt Brace Jovenvica Inc.
Radford Andrew,(1997),”Syntax : A Minimalist Approach, Cambridge, CUP.
Verdonk, P. (2002), Stylistics, Oxford : OUP.
Wales, Katie (1989), A Dictionary of Stylistics, London: Longman
Widdowson, H. G.,(1975), Stylistics and the Teaching of Literature, Longman.
Wright, Laura and Jonathan Hope (1996), Stylistics : A Practical Course book, London :Routledge.

Question paper Pattern- Semester-III
Paper - 3.5 : Linguistics and Stylistics
Time: 3 Hours Marks: 50
Q. 1 Long Answer questions on Unit-I Orientation/Basics of Linguistics
(1 out of 2) Marks – 10
Q. 2 Short Answer questions on Unit-II Phonological aspects of Literature
(2 out of 4) Marks – 10
Q. 3 Short Answer questions on Unit-III Lexico-semantic aspects of Literature
(2 out of 4) Marks – 10
Q. 4 Short Answer questions on Unit-IV Syntactic aspects of Literature
(2 out of 4) Marks – 10
Q. 5 Analysing the linguistic features of a given literary passage Marks – 10
Question paper Pattern- Semester-IV
Paper-4.5 : Linguistics and Stylistics
Time: 3 Hours Marks: 50
Q. 1 Long Answer questions on Unit-I Orientation/Basics of Stylistics
(1 out of 2) Marks – 10
Q. 2 Short Answer questions on Unit-II Stylistics of Poetry
(2 out of 4) Marks – 10
Q. 3 Short Answer questions on Unit-III Stylistics of Drama
(2 out of 4) Marks – 10
Q. 4 Short Answer questions on Unit-IV Stylistics of Fiction
(2 out of 4) Marks – 10
Q. 5 Stylistic analysis of a given poem/extract from a novel/extract from a play Marks – 10
(1 out of 2)