programme

Concept Development and Experimentation 111

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Course TypeCourse CodeNo. Of Credits
Foundation CoreSCC2L1034

Semester and Year Offered: Monsoon, 2019

Course Coordinator: Belinder Dhanoa

Email of course coordinator: belinder@aud.ac.in

Pre-requisites: The course is open to the MA Literary Art students.

Course Objectives/Description:

In CD&E 3, a level of competence in their craft and proficiency in reflective writing and the key writer’s disciplines, will allow students to produce portfolios of finished work, and enable them to critically reflect, develop and evaluate their own practice through a period of supervised and assessed practice learning. We will revise, edit and rewrite by examining selections from each text with regard to how the different elements and devices of writing have contributed to developing the narrative.

The course is an integral and defining part of the Creative Writing Programme as it aims to give the student a strong foundation in writing. It will also involve a study of historical perspectives within literary creative practice. Students work through the process of their own writing within this context. The course will also provide the foundation for critical analysis of writing, and examine the need to reflect on critical cultural issues in writing.

Concept Development and Experimentation which is a 12 credit course to be covered in 3 Semesters (1st, 2nd and 3rd), is concerned with exploration, research, development, and expression of ideas through writing. Students will be encouraged to explore how ideas can be developed and transformed through critical thinking and creative expression. This course will be conducted through writing workshops, as well as individual work with the tutor. The sessions will be conducted on a seminar/workshop model.

Course Outcomes: On completion of the course, it is expected that the student will have:

Developed critical reading skills to assess their own writing, and a disciplined practice in writing

Developed a use of expressive language.

Developed skills in the use of Narrative Structures in different forms of writing.

Developed their skills in the review and critique of peer writing.

Gained an understanding of developments in contemporary literary practice (including developments in writing in the digital age) and discourse.

Gained the ability to frame their own work within the larger contexts of literary and cultural production.

Learned to critique their own work and developed the editing skills required to redraft.

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Brief description of modules/ Main modules:

Module 1: Writing 3

Draft work will be analysed and evaluated in detail, then developed and presented in a two-part file of original work. Students’ reflection on their writing processes and contexts will be submitted with the second part of the file.

Module 2: Writing Contexts 3

Students will explore one specific writer or group/movement of writers; Social/political themes and issues; Form/Genre; Experimentation /Innovation.

Module 3: Writing Experiments 3

The Final Project is an opportunity for students to develop and finalise their self-reflective work journals. This will pull together the main threads from previous journals, critical reading, tutorial and class notes, reviews, and tutor/ peer assessment and feedback.

Assessment details:

  • Class Participation: 30%. The seminar/workshop model of the course requires active participation to develop reading, writing, critical thinking and editing skills.
  • Weekly writing assignments: 40%. The writing assignments enable revision and editing skills, and emphasises the use of reading and research in the process of writing.
  • Final submission with process journal: 30%. The final submission is a completed portfolio of writing, and the process journal tracks the development of the portfolio.

Reading List:

The list is indicative, a point of departure rather than arrival; the student will be expected to explore it selectively, and to read above and beyond and off to the side in the ways that best feed their own work. The list is supplemented by readings directed to student proposals and individual requirements.

The overall goal is to stress the link between reading and writing, and to introduce the idea of reading like a writer, by which is meant reading with an eye toward enriching the understanding of craft and deepening individual practice.

  • Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, Routledge; 2016
  • Jonathan Culler, Literary Theory - a very short introduction, Oxford University Press; 2011
  • Terry Eagleton, After Theory, Basic Books, 2004
  • Terry Eagleton, Literary Theory, Univ Of Minnesota Press; 2008
  • Edward Said, Orientalism, Vintage Books, 1979
  • Edward Said, The World, the Text and the Critic, Harvard University Press, 1983
  • Edward Said, Culture and Imperialism, Vintage; 1994
  • Said and Barsamian, The Pen and the Sword, Common Courage Press, 1994
  • John Berger, A letter to Rosa Luxemburg
  • Dipesh Chakrabarty: Witness to Suffering: Domestic Cruelty and the Birth of the Modern Subject in Bengal
  • Walter Benjamin, The Storyteller, NYRB Classics, 2019
  • Nietzsche, Human All too Human, Penguin Classics, 1994
  • George Orwell, A Collection of Essays, Mariner Books, 1970
  • Doris Lessing, Time Bites, Harper; 2005
  • Milan Kundera, Testaments Betrayed, An Essay in Nine Parts, Harper Perennial, 1995
  • Milan Kundera, The Curtain, An Essay in Seven Parts, Harper Perennial, 2007
  • Italo Calvino, Six Memos For the Next Millennium (Charles Eliot Norton Lectures), Mariner Books, 2016
  • Italo Calvino, A Hermit in Paris, Autobiographical Writings, Mariner Books; Translation edition, 2014
  • Vladimir Nabokov, Speak, Memory- An Autobiography Revisited, Vintage; Reissue edition, 1989
  • V. Nabokov, Pale Fire, Vintage, 2011
  • The Writers at Work Series, in The Paris Review
  • Ellen Gilchrist, Falling Through Space: The Journals of Ellen Gilchrist, Diversion Books, 2018
  • Virginia Woolf, A Writer’s Diary, Mariner Books; First edition (March 31, 2003
  • Franz Kafka, Diaries 1910-1923, Schocken, 1988
  • Italo Svevo, Confessions of Zeno - text and subtext, Marciano Guerrero, 2013
  • Scholes and Kellogg, The Nature of Narrative, Oxford University Press; 2006
  • Madison Smartt Bell, Narrative Design – Working with Imagination, Craft and Form, W. W. Norton & Company, 2000
  • Wayne Booth, The Rhetoric of Fiction, University of Chicago Press; 2nd edition, 1983
  • Macauley, Robie & George Lanning, Technique in Fiction, St. Martin's Griffin, 1990
  • Strunk and White, Elements of Style, Pearson; 4th edition, 2019.
  • Italo Calvino, Italian Folktales, Mariner Books; 1992
  • Tharu and Lalita, Women Writing in India, Vols 1 & 2, The Feminist Press at CUNY, 1993
  • Toni Morrison, Beloved, Vintage; Reprint edition 2004
  • Joseph Conrad, Heart of Darkness, CreateSpace Independent Publishing Platform, 2015
  • Gabriel Garcia-Marquez, Eva is Inside Her Cat
  • Franz Kafka, The Metamorphosis, W. W. Norton & Company, 2015
  • Franz Kafka, The Trial, Schocken, 1999
  • Gabriel Garcia Marquez, Chronicle of a Death Foretold, Vintage; Reprint edition, 2003
  • Flannery O'Connor, short stories Everything that Rises Must Converge, Farrar, Straus and Giroux; 1965
  • Rohinton Mistry, A Fine Balance, Vintage International, 1997
  • Vladmir Nabokov, Pale Fire, Vintage; 1989
  • Truman Capote, In Cold Blood, Vintage 1994
  • Suketu Mehta, Maximum City, Vintage, 2005
  • Jerry Pinto, Bombay, Meri Jaan: Writings on Mumbai, Penguin, 2003
  • Sidhartha Mukherjee, The Emperor of All Maladies: A Biography of Cancer, Scribner; 2011
  • Urvashi Butalia, The Other Side of Silence: Voices from the Partition of India, Duke University Press Books, 2000