ࡱ> qsp%` KNbjbj"x"x .l@@KF&&&&4Z<s=x$$$$$,<<<<<<<$>=0$$00=$$-=4440$$<4m0<44VF;<$ `6&3*< <$C=0s=6<xA)4A<A< %4)4,==4 s=m0m0m0m0D&&  English 123D Global Literature: South Asia Narrating the Nation Instructor: Revathi Krishnaswamy Office: FO 125 Class Time: MW 10.30-11.45 Office Hrs: MW 12.00-1.30 Room: SH 410 & by appointment. Phone: 924-1384 Email: rkrishna@email.sjsu.edu Course Description If nations are imagined communities, how is the nation called India imagined? With this fundamental question in mind, we will examine the relationship between nation and narration through an in-depth study of selected literature and film from the Indian subcontinent. Our examination will be placed within the larger historical context of decolonization in the sense not only of formal independence from European rule, but also of contemporary struggles against persistent forms of imperialism and internal colonization. We will focus on three key moments that highlight the process of nation formation on the Indian subcontinent: (1) the nationalist struggle against British colonial rule, (2) the partition of the subcontinent by the British at the time of independence, and (3) the independent modern liberal nation-state. By analyzing key texts of literature (in English/in English translation) as well as film, we will attempt to understand how nationalism mobilizes religion, gender, caste and class in an attempt to produce a hegemonic image of a people. Class discussions will address a wide range of questions including the following: What is the impact of British colonialism in South Asia? What are the cultural and political consequences of the partition of the subcontinent into India and Pakistan (and subsequently Bangla Desh)? How does religion structure colonialism and nationalism on the Indian subcontinent? How is communalism produced or represented in literature/film? What are the legacies of colonialism for women on the Indian subcontinent and how did Indian nationalism resolve the woman question? What material and ideological effects did the iconic representation of India as woman (Mother India) produce? What possible contrasts can you imagine from other national iconic self-conceptions (e.g., Uncle Sam)? In what ways do notions of caste underwrite dominant images of India? How is dominant nationalism resisted or contested by various subaltern groups within India? How does diaspora inflect the notion of nation? How do diasporic writers relate to their imaginary homelands? What is the impact of globalization on India today? What does the rise of India as a global power mean for America and the rest of the world? Objectives and Outcomes: This course aims to promote global understanding through the study of culture and literature. We will therefore grapple with various methodological as well as ethical issues involved in studying and understanding others. Our goal will be to see how we can learn not only about but also from a different culture/society/literature. As such, the content of this course will not only enhance your understanding of the Indian subcontinent, it will encourage you to think more deeply about your own place and role in a diverse and complex global society. This course is as much about films as it is about books or your writing. All three are crucial components. Throughout the course, you will be expected to read closely, and analyze critically. You will be asked to examine the narrative techniques, rhetorical strategies, and ideological assumptions in different literary and cinematic texts not only to understand the impact these cultural representations may have on their intended audiences but also to formulate your own position in relation to them. As such this course will continue to develop your skills as a critical reader and writer by sensitizing you to the varying demands of audience, tone, diction, and style. Texts: Course Reader : includes critical essays and short stories (available at Maple Press, 481 E. San Carlos; between 10th & 11th next to Subway; ph: 297-1000) Novels: The Home and the World, by Rabindranath Tagore Cracking India by Bapsi Sidhwa Midnights Children by Salman Rushdie The Inheritance of Loss, by Kiran Desai Films: Gandhi, Dir. Richard Attenborough (Hollywood treatment of the birth of India and Pakistan as independent nations) Terrorist Dir. Santosh Sivan (Tamil with English subtitles; female Tamil-Tiger Assassin) Dropping and Adding Students are responsible for understanding the policies and procedures about add/drops, academic renewal, etc.  HYPERLINK "http://info.sjsu.edu/web-dbgen/narr/soc-fall/rec-324.html" Information on add/drops are available at http://info.sjsu.edu/web-dbgen/narr/soc-fall/rec-324.html .  HYPERLINK "http://www.sjsu.edu/sac/advising/latedrops/policy/" Information about late drop is available at http://www.sjsu.edu/sac/advising/latedrops/policy/ . Students should be aware of the current deadlines and penalties for adding and dropping classes. Assignments: (more information will be provided in class) Note: All assignments are due on the dates indicated in the schedule. Unless you get prior permission from me, you will lose one letter grade for every late day. No assignments will be accepted beyond one week from the due date. Reader Response: (250 x 12 = 2800 words) For every major reading assigned, you will turn in a one page Reader Response (RR) in which you will (a) briefly summarize the main arguments/themes in the critical/literary text; 4-5 sentences (b) provide your own critical comments/views; 3-4 sentences (c) raise one or two questions for discussion; 2-3 sentences. Each RR should be no more than one typed page, standard font, standard margins (250 words). You will do 12 RRs in all. You will submit your RR on the day the reading is discussed in class. When a text is scheduled for discussion over multiple days, you have a choice of when to submit your RR. As long as you turn in all your RRs according to schedule, you will get the full points allotted for this assignment. Film Review: (500 words) You will write a short review of ONE of the two films we view. Your review should be addressed to a sophisticated intellectual audience (readers of The New York Times or The New Yorker, for example) but one that is probably unfamiliar with the details of Indian history/culture. Analytical Essay: (750 words) You will write a short essay critically analyzing a major character, theme, symbol or narrative technique in a novel/set of short stories. Make sure you present a clear thesis and support it with textual evidence. Research Paper: (1250 words) You will write a research paper focusing on the intersection between (1) nation and religion OR (2) nation and gender OR (3) nation and caste in three different texts we have studied. Two of these must be novels; the third may be a short story or a film. You will submit your topic & bibliography for final approval on the date indicated in the schedule. In the final draft, you will be expected to incorporate and cite at least five secondary sources in MLA format. Group Project/Presentation: (10-15 minutes per group) You will participate in a group project/presentation. In consultation with the instructor, each group (5-6 people) will select a specific topic relating to South Asia. You will then work together (mainly outside class) during the course of the semester to research the topic and prepare a short presentation for the final day of class. We will mark this final day as India Day and try to make it a fun cultural event complete with costumes, food, music, etc. Grading: Reader Response sheets 20% Film Review 15% Analytical Essay 20% Research paper 25% Group Presentation 20% Extra Credit: [will help if you miss a couple of RRs or are teetering between two grades; view any two of these films outside of class; give me a one-page single-spaced write-up of how the filmss themes relate to those were discussing in class] Fire, Dir. Deepa Mehta (patriarchal domination subverted) Earth, Dir. Deepa Mehta (India/Pakistan Partition, as remembered by young girl in later years) Water, Dir. Deepa Mehta (historic mistreatment of widows in India) Mr. and Mrs. Iyer, Dir. Aparna Sen (intersection of religious sectarian violence and romance) Roja, Dir. Mani Ratnam (south Indian wife rescues husband from Kashmiri terrorists) Bombay, Dir Mani Ratnam (inter-religious romance set against Hindu-Muslim conflict) Indian, Dir. Kamalahasan (story of patriotic patriarch and his fight for India) Hey Ram, Dir. Kamalahasan (story of Hindu fundamentalists attempt to assassinate Gandhi) The Guru Dir. Daisy von Scherler Mayer (comedy; the [sexual] orientalization of immigrants; plays on stereotypes) My Son the Fanatic, Dir. Udayan Prasad based on a book byHanif Kureishi (second generation UK Pakistanis; generational conflict; religious fundamentalism modeling masculinity) The Namesake, Dir. Mira Nair (novel by Jumpa Lahiri, about Indian immigrants in the U.S.) Mystic Masseur, In 1950s Trinidad, a frustrated writer supports himself as a masseur--and soon becomes a revered mystic and politico. My Beautiful Laundrette, interesting take on class and sexuality in Britains immigrant South Asian community, with Daniel Day Lewis. Salaam Bombay, The story of Krishna, Manju, Chillum and the other children on the streets of Bombay. Sometimes they can get a temporary job selling tea, but mostly they have to beg for money and keep out of the way of the police. Very moving. Lagaan. A metaphor for partition of India and Pakistan, resolved through a soccer match against the British. anything by director Satyajit Ray (the most famous Indian filmmaker). en.wikipedia.org/wiki/Satyajit_Ray Class Policies Attendance & Participation: Regular attendance and active participation in class discussions are extremely important. Please arrive on time and stay for the entire class. You are responsible for all materials assigned, presented and discussed. You are encouraged to take notes in class, but you should have studied the materials before class begins. Poor attendance/participation will have negative effects on your final grade. Since most classes will be based on group discussions, presentations and workshops it is crucial for you to keep up with the readings and take an active as well as thoughtful role in all classroom activities. Your questions, comments, insights, and interpretations are valuable no matter how outlandish they may seem. So do speak up! Conferencing: I encourage you to visit me in my office whenever you need to discuss something, whether it is an assignment or any other difficulty you may be having with the structure and format of the class. I am completely open to criticism and suggestions because the only way I can fix things is if I know what is wrong. Submitting work: All work must be turned in on paper during the class period on the date indicated in the schedule; please do not email assignments to me. Unless you have received prior permission from me, assignments will be graded one letter grade lower for each late day. No work will be accepted beyond one week late. In-class work including quizzes and exams cannot be made up except in cases of emergency. All readings are listed against dates they will be discussed in class; so when you come to class you should have already read the materials and be prepared to discuss them. University Policies Academic integrity Students should know that the Universitys  HYPERLINK "http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf" Academic Integrity Policy is availabe at http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf. Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the Universitys integrity policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Student Conduct and Ethical Development. The website for  HYPERLINK "http://www.sa.sjsu.edu/judicial_affairs/index.html" Student Conduct and Ethical Development is available at http://www.sa.sjsu.edu/judicial_affairs/index.html. Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as your own, or the use of another persons ideas without giving proper credit) will result in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the individual student unless otherwise specified. If you would like to include in your assignment any material you have submitted, or plan to submit for another class, please note that 91Թϒs Academic Policy F06-1 requires approval of instructors. Campus Policy in Compliance with the American Disabilities Act If you need course adaptations or accommodations because of a disability, or if you need to make special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities requesting accommodations must register with the DRC (Disability Resource Center) to establish a record of their disability.Student Technology Resources Computer labs for student use are available in the Academic Success Center located on the 1st floor of Clark Hall and on the 2nd floor of the Student Union. Additional computer labs may be available in your department/college. Computers are also available in the Martin Luther King Library. A wide variety of audio-visual equipment is available for student checkout from Media Services located in IRC 112. These items include digital and VHS camcorders, VHS and Beta video players, 16 mm, slide, overhead, DVD, CD, and audiotape players, sound systems, wireless microphones, projection screens and monitors. Student Resources: Learning Assistance Resource Center The Learning Assistance Resource Center (LARC) is located in Room 600 in the Student Services Center. It is designed to assist students in the development of their full academic potential and to motivate them to become self-directed learners. The center provides support services, such as skills assessment, individual or group tutorials, subject advising, learning assistance, summer academic preparation and basic skills development.  HYPERLINK "http://www.sjsu.edu/larc/" The LARC website is located at http:/www.sjsu.edu/larc/. 91Թ Writing Center The 91ԹϠWriting Center is located in Room 126 in Clark Hall. It is staffed by professional instructors and upper-division or graduate-level writing specialists from each of the seven 91Թ colleges. Ourwriting specialistshave met a rigorous GPA requirement, and they are well trained to assist all students at all levels within all disciplines to become better writers. HYPERLINK "http://www.sjsu.edu/writingcenter/about/staff/"The Writing Center website is located at http://www.sjsu.edu/writingcenter/about/staff//. Peer Mentor Center The Peer Mentor Center is located on the 1st floor of Clark Hall in the Academic Success Center. The Peer Mentor Center is staffed with Peer Mentors who excel in helping students manage university life, tackling problems that range from academic challenges to interpersonal struggles. On the road to graduation, Peer Mentors are navigators, offering roadside assistance to peers who feel a bit lost or simply need help mapping out the locations of campus resources. Peer Mentor services are free and available on a drop in basis, no reservation required. The Peer Mentor Center website is located at  HYPERLINK "http://www.sjsu.edu/muse/peermentor/" http://www.sjsu.edu/muse/peermentor/ Tentative Schedule CR: Course Reader Unless otherwise indicated, original text is in English; we will of course read all texts in English translation. 8/25 M Introduction to course 8/27 W Interpreting Others: sanctioned ignorance; learning about/learning from; generalizing and stereotyping The Indian subcontinent: salient aspects of geography, history, culture (first five pages of CR) 9/01 M Challenging Colonialism: Nationalisms and Pan- Nationalisms (Loomba, CR); RR1 9/03 W Challenging Colonialism: Literature and the Nation (Loomba, CP); RR2 9/08 M Challenging Colonialism: Feminism, Nationalism and Postcolonialism (Loomba, CR); RR3 9/10 W The economy of colonial desire (Krishnaswamy, CR); RR4 9/15 M Tagore: Home and the World; (language: Bengali) RR5 9/17 W Tagore: Home and the World; RR5 9/22 M The Nationalist Resolution of the Woman Question (Chatterjee, CR); RR6 9/24 W Gandhi (film; language: English) 9/29 M Gandhi (film) 10/01 W Gandhi (film) 10/06 M Partition Stories: A Leaf in the Storm (Antharjanam, CR; language: Malayalam); Film Review Due 10/08 W Sidhwa: Cracking India; RR7 10/13 M Sidhwa: Cracking India; RR7 10/15 W Sidhwa: Cracking India; RR7 10/20 M Partition Stories: Toba Tek Singh, The Return, The Assignment, The Dutiful Daughter, Bitter Harvest, A Believers Version, Losing Proposition (Sadat Hasan Manto, CR; language: Urdu); RR8 10/22 W Diaspora and Imaginary Homelands; Analytical paper due 10/27 M Rushdie: intro to the author/works 10/29 W Rushdie: Midnights Children; RR9 11/03 M Rushdie: Midnights Children; RR9 11/05 W Rushdie: Midnights Children; RR9 11/10 M Terrorist (film; language: Tamil) 11/12 W Terrorist (film) 11/17 M Terrorist (film); Research Paper Topic/biblio Due 11/19 W Desai: Inheritance of Loss; Film Review Due 11/24 M Desai: Inheritance of Loss; RR10 11/26 W Desai: Inheritance of Loss; RR10 12/01 M Mahashweta Devi, Shishu (CR; 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