UNIVERSITY OF KERALA

Syllabus and Scheme

for

B.A English and Malayalam Literatures

Double Main Programme

(2020 Admission onwards)

 B.A.Double Main English and Malayalam

Instructio
Course Code Name of the Course Credits ESA CA Total
nal Hours

First
Language Course (English):
Language EN 1111.5 5 3 80 20 100
Language Skills
Additional
Language Language Course 2
ML1111.4 5 3 80 20 100
(Malayalam)

Main –I CORE 1
Introduction to Literary Studies I 3 3 80 20 100
ENGLISH EML 1131

CORE 2 Introduction to Literary Studies II

4 3 80 20 100
EML 1132

Main II
MALYALAM FOUNDATION
Foundation COURSE
Course 2 2 80 20 100
EML 1121
informatics

MALYALAM
CORE 1
Core 4 4 80 20 100
EML 1141
Main II CORE 2
MALYALAM EML 1142 2 2 80 20 100
Core

Language Course (English):

First
EN 1211.5 Writings on Contemporary Issues 5 3 80 20 100
Language
Additional
Language Language Course 2
ML1211.4 5 3 80 20 100
(Malayalam) Zriy-I-em-km-lnXyw

Main –I
FOUNDATION
ENGLISH Environmental Studies and Disaster
COURSE 3 3 80 20 100
Management
EML 1221

CORE 3 Popular Literature and Culture

2 2 80 20 100
EML 1231

1
 CORE 4
Art and Literary Aesthetics 3 3 80 20 100
EML 1232
Main II CORE 3
MALAYALAM EML 1241 4 80 20 100
4

CORE 4
3 3 80 20 100
EML 1242

First Language Course (English): English

EN 1311.5 5 3 80 20 100
Language for Career
Main –I
ENGLISH CORE 5
British Literature 5 4 80 20 100
EML 1331

CORE 6
Evolution of the English Language 5 4 80 20 100
EML 1332
Main II CORE 5
MALAYALAM 5 4 80 20 100
EML 1341

CORE 6
5 4 80 20
EML 1342 100

First Language Course (English):

EN 1411.5 5 3 80 20 100
Language Readings in Literature
Main –I
ENGLISH CORE 7
World Literatures 5 4 80 20 100
EML 1431

CORE 8
Narratives of Resistance 5 4 80 20 100
EML 1432
Main II CORE 7
MALAYALAM 5 4 80 20 100
EML 1441

CORE 8
5 4
EML 1442 80 20 100

2
 Main –I
ENGLISH
CORE 9
Translation Studies 5 4 80 20 100
EML 1531

CORE 10
Criticism and Theory 5 4 80 20 100
EML 1532
CORE 11
PROJECT PROJECT 3 2 80 20 100
EML 1533
Main II CORE 9
MALAYALAM 5 4 80 20 100
EML 1541

CORE 10
5 4 80 20 100
EML 1542

OPEN COURSE OPEN

BY ENM 1551.1 80 20 100
COURSE 1
MALAYALAM ENM 1551.2 2 2
EML 1551 ENM 1551.3

Main –I
ENGLISH CORE 12
English for the Media 4 4 80 20 100
EML 1631

CORE 13 Linguistics and Structure of English

4 4 80 20 100
EML 1632 Language
CORE 14 EML
Creative Writing 4 3 80 20 100
1633
Main II CORE 11
MALAYALAM 5 4 80 20 100
EML 1641

CORE 12
5 4 80 20 100
EML 1642

CORE 13
PROJECT- Dissertation 3 2 80 20 100
EML 1643

TOTAL 150 120 3600

3
 B.A Double Main – English and Malayalam Literatures

Language Courses

Semester 1 Course Instruct

Name of the Course ional Credits ESA CA Total
Code Hours

First
Language Course (English): Language
Language EN 1111.5 5 3 80 20 100
Skills
Additional
Language Language Course 2 (Addl. Language I)
ML 1111.4 5 3 80 20 100
(Malayalam)

Semester 2
Language Course (English): Writings on
First
EN 1211.5 Contemporary Issues 5 3 80 20 100
Language
Additional
Language Language Course 4 (Addl. Language II)
ML 1211.4 5 3 80 20 100
(Malayalam)

Semester 3

First Language Course (English): English for

EN 1311.5 5 3 80 20 100
Language Career

Semester 4
First Language Course (English): Readings in
EN 1411.5 5 3 80 20 100
Language Literature

30 18 600
 B.A Double Main – English and Malayalam Literatures
English Main I

Semester 1 Instructi
Course Code Name of the Course onal Credits ESA CA Total
Hours

CORE 1 EML
1131
Introduction to Literary Studies I 3 3 80 20 100

CORE 2 EML
1132
Introduction to Literary Studies II 4 3 80 20 100

Semester 2 FOUNDATION
Environmental Studies and Disaster
COURSE 3 3 80 20 100
EML 1221 Management

CORE 3 EML
1231
Popular Literature and Culture 2 2 80 20 100

CORE 4 EML
1232
Art and Literary Aesthetics 3 3 80 20 100

CORE 5 EML
Semester 3 1331
British Literature 5 4 80 20 100

CORE 6 EML
1332
Evolution of the English Language 5 4 80 20 100

CORE 7 EML
Semester 4 1431
World Literatures 5 4 80 20 100

CORE 8 EML
1432
Narratives of Resistance 5 4 80 20 100

Semester 5
CORE 9 EML
1531
Translation Studies 5 4 80 20 100

CORE 10 EML
1532
Criticism and Theory 5 4 80 20 100
CORE 11
PROJECT PROJECT 3 2 80 20 100
EML 1533
Semester 6 CORE 12 EML
1631
English for the Media 4 4 80 20 100

CORE 13 EML Linguistics and Structure of English

1632
4 4 80 20 100
Language
CORE 14 EML
1633
Creative Writing 4 3 80 20 100
60 51 1500
Malayalam Main II

FOUNDATION
COURSE
Semester 1 2 2 80 20 100
EML 1121

CORE 1
EML 1141 4 4 80 20 100

CORE 2 2 2
EML 1142

Semester 2 CORE 3 4 4 80 20 100

EML 1241
CORE 4 3 3 80 20 100
EML 1242
Semester 3 CORE 5 5 4 80 20 100
EML 1341

CORE 6 5 4 80 20 100
EML 1342
Semester 4 CORE 7 5 4 80 20 100
EML 1441

CORE 8 5 4 80 20 100
EML 1442

Semester 5 CORE 9 5 4 80 20 100

EML 1541

CORE 10 5 4 80 20 100
EML 1542
OPEN EML 1551.1 2 2 80 20 100
COURSE EML 1551.2
EML 1551 EML 1551.3
Semester 6 CORE 11 5 4 80 20 100
EML 1641
CORE 12 5 4 80 20 100
EML 1642

CORE 13 PROJECT- Dissertation 3 2 80 20 100

EML 1643

60 51 11500
 B.A. Double Main English and Malayalam Literatures
Semester I

Course Instructional
Name of the Course Credits ESA CA Total
Code Hours

First
Language EN 1111.5 Language Course (English): Language Skills 5 3 80 20 100

Additional
Language Language Course 2
ML1111.4 5 3 80 20 100
(Malayalam)

Main –I CORE 1
Introduction to Literary Studies I 3 3 80 20 100
ENGLISH EML 1131

CORE 2 Introduction to Literary Studies II

4 3 80 20 100
EML 1132

Main II
FOUNDATION
MALAYALAM COURSE -I
Foundation 2 2 80 20 100
Course by EML 1121
Malayalam
CORE 1
EML 1141 4 4 80 20 100

CORE 2 2 2
80 20 100
EML 1142
TOTAL 25 20 700

1
Semester II

Course Instructional
Name of the Course Hours Credits ESA CA Total
Code
Language Course (English): Writings on
First
EN 1211.5 Contemporary Issues 5 3 80 20 100
Language
Additional Language Course 2
Language ML1211.4 5 3 80 20 100

Main –I FOUNDATION
ENGLISH COURSE II
Environmental Studies and Disaster
Semester 2 3 3 80 20 100
EML 1221 Management

CORE 3 Popular Literature and Culture

2 2 80 20 100
EML 1231

CORE 4
Art and Literary Aesthetics 3 3 80 20 100
EML 1232
Main II CORE 3
MALAYALAM EML 1241 4 80 20 100
4

CORE 4
3 3 80 20 100
EML 1242

TOTAL 25 21 700

2
Semester III

Course Instructional
Name of the Course Hours Credits ESA CA Total
Code

First
EN 1311.5 Language Course (English): English for Career 5 3 80 20 100
Language
Main –I
ENGLISH CORE 5
British Literature 5 4 80 20 100
EML 1331

CORE 6
Evolution of the English Language 5 4 80 20 100
EML 1332
Main II CORE 5
MALAYALAM 5 4 80 20 100
EML 1341

CORE 6
5 4
EML 1342 80 20 100

TOTAL 25 19 500

3
Semester IV

Course Instructional
Name of the Course Hours Credits ESA CA Total
Code

First Language Course (English): Readings in

EN 1411.5 5 3 80 20 100
Language Literature
Main –I
ENGLISH CORE 7
World Literatures 5 4 80 20 100
EML 1431

CORE 8
Narratives of Resistance 5 4 80 20 100
EML 1432
CORE 7
Main II 5 4 80 20 100
MALAYALAM EML 1441

CORE 8
5 4
EML1442 80 20 100

TOTAL 25 19 500

4
Semester V

Course Instructional
Name of the Course Hours Credits ESA CA Total
Code

Main –I CORE 9
Translation Studies 5 4 80 20 100
ENGLISH EML 1531

CORE 10
Criticism and Theory 5 4 80 20 100
EML 1532
CORE 11
PROJECT PROJECT 3 2 80 20 100
EML 1533
CORE 9
Main II 5 4 80 20 100
MALAYALAM EML 1541

CORE 10
5 4 80 20 100
EML 1542

OPEN EML1551.1
COURSE 80 20 100
EML1551.2 2 2
EML1551 EML1551.3

TOTAL 25 20 600

5
Semester VI

Instruct
Course
Name of the Course ional credits ESA CA Total
Code
hrs
Main –I
ENGLISH CORE 12
English for the Media 4 4 80 20 100
EML 1631

CORE 13
Linguistics and Structure of English Language 4 4 80 20 100
EML 1632
CORE 14
Creative Writing 4 3 80 20 100
EML 1633
CORE 11
Main II 5 4 80 20 100
MALAYALAM EML1641

CORE 12
5 4 80 20 100
EML1642

CORE 13
PROJECT- Dissertation 3 2 80 20 100
EML1643

TOTAL 25 21 600

6
 DOUBLE MAIN PROGRAMMES
(2020 Admission onwards)
First Degree programmes
(CBCS System)

ENGLISH (MAIN I)

B.A English and Malayalam Literatures

1
 FIRST DEGREE DOUBLE MAIN PROGRAMME (CBCS System)

ENGLISH (MAIN I)

B.A ENGLISH AND MALAYALAM LITERATURES

(2020 Admission onwards)

SEMESTERS I to VI - COURSE BREAKUP

Sem. Course No. Course Title Instructional Credits

No. Hours
1 EN 1111.5 Language Course 1: Language Skills 5 3
1 Language Course 2: [Additional Language 1] 5 3
1 EML 1131 Core Course 1: Introduction to Literary Studies I 3 3
1 EML 1132 Core Course 2: Introduction to Literary Studies II 4 3
2 EN 1211.5 Language Course 3: Writings on Contemporary 5 3
Issues
2 Language Course 4: [Additional Language 2] 5 3
2 EML 1221 Foundation Course 2: Environmental Studies and 3 3
Disaster Management
2 EML 1231 Core Course 3: Popular Literature and Culture 2 2
2 EML 1232 Core Course 4: Art and Literary Aesthetics 3 3
3 EN 1311.5 Language Course 5: English for Career 5 3
3 EML 1331 Core Course 5: British Literature 5 4
3 EML 1332 Core Course 6: Evolution of the English 5 4
Language
4 EN 1411.5 Language Course 6: Readings in Literature 5 3
4 EML 1431 Core Course 7: World Literatures 5 4
4 EML 1432 Core Course 8: Narratives of Resistance 5 4
5 EML 1531 Core Course 9: Translation Studies 5 4
5 EML 1532 Core Course 10 : Criticism and Theory 5 4
5 EML 1533 Core Course 11 Project 3 2

6 EML 1631 Core Course 12 : English for the Media 4 4

6 EML 1632 Core Course 13 : Linguistics and Structure of 4 4
English Language
EML 1633 Core Course 14: Creative Writing 4 3

2
 Programme Outcome

- PO 1: Imbibe a comprehensive understanding of the two different streams of learning

and their interdisciplinary nature that needs to be addressed and imbibed.
- PO 2: Gain a basic understanding of the realms of knowledge production specific to
the two disciplines and the specific educational philosophy they cater to.
- PO 3: Understand the need to cross over disciplinary border lines to achieve a
multidisciplinary perspective of knowledge production.
- PO 4: Imbibe a research oriented approach to the study of humanities in connection
with the basic understanding of social sciences to initiate a multidisciplinary approach
of study.
- PO 5: Understand the importance of interdisciplinary learning to broaden the subject
knowledge and enhance the skill development as per the global context and
requirement
- PO 6: Imbibe the importance of a multidisciplinary approach to understand the
nuances of literary expressions and vice versa.
- PO 7: Form an awareness of the multiplicities of socio-cultural realities that shape
literary representations and to critique the inherent hegemony.
- PO 8: Address the requirements of the language use in a globalized context
- PO 9: Ensure the importance of language study in relation with the study of language
and literature of the mother tongue
- PO 10: Acquire improved competence in translation and to view the same not only as
a tool for cultural transmission but also as skill acquisition, esp. in the field of media
and translation.
- PO 11: Comprehend the current modes of writings – that which encompasses the
issues of power related to class, caste, race, gender, ethnicity, climate change etc. and
realize the role of literature in inculcating social sensitiveness and responsibilities.
- PO 12: The competence to identify the literary voices of dissent from diverse parts of
the globe and to reflect on the popular culture, literature and everyday resistance.
- PO 13: Gain the basic knowledge of research methodology and other areas related to
the faculty of research.
- PO 14: Imbibe a research oriented approach to the study of humanities in connection
with the basic understanding of social sciences to initiate a multidisciplinary approach
of study.
- PO 15: Contribute to the realm of knowledge production with an increased
intellectual, creative, critical and multidisciplinary capability.

3
 SEMESTER I

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 1: EML 1131 - Introduction to Literary Studies I

No. of Credits: 3 No. of Instructional hours: 3 per week (Total 54 Hours)

Aim To introduce the world of literature

Objectives:

1. Introduce varied literary representations.

2. Familiarize students with the nature and characteristics of literature.
3. Discuss the nature and characteristics of literature.

Course Outcome

CO 1: Introduce varied literary representations.

CO 2: Familiarize students with the nature and characteristics of literature.
CO 3: Discuss the nature and characteristics of literature
CO 4: Introduce two key genres of literature, poetry and drama.
CO 5: Possess a foundational understanding of poetry and drama.

COURSE OUTLINE

Module I Introduction
Art form - Oral-Written- Narrative forms- Poetry- Prose- Literary Fiction- Novel- Novella-
Short Story- Electronic Literature-Popular Literature

1. Swapna Gopinath: “What is Literature?”

https://freereads854632715.wordpress.com/2020/10/04/what-is-literature/
2. Mario Klarer: Chapter 2, ‘Major Genres in Textual Studies’ Section on Poetry and
Drama Pages (27-56) An Introduction to Literary Studies. Routledge, 1999.

Module II Poetry- Forms

What is Poetry? Nature-Characteristics-Poetic Forms-Lyric-Epic-Elegy-Ballad-Ode-Sonnet-
Dramatic Monologue-Narrative Poems-Pastoral-Free Verse-Blank Verse -Haiku -
Performance Poetry-Graphic Poetry
1. Edgar Allen Poe: “Annabel Lee”
https://www.poetryfoundation.org/poems/44885/annabel-lee
2. P.B Shelley: “To a Skylark”
https://www.poetryfoundation.org/poems/45146/to-a-skylark

4
 3. W.H. Auden: “ Stop all the clocks, cut off the telephone”
https://web.cs.dal.ca/~johnston/poetry/stopclocks.html
4. Edna St. Vincent Millay: “I, Being born a Woman and Distressed (Sonnet XLI)”
https://poets.org/poem/i-being-born-woman-and-distressed-sonnet-xli
5. Kae Tempest: “The woman the boy became”
https://kaleidoscopetodd.tumblr.com/post/108439629368/the-woman-the-boy-became
https://www.youtube.com/watch?v=YS7vPjsMsJw
6. Matsuo Basho: “The Old Pond”
https://www.poemhunter.com/poem/the-old-pond/

Module III Glimpses of World Poetry

1. Khalil Gibran: “On Children”

https://poets.org/poem/children-1
2. Pablo Neruda: “Tonight I Can Write the Saddest Lines”
https://www.poemhunter.com/poem/tonight-i-can-write-the-saddest-lines/
3. Mary Elizabeth Frye: “Do not stand at my grave and weep”
https://www.poemhunter.com/poem/do-not-stand-at-my-grave-and-weep/
4. Gabriel Okara: “You Laughed and Laughed and
Laughed”https://theafricanbookreview.com/2014/05/09/you-laughed-and-laughed-
and-laughed-gabriel-okara/
5. WislawaSzymborska: “Possibilities”
https://www.poemhunter.com/poem/possibilities-21/
6. Amrita Pritam: “I will meet you yet again”
http://www.littlemag.com/ghosts/amritapritam.html

Module IV Drama
What is Drama? Nature-Characteristics-Tragedy-Comedy-Tragicomedy-One Act Plays-
Melodrama-Opera-Pantomime-Mime-Ballet

1. Cedric Mount : The Never Never Nest

https://kupdf.net/download/never-never-nest-one-act-
play_5bda8f69e2b6f5b855bfbbc6_pdf
2. SajithaMadathil: Matsyagandhi
Golden Threshold: An Anthology of One Act Plays and Stories. Orient Blackswan,
2013.
3. Henrik Ibsen: A Doll’s House
https://www.gutenberg.org/files/2542/2542-h/2542-h.htm

Recommended Reading

Barnet, Sylvan. Types of Drama Plays and Context.Longman, 2001.

BrillenburgWrth, Kiene and Ann Rigney.The Life of Texts: An Introduction to Literary
Studies. Amsterdam, Amsterdam University Press, 2019.
Carey, John. A Little History of Poetry. United States, Yale University Press, 2020
Casey, Maryrose. Creating Space Contemporary Indigenous Theatre. Brisbane, University of
Queensland Press, 2004

5
Chaudhuri, Rosinka. A History of Indian Poetry in English.Cambridge University Press, 2016
Damrosch, David. What is World Literature?Princeton University Press, 2018
De, Souza, Eunice. Ed. These my Words The Penguin Book of Indian Poetry. Penguin Books,
2012.
Fischer-Lichte, Erika, History of Drama and Theatre, Routledge, 2002.
Frow, John. Genre.UK, Taylor and Francis, 2013.
Greene, Roland, Stephen Cushman and Clare Cavanagh.The Princeton Encyclopedia of
Poetry and Poetics, Fourth Edition. Princeton, Princeton University Press, 2012.
Harper, Michael, S, Antony Walton.The Vintage book of African American Poetry
New York, Knopf Doubleday Publishing Group, 2012.
Hart, Stephen, M. The Cambridge Companion to Latin American Poetry, Cambridge,
Cambridge University Press, 2008.
Hosein , Ann. The History of Theatre. New York, The Rosen Publishing Group, 2015.
Ibsen, Henric, A Doll’s House. Outlook Verlag, 2018.
Klarer, Mario. An Introduction to Literary Studies.UK,Taylor and Francis, 2005.
Lal, Ananda, Theatres of India A Concise Companion.Oxford University Press, 2009.
Mason, Bim. Street Theatre and other Outdoor Performance, Routledge, 1992.
McClatchy, J,D. The Vintage Book of Contemporary World Poetry.New York, Vintage
Books, 1996.
McClatchy, J,D. The Vintage Book of Contemporary American Poetry.New York, Vintage
Books, 2009.
Ricks, Christopher. The Oxford Book of English Verse, Oxford, Oxford University Press,
1999.
Styan, John L, John Louis Styan. The English Stage A History of Drama and Performance.
Cambridge, Cambridge University Press, 1996.
Turner, Palgrave Francis. The Golden Treasury.New York, Steriling Publishing Private
Limited. 2005.
Tayil, Jeet, 60 Indian Poets, London, Penguin Books Limted,2008.

e-resources
https://www.youtube.com/watch?v=sr3nw7CZvO8 (Video of A Doll’s House)
https://www.youtube.com/watch?v=yn2HdrAh-fA (Video of Never Never Nest)
https://www.youtube.com/watch?v=uCYFQvGdvpo&list=PLw835AzeS24O8LphQisApUy_
APpNAG49e&index=14 (Video of Matsyagandhi)
https://pabloneruda.net/#
https://www.kahlilgibran.com/
https://www.poetryfoundation.org/poems/browse#page=1&sort_by=recently_added
https://www.poemhunter.com/
https://www.poetryinternational.org/pi/home
https://www.pitt.edu/~dash/folktexts.html
https://www.gutenberg.org/ebooks/search/?query=poetry&submit_search=Go%21
https://www.gutenberg.org/ebooks/search/?query=Drama&submit_search=Go%21https://ww
w.gutenberg.org/ebooks/search/?query=theatre&submit_search=Go%21
https://www.gutenberg.org/ebooks/search/?query=one+act+plays&submit_search=Go%21

6
 SEMESTER I

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 2: EML 1132 – Introduction to Literary Studies II

No. of Credits: 4 No. of Instructional hours: 3 per week (Total 54 Hours)

Aim Introduce the world of Literature, especially, Fiction and Non-Fiction

Objectives

1. An awareness of diverse literary representations from different time and space

2. Possess a foundational understanding of fiction and non-fiction.
3. Provide an awareness of genre, with emphasis on forms of short fiction, fiction and
non-fiction.
Course Outcome

CO 1: Cultivate a taste for the literary among students

CO 2: Familiarize students with the nature and characteristics of different genres of literature.
CO 3: Introduce two key genres of literature- fiction and non-fiction.
CO 4: Imbibe the representational possibilities of the respective genres.
CO 5: Instil a creative aptitude

COURSE OUTLINE

Module I Short Story

What is a short story? History-Characteristics.

1. Rabindranath Tagore: “Kabuliwala”

http://theanonymouswriter.com/wp-content/uploads/2015/07/Kabuliwala-by-
Rabindranath-Tagore.pdf
2. Hans Christian Anderson: “The Nightingale”
https://www.gutenberg.org/files/27200/27200-h/27200-h.htm#nighting
3. Fyodor Dostoyevsky: “An Honest Thief”
https://www.gutenberg.org/files/40745/40745-h/40745-h.htm#AN_HONEST_THIEF
4. O. Henry : “The Ransom of Red Chief”
https://www.gutenberg.org/files/1595/1595-h/1595-h.htm#8
5. Katherine Mansfield: “The Garden Party”
https://www.gutenberg.org/files/1429/1429-h/1429-h.htm
6. Jamaica Kincaid: “Girl”
https://erhsnyc.org/ourpages/auto/2016/3/14/36191544/Girl%20by%20Jamaica%20Ki
ncaid.pdf
7. Cynthia Ozick: “The Shawl”

7
 https://www.newyorker.com/magazine/1980/05/26/the-shawl
8. Bram Stoker: “Dracula’s Guest”
https://www.gutenberg.org/files/10150/10150-h/10150-h.htm

Module II Novella
History- Characteristics.
1. John Steinbeck : The Pearl
https://www.ptbeach.com/cms/lib02/NJ01000839/Centricity/Domain/211/The-Pearl-
John-Steinbeck.pdf
2. Antoine de Saint-Exupery: Little Prince
https://verse.aasemoon.com/images/f/f5/The_Little_Prince.pdf

Module III Novel

History- Characteristics-Types
1. BibhutibhushanBandhyopadhyay: PatherPanchali
Module IV Non-Fiction
History-Characteristics-Type
1. RamachandraGuha: “The Cities that Shaped Gandhi, the Cities that Gandhi Shaped”
http://ramachandraguha.in/archives/the-cities-that-shaped-gandhi-the-cities-that-
gandhi-shaped-hindustan-times.html
2. Margaret Atwood: “Attitude” (Speech, 1983)
http://www.humanity.org/voices/commencements/margaret-atwood-university-
toronto-speech-1983
3. Yuval Noah Harari: “A Day in the Life of Adam and Eve” from Sapiens: A Brief
History of Humankind

Recommended Reading

Anjaria, Ulka. A History of Indian Novel in English, New York, Cambridge University Press,
2015.
Bandopadhyay, Bibhutibhushan.PatherPanchali..Penguin Random House India Private
Lmited. 2019.
Casserto, Leonrd and Benjamin Reiss.The Cambridge History of American Novel. Cambridge
University Press, 2011
GeirFarner. Literary Fiction.Bloomsburry. 2014
Machiavelli, Niccolo. The Prince.Dante University Press, 2003.
Moretti, Franco. Atlas of the European Novel 1800-1900. London, Verso, 1998.
Noah Harari, Yuval. Sapiens: A Brief History of Humankind 2014
---, Yuval, Homo Deus: A Brief History of Tomorrow 2016
Quayson, Ato. The Cambridge Companion to the Postcolonial Novel.CUP. 2016.
Roy, Rituparna. SouthAsianPartition Fiction in English, From Khushwant Singh to
AmitavGhosh.Amsterdam UP.2010.
Saunders Smith, Gail. Non-Fiction Text Structures for better Comprehension and Response.
Gainesville, Maupin House, 2009.
Schwarz, Daniel R. Reading the Modern European Novel Since 1900. Wiley Blackwell 2018.
Steinbeck, John. The Pearl.Penguin, 1992.

8
Tickell, Alex. South-Asian Fiction in English, Contemporary Transformations. UK, Palgrave
Macmillan, 2016.
e-resources

https://www.nobelprize.org/prizes/lists/all-nobel-prizes-in-literature/
https://www.thebalancecareers.com/the-man-booker-prize-winners-1968-to-present-2799885
https://www.abebooks.com/books/50-essential-non-fiction-books/index.shtml
https://www.theguardian.com/books/series/100-best-nonfiction-books-of-all-time
https://www.gutenberg.org/ebooks/search/?query=novels&submit_search=Go%21
https://www.gutenberg.org/ebooks/search/?query=short+stories&submit_search=Go%21
https://encyclopedia.ushmm.org/content/en/project/the-holocaust-a-learning-site-for-students
https://www.holocaust.com.au/resources/websites/
https://www.history.com/topics/world-war-ii/the-holocaust
http://margaretatwood.ca/
https://dostoevsky.org/
https://www.tagoreweb.in/
http://ramachandraguha.in/
https://www.ynharari.com/

9
 SEMESTER II
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Foundation Course 2: EML 1221 – Environmental Studies and Disaster Management

No. of Credits: 3 No. of Instructional hours: 3 per week (Total 54 Hours)

Aim: Engage with a wide range of issues in environmental studies and disaster management
and acquire a set of values for environmental protection and conservation

Objectives:
1. The learners recognize the ecological basis for regional and global environmental
issues
2. Manage natural disasters and other emergency situations
3. Develop a critical vocabulary related to environmental studies and disaster
management

Course Outcome:
CO 1: Understand environmental crises and disaster management situations
CO 2: Take lead in spreading environmental values and creating awareness among the
public
CO 3: Understand local environmental issues better
CO 4: Respond in a better way to a natural calamity or disaster
CO 5: Articulate environmental concerns using appropriate vocabulary

Course Description

Module 1
Understanding the Environment
Introduction: Environment-its importance-types of ecosystems
“Chief Seattle’s Speech”
“The Religion of Forest” (An Essay by Rabindranath Tagore)
“Trophic Cascade” (A poem by Camille T. Dungy)

A Glossary of relevant key concepts with examples

Comprehension Questions

Module 2
Resources and their Conservation

10
Introduction: Natural Resources-biodiversity- conservation
An extract from The Silent Spring (A book by Rachel Carson)
On Killing a Tree (A poem by Gieve Patel)
The Inheritors of the Earth (A translation of Short Story by Vaikom Muhammed
Basheer)

A Glossary of related Key Concepts with examples

Comprehension Questions

Module 3
Environmental Pollution
Introduction: Types-Causes-Effects-Waste management-Policies and practices
Beat Plastic Pollution (An article from unenvironment.org)
“Memory of Hiroshima” (A poem by K. Satchidanandan )
E is for E-waste (Ellen Banda-Aaku)

A Glossary of Related Key Concepts with examples

Comprehension Questions

Module 4
Disaster Management
Introduction: Natural and Man-made- health emergency- handling hazardous materials-
managing personal disasters- bomb threats- disasterpreparedness-management-rehabilitation
An introductory essay on Disaster Management
The Truth about the Floods (A poem by Nissim Ezekiel)
An extract from Chapter 1 of Patna Blues by Abdullah Khan (Juggernaut Books)
A newsletter on Bhopal Gas Tragedy
Laboratory safety manual
‘Relief Standard Operating Procedure for Natural & Man-made disaster,’ an essay.

A Glossary of related Key Concepts with interesting examples

Comprehension Questions

Project report (10 Marks)

Students are expected to prepare a project report based on any one of the activities
suggested below. General guidelines will be provided for preparing the Project Report.
1. Visit to a local area to document environmental assets: River/Forest/Grassland/Hill
2. Visit to a local polluted site: Urban/Rural/Industrial/Agricultural
3. Study of simple ecosystems: Pond/River/Hill slopes
4. Mock drill organized in their college by the local disaster management agencies

11
 Model Question Paper
No questions should be asked from Additional/ Suggested Reading

Total marks: 80 Time: 3 hours

Part One
10 questions to be answered, each in a word or sentence.(10 x 1=10marks)

Part Two
Eight questions to be answered from a total of 12 and to be written in not more than 50
words. (8 x 2= 16marks)

Part Three
Six questions to be answered from a total of 9 and to be written in around 100 words. (6 x 4
= 24marks)

Part Four
Two questions to be answered out of four and to be written in not less than 300 words.
(2 x 15= 30marks)

Text Book Prescribed:

Ecoscapes

Edited by Dr Kishore Ram, Assistant Professor, Department of English, N.S.S College,

Kottiyam, Dr Gireesh J., Assistant Professor, Department of English, Govt. B.J.M College,
Chavara, Kollam, Dr. Ranjith Krishnan K.R., Assistant Professor, Department of English,
N.S.S College, Kottiyam and Dr Deepa Prasad L. Assistant Professor, Research Centre and
Department of English, University College, Thiruvananthapuram

Publishers: Emerald

Suggested Reading

1. Bharucha, Erach.The Biodiversity of India. Mapin Publishing Pvt. Ltd. Ahmedabad, 2003.
2. Brunner, R C. Hazardous Waste Incineration. McGraw Hill Inc,1989.
3. Clark, R S. Marine Pollution. Clanderson Press, Oxford, 2008.
4. Cunningham, W P. Environmental Encyclopaedia. Jaico Publishing House, Mumbai, 2001.
5. Hawkins, R. E .Encyclopedia of Indian Natural History, Bombay Natural History Society,
Bombay, 2005.
6. Heywood V.H. and Watson RT, Global Biodiversity Assessment. Cambridge University
Press.1995.

12
7. Jadhav H and Bhosale V.M. Environmental Protection and Laws. Himalaya Publishing
House, Delhi, 1995.
8. Odum EP. Fundamentals of Ecology. WB Saunders Co. USA, 1971.
9. Bumgarner, Jeffrey B. Emergency Management: A Reference Handbook. ABC-Clio, 2008.
10. Birkland, Thomas A. Lessons of Disaster: Policy Change after Catastrophic
Events.Georgetown UP, 2006.
11. Cahill, Kevin M. Emergency Relief Operations. Fordham UP, 2003.

13
 SEMESTER II

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 3: EML 1231 – Popular Literature and Culture

No. of Credits: 2 No. of Instructional hours: 2 per week (Total 36 Hours)

Aim To broaden the idea of literature and the concept of texts

Objectives

1. Sensitize students to the ways in which popular fiction reflects and engages with
questions of gender, identity, ethics and education.
2. Encourage the student to think critically about popular literature
3. Help distinguish between artistic literature and popular literature

Course Outcome

CO 1: Encourage the learners to think critically about popular literature

CO 2: Understand the categories of the “popular” and the “canonical”
CO 3: Identify the conventions, formulas, themes and styles of popular genres such
as fairy tales, detective fiction, science fiction, fantasy, children’s literature, and
comics.
CO 4: Assessment of the literary and cultural value of popular texts
CO 5: Sensitize the learners to the ways in which popular fiction reflects and
engages with questions of gender, identity, ethics and education.

COURSE OUTLINE

Module I: Popular Literature and Culture – a brief overview

Popular literature– ‘literature of the people’- origins and development– characteristic

features-various literary genres and subgenres of popular literature - folk tales, fairy tales,
ballads, romances, periodicals, detective fiction, sci-fi, fantasy, horror, children’s literature,
cartoon/comic strips, comics, chick lit, best sellers, magazines, graphic novels, creative non-
fiction- memoirs-social media posts-blog posts
Popular culture- entertainment value- dance-music- art- television shows
Suggested texts for reference

14
1. Video lecture on “What is Popular Literature?” https://youtu.be/tHra0zBJIWA
2. Tim Delany's article "Pop Culture: An Overview," published in Philosophy Now, issue 64,
2007. https://philosophynow.org/issues/64/Pop_Culture_An_Overview
Module II: Short fiction and Verse

1. “The Shoes That Were Danced to Pieces” by Jacob and Wilhelm Grimm (fairy tale)
https://www.pitt.edu/~dash/grimm133.html
2 .Bob Dylan – “Blowin’ in the Wind” (song) http://www.bobdylan.com/songs/blowin-wind/
(verses) https://youtu.be/G58XWF6B3AA (song)

Module III: Novels

1. Anuja Chauhan – The Zoya Factor (Westland, 2016)

2. J.K. Rowling –Harry Potter and the Philosopher’s Stone (Bloomsbury 1997)

Module IV: Creative non-fiction

1. “Asian Pears and Red Azaleas”, by Gwen Francis-Williams

https://www.hippocampusmagazine.com/2016/09/asian-pears-and-red-azaleas-by-gwen-
francis-williams/

Recommended Reading

Fiske, John. Understanding Popular Culture.Routledge, 1989.https://b-

ok.asia/book/2325886/beecba/?wrongHash
Inge, M. Thomas Comics as Culture. UP Mississippi 1990
Sabin, Roger Comics, Comix and Graphic Novels London: Phaidon Press, 1996
https://www.britannica.com/art/popular-literature
https://literariness.org/

15
 SEMESTER II

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 4: EML 1232 - Art and Literary Aesthetics

No. of Credits: 3 No. of Instructional hours: 3 per week (Total 54 Hours)

Aim Introduce the multidisciplinarity of Art and Literary Studies

Objectives:

1. Gain an understanding of various movements in art history and how they relate to
literature
2. Engage with works of art that directly refer to literary works and also draw inspiration
from art
3. Recognize how all forms of art are part of a continuum.

Course Outcome

CO 1: engage with literature in a broader, educated perspective.

CO 2: think with greater originality and independence about the complex
interrelationship between different art forms.
CO 3: engage sensitively and intelligently with new readings of literature.
CO 4: develop an understanding of the co-relation between literature, film, music and
painting and encourages ways of reading and seeing which deliver insights into
literary texts.
CO 5: initiate students to implement the multidisciplinary scope of art and literary
studies.

Course Outline

[Instruction to the Teachers: This course is designed to draw out the relationships between
art movements and literature. In the first two modules, the texts/pieces have been chosen to
be representative of the various time periods in which these movements originated, so a
comparative study of both the paintings, films and the literary works is recommended. The
third module discusses music as literary text and the various ways in which this is
manifested.]

Module I
Literature and Visual Arts - I
1. Essay: Herbert Read – extract from The Meaning of Art (17-48) Pelican Books, 1959.

16
 (https://plunderingtroops.files.wordpress.com/2012/05/herbert-read-the-meaning-of-
art.pdf)
2. Romanticism:
● Delacroix – Liberty Leading the People (painting)
https://www.khanacademy.org/humanities/ap-art-history/later-europe-
and-americas/enlightenment-revolution/a/delacroix-liberty-leading

● Coleridge – “Destruction of the Bastille” (poem)

http://triggs.djvu.org/djvu-editions.com/COLERIDGE/POEMS/Download.pdf
3. Pre-Raphaelite Movement:
● D.G. Rossetti – Proserpine (painting)
https://www.khanacademy.org/humanities/becoming-
modern/victorian-art-architecture/pre-raphaelites/a/rossetti-proserpine

● D.G. Rossetti – “Proserpine” (poem)

● http://www.victorianweb.org/painting/dgr/drawings/5.html

4. Post-Impressionism
● Amrita Sher-gil – Ancient Story Teller
(painting)https://www.indiapicks.com/Indianart/Main/Amrita_Gallery.
htm

● Virginia Woolf – The Waves (novel)

http://gutenberg.net.au/ebooks02/0201091h.html

Module II
Literature and Visual Arts - II
1. Expressionism
● Munch - The Scream / Kahlo – Self Portrait with Thorn (paintings)
https://www.pinterest.de/pin/525162006534163564/?nic_v2=1a2KHhnuH

● The Cabinet of Dr Caligari. Directed byRobert Wiene and performances by

Werner Krauss, director’s cut, Decla-Bioscop,
1920.https://www.youtube.com/watch?v=IP0KB2XC29o

2. Cubism/Surrealism:
● Picasso - Guernica (painting)
https://www.pablopicasso.org/images/paintings/guernica3.jpg

● Max Weber- “Eye Moment” (poem)

https://heiup.uniheidelberg.de/journals/index.php/transcultural/article/view/23509/
17361 (From the online article- “The Reception of Max Weber’s Cubist Poems
(1914) in Taishō Japan”)

● AiméCésaire – “The Woman and the Flame” (poem)

https://poets.org/poem/woman-and-flame

17
 ● Salvador Dali, Walt Disney Pictures – Destino (short film)
https://www.youtube.com/watch?v=y_TlaxmOKqs

3. Postmodernism
● Banksy - Love is in the Air (Flower Thrower)
https://hexagongallery.com/catalog/artist/banksy/love-is-in-the-air/

● Katsuhiro Otomo – Akira (film)

https://m.youtube.com/watch?v=hcZ3Id6Wz5k

Module III
Literature, Music and Performing Arts
1. Essay: T. M. Krishna – “A Culture that Dominates is No Culture At All” (Ramon
Magsaysay Address)
https://thewire.in/rights/tm-krishna-magsaysay-award-speech
https://www.youtube.com/watch?v=IfR3OddYVBY

2. Poetry and Music: poems put to music:

● Text: “The Lady of Shalott” (poem Tennyson)

https://www.poetryfoundation.org/poems/45359/the-lady-of-shalott-1832

● “The Lady of Shalott” (pop music LoreenaMcKennit)

https://www.youtube.com/watch?v=80-kp6RDl94

3. Music as Resistance

● Billie Holiday – “Strange Fruit” (Jazz, Harlem Renaissance)

https://www.youtube.com/watch?v=Web007rzSOI)

● Langston Hughes- “Harlem” (Harlem Renaissance)

https://www.poetryfoundation.org/poems/46548/harlem

4. Music as Text:

● “The 1975 – 1975” (Greta Thunberg’s speeches on the climate crisis set to music)
https://www.youtube.com/watch?v=4fwEG8XK1uU

● Lin Manuel Miranda – “My Shot” (from Hamilton) (From a Broadway musical
about the American founding fathers in rap form)
https://www.youtube.com/watch?v=Ic7NqP_YGlg

5. Music in Fiction and Drama:

● “Do You Hear the People Sing” (from Les Miserables)

18
 https://www.youtube.com/watch?v=K5PzJhU8iI0

● The Willow Song” from Othello

https://www.youtube.com/watch?v=7RDAM14EPfs

6. Music, Dance, Literature

● Isadora Duncan – “The Dancer of the Future” (essay)

https://mccc.edu/pdf/vpa228/the%20dancer%20of%20the%20future%20-
%20duncan.pdf

Recommended Reading
e-resources
Astor, Dave. Music in Literature. 2 Apr. 2013. www.huffpost.com/entry/music-in-
literature_b_2590404 .
Benjamin, Elizabeth and Sophie Corser. “INTRODUCTION Literature and Art:
Conversations and Collaborations” MHRA Working Papers in the Humanities, 9 (2015)
http://www.mhra.org.uk/pdf/wph-9-1.pdf
Berger, John. Ways of Seeing. Penguin 1972.http://waysofseeingwaysofseeing.com/ways-of-
seeing-john-berger-5.7.pdf
Eugene O’Neill – The Hairy Ape (play)
https://www.gutenberg.org/files/4015/4015-h/4015-h.htm
Fornäs, Johan. “The Words of Music”, Popular Music and Society, (26), 1. 2003. 37-51
https://core.ac.uk/download/pdf/192601065.pdf
Kafka – “Metamorphosis (novella)”
https://www.planetebook.com/free-ebooks/the-metamorphosis.pdf
Pater, Walter. The Renaissance: Studies in Art and Poetry. London: Macmillan, and Co,
1910. http://www.gutenberg.org/files/2398/2398-h/2398-h.htm
Syjuco, Miguel. “Art and literature are vital to democracy - here’s why” Agenda World
Economic Forum May 2017. https://www.weforum.org/agenda/2017/05/literature-and-
creative-writing-are-vital-to-democracy-here-s-why/
All About the Hamiltons. https://www.newyorker.com/magazine/2015/02/09/hamiltons

19
 SEMESTER III

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 5: EML 1331 - British Literature

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Introduce students to British literature

Objectives

1. Familiarise the historical phases of English literature

2. Provide glimpses of writers and literary texts that are pivotal to an understanding of
British literature
3. Discuss the development of British literature across time from Pre-Elizabethan to
Restoration Era
Course Outcome

CO 1: Comprehend the origins of English literature

CO 2: Understand the specific features of the particular periods
CO 3: Understand themes, structure and style adopted by early British writers
CO 4: Gain knowledge of growth and development of British Literature in relation to
the historical developments
CO 5: Understand how writers use language and creativity to capture human
experience through different literary forms

Module I: Old English Literature

Anglosaxon literature—Bede, Beowulf, King Alfred – Norman Conquest—Ballads—Fall of

Constantinople—English Renaissance—Humanism—Reformation—Printing Press,
Caxton—Chaucer, Langland—Mystery Plays, Miracle Plays, Morality Plays, Interlude—
Thomas More

1. General Prologue, The Canterbury Tales– Introduction- Lines 1-31

2. Deor’s Lament
http://www.thehypertexts.com/Deor's%20Lament%20Translation.htm

Module II: Elizabethan Age

Gorboduc—Ralph Roister Doister—Tottel's Miscellany—University Wits—Sidney, Spenser,

Kyd, Marlowe—Bacon—Ben Jonson- Elizabethan Theatre—Opening of Globe Theatre—

20
Authorized version of The Bible—Beaumont and Fletcher—Webster—Donne and
Metaphysical Poetry

1. Spenser- “Sonnet 30” (from Amoretti)

www.poetryfoundation.org
2. Extract from Dr Faustus- Apostrophe to Helen
https://www.gutenberg.org/files/779/779-h/779-h.htm
3.Bacon’s essay - Of Studies
http://www.authorama.com/essays-of-francis-bacon-50.html
4. Isabella Whitney: “A Sweet Nosegay, or Pleasant Poesy, Containing a Hundred and
Ten Philosophical Flowers”
https://www.poetryfoundation.org/poems/45994/a-sweet-nosegay-or-pleasant-poesy-
cont
5. Death, Be not Proud (Holy Sonnet 10) - John Donne
https://www.poetryfoundation.org/poems/44107/holy-sonnets-death-be-not-proud
6. Shakespeare: Romeo and Juliet
http://shakespeare.mit.edu

Module III: Puritan Age and Restoration Age

Milton—Bunyan—Civil War—Closing of Theatre—Cromwell—End of Commonwealth—

Restoration of Monarchy—Opening of Theatres—Wycherley, Congreve, Etheridge—
Glorious Revolution– Age of prose and reason– Critical/literary essay – Sentimental Comedy
- anti-sentimental comedy –heroic drama - Neoclassical poetry- Transitional Poets –
Periodical essay – Rise of the English novel – Fielding, Richardson, Sterne and Smollett

1. John Milton- Extract from Book 9 (Paradise Lost) - The Fall of Man – Lines 850-
1055
https://rpo.library.utoronto.ca/poems/paradise-lost-book-ix
2. John Dryden- “A Song for St. Cecilia's Day, 1687”
https://www.poetryfoundation.org/poems/44185/a-song-for-st-cecilias-day-1687
3. William Congreve- Proviso scene (Act 4, Scene 5) from The Way of the World
https://www.gutenberg.org/files/1292/1292-h/1292-h.htm
4. Robert Burns--A Red, Red Rose
https://www.poetryfoundation.org/poems/43812/a-red-red-rose
5. Elizabeth Carter: “Written Extempore on the Sea Shore”
https://www.eighteenthcenturypoetry.org/works/o4984-w0350.shtml

6. Richard Steele – “The Spectator Club”

(https://www.bartleby.com/27/7.html)

Module IV: Romantic Age and Victorian Age

21
French Revolution – Romantic Revival – first and younger generations of Romantics -
Lyrical Ballads – familiar/personal essay – Lamb, Hazlitt, De Quincey - fiction in the
Romantic age– Walter Scott, Jane Austen- Victorian poets – Pre-Raphaelite Poetry -
Victorian prose writers – Victorian compromise - Victorian novelists – Women novelists

1. William Blake – “The Chimney Sweeper”

https://www.poetryfoundation.org/poems/43654/the-chimney-sweeper-when-my-
mother-died-i-was-very-young
2. William Wordsworth – “Composed Upon Westminster Bridge”
https://www.poetryfoundation.org/poems/45514/composed-upon-westminster-bridge-
september-3-1802
3. John Keats – “To Autumn”
https://www.poetryfoundation.org/poems/44484/to-autumn
4. Charles Lamb – “Dream Children, a Reverie”
http://essays.quotidiana.org/lamb/dream_children_a_reverie/
5. Jane Austen – Pride and Prejudice
https://www.gutenberg.org/files/1342/1342-h/1342-h.htm
6. Elizabeth Barrett Browning – “If thou must love me…” (Sonnet 14)
https://www.poetryfoundation.org/poems/45992/to-her-sister-mistress-a-b)
7. Matthew Arnold-- “Dover Beach”
https://www.poetryfoundation.org/poems/43588/dover-beach
8. Charles Dickens – “The Haunted House”
https://www.dickens-online.info/the-haunted-house.html

Recommended Reading

Alexander, Michael .A History of English Literature. Macmillan. 2013

Armstrong, Isobel. Victorian Poetry: Poetry, Poets and Politics. Routledge, 1996.

Ashok, Padmaja. The Social History of England. Orient Black Swan 2011.

Baugh, A.C. A History of English Literature.Routledge. 2013.

Boitani, Piero. Jill Mann(ed). The Cambridge Companion to Chaucer.CUP. 2003

Carter, Ronald, John McRay. The Routledge History of Literature in English.Routledge,

2017.

Chaucer, Geoffrey. The Canterbury Tales.Trans. Neville Coghill.Penguin, 2003.

Christopher Ricks, ed., English Poetry and Prose 1540-1674. Sphere, 1986.

Daiches, David. A Critical History of English Literature, Vol. 3, Allied Publishers. 1979

22
Laurel Amtower, Engaging Words: The Culture of Reading in the Later Middle Ages.

Macmillan, 2002.

McLane, M. The Cambridge Companion to British Romantic Poetry. J Chandler, Ed.

Cambridge: Cambridge U P, 2008.

Myers F W H and A C Bradley.The Complete Works of William Wordsworth.Imagination

Books. 2018.

Peck, John, Martin Coyle. A Brief History of English literature. Palgrave 2003

Poplawski, Paul. English Literature in Context. CUP.1993

Radhakumari, K. A ConciseHistory of English Literature and Language. New Delhi: Primus,

2013.

Thornley G C and Gwyneth Roberts.An Outline of English Literature.Pearson, 2011.

Wordsworth, Jonathan. The Penguin Book of Romantic Poetry.Penguin Classics,2005.

e-resources

Literariness.org
https://ebookcentral.proquest.com/
https://library.baypath.edu/english-and-literature-web-sites
https://www.gutenberg.org/ebooks/search/?query=shakespeare&submit_search=Go%21
https://www.gutenberg.org/ebooks/search/?query=chaucer&submit_search=Go%21
http://www.literature-study-online.com/resources/#historical
http://www.universalteacher.org.uk/lit/history.htm
https://www.britannica.com/art/English-literature/Elizabethan-poetry-and-prose
https://www.encyclopedia.com/humanities/culture-magazines/restoration-literature-england
https://chaucer.fas.harvard.edu/
https://chaucer.fas.harvard.edu/pages/Synopses-Prolegomena
http://www.dartmouth.edu/~milton/reading_room/contents/text.shtml
https://www.gutenberg.org/files/29854/29854-h/29854-h.htm (Aphra Behn)

23
http://www.mindfulteachers.org/2013/05/women-writers-at-time-of-shakespeare-e.html
https://internetshakespeare.uvic.ca/Library/SLT/literature/women%20writers/morewomen.ht
ml
http://www.victorianweb.org/previctorian/nc/ncintro.html
https://www.britannica.com/art/Romanticism
https://www.bl.uk/romantics-and-victorians/articles/the-romantics
https://www.gutenberg.org/files/36773/36773-h/36773-h.htm
https://www.gutenberg.org/files/9622/9622-h/9622-h.htm
https://www.gutenberg.org/ebooks/search/?query=wordsworth&submit_search=Go%21
https://library.unt.edu/rarebooks/exhibits/women/17th.htm

24
 SEMESTER III

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH ANDMALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 6: EML 1332 - Evolution of the English Language

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Study the historical development of the English Language to the present

Objectives

1. Demonstrate a thorough understanding of the diachronic development of the English

language down the ages.
2. Sensitize students to the changes that have shaped English
3. Enable understanding of the growth of English into a global language

Course Outcome

CO 1: Knowledge of the paradigm shifts in the development of English.

CO 2: Well aware of the historical paradigm shifts in the history of English Language
CO 3: Imbibe the plural socio cultural factors that went in to the shaping of the
English Language.
CO 4: Place English language in a global context.
CO 5: Recognize the politics of many ‘Englishes’

COURSE OUTLINE
Module I
Language families – Indo-European family – Germanic group – Consonant shift – Descent of
English – Old English and its features – Grimm’s law - Verner’s law – Umlaut and Ablaut -
Dialects of OE – Celtic, Latin and Scandinavian influences

Module II
Norman Conquest – French influence – Middle English – Decay of inflections – Loss of
grammatical gender – Impact of the Bible Translations – Contributions of Chaucer to English
– Rise of Standard English

25
 Module III:

Modern English – Contributions of Spenser, Shakespeare and Milton to English –Changes in

pronunciation (Great Vowel Shift) – Spelling reform – Dr. Johnson’s dictionary – Evolution
of English as a Global Language

Module IV:
Semantic changes in English - Word formation – Growth of vocabulary –- Various Englishes
– Digital English

Recommended Reading
Barber C.L. The Story of Language. Pan Books. 1972.
---, The English Language, A Historical Introduction. CUP,1993.
Baugh, Albert C, Thomas Cable. A History of the English Language.Taylor and Francis,
1993.
Crystal, David. The Stories of English.Penguin, 2005.
Wood, Frederick T. An Outline History of English Language.Macmillan, 2000.

e-resources
“English language” https://www.britannica.com/topic/English-language
“The History of English” https://www.thehistoryofenglish.com/index.html
“Studying the History of English” http://www.uni-due.de/SHE/index.html
“History of the English Language”
https://en.wikipedia.org/wiki/History_of_the_English_language
“History of English” https://www.englishclub.com/history-of-english/

26
 SEMESTER IV

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 7: EML 1431 – World Literatures

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Understand the diversity of cultures and the commonalities of human experience in
the literature of the world.

Objectives
1. Expand the student’s knowledge of new genres in the area
2. Help students contextualise the contemporary English studies
3. Trace the concerns literatures across the world in the late 20th century to a digital
21st Century

Course Outcome
CO 1: Learners are introduced to varied socio-cultural and political experiences and
expressions
CO 2: Learners get acquainted with varied socio-cultural and political experiences
and expressions.
CO 3: Gain a theoretical grounding to read literatures in English from different
regions and accept the fact that world literature is literature that gains in translation.
CO 4: Learn to avoid homogenising cultures and languages and protect the diversity
of languages and cultures present in literary works.
CO 5: Recognise that world literature has a readership and an impact beyond its
original language and cultural area.

COURSE OUTLINE:

Module I: Poetry
1. Vikram Seth- “The Tale of Melon City” https://genius.com/Vikram-seth-the-tale-of-
melon-city-annotated
2. Mahmoud Darwish-. “To Our Land”
https://www.poetryfoundation.org/poems/52554/to-our-land-56d2311d9f3ad
3. Rigoberto González- “Other Fugitives And Other Strangers”
https://www.poetryfoundation.org/poems/51573/other-fugitives-and-other-strangers

27
 4. Simon Armitage- “Chainsaw Versus the Pampas Grass”
https://genius.com/Simon-armitage-chainsaw-versus-the-pampas-grass-annotated
5. YahudaAmichai- “And We Shall Not Get Excited”
https://www.poemhunter.com/i/ebooks/pdf/yehuda_amichai_2004_9.pdf
6. Jerome Sala- What is a Corporation?
https://nyq.org/books/preview/9781630450434.pdf

Module II: Fiction

1. Naguib Mahfouz- Midaq Alley (1947)

https://faculty.sfsu.edu/sites/default/files/faculty_files/1203/Class/115pdf/Mahfouz%2
C%20Naguib%20-%20Midaq%20Alley-1.pdf
2. Kazou Ishiguro. Never Let Me Go.
Ishiguro, Kazuo. Never Let Me Go. Faber, 2006.
3. JokhaAlharti- Celestial Bodies (2010).JokhaAlharti. Celestial Bodies.Marilyn Booth,
Tr. Catapult, 2019.

Module III: Drama

1. Mary Zimmerman - Metamorphoses (1996)
Zimmerman,Mary.Metamorphoses.North Western University Press. 1996.
2. Nilo Cruz- Anna in the Tropics (1996)
https://www.york.cuny.edu/Members/tamrhein/Anna%20Script%20and%20Notes.pdf
/@@download/file/Anna%20Script%20and%20Notes.pdf

Module IV: Hybrid Texts

1. OrijitSen- The River of Stories (1994)
https://archive.org/details/TheRiverOfStoriesPart1OrijitSen/page/n9/mode/2up
2. SamhitaArni&Moyna Chit. Sita’s Ramayana. Tara Books, 2011.
3. BhanuKapil. Ban en Banlieue. Night Boat Books, 2015.

Recommended Reading

Boruszko, Graciela, and Steven Tötösy de Zepetnek, eds. “New Work about World
Literatures”.SpecialIssue.CLCWeb: Comparative Literature and Culture 15.6. 2013.
Casanova, Pascale. The World Republic of Letters. Tr. M. B. DeBevoise. Cambridge:
Harvard UP, 2004.
Damrosch, David. How to Read World Literature. London: Blackwell, 2009.
Damrosch, David. What Is World Literature? Princeton: Princeton University Press, 2003.
Damrosch, David, April Alliston, Marshall Brown, Page duBois, Sabry Hafez, Ursula K.
Heise, DjelalKadir, David L. Pike, Sheldon Pollock, Bruce Robbins, HaruoShirane, Jane

28
Tylus, and Pauline Yu, eds. The Longman Anthology of World Literature. New York:
Pearson Longman, 2009. 6 Vols.
Davis, Paul, John F. Crawford, Gary Harrison, David M. Johnson, and Patricia Clark Smith,
eds. The Bedford Anthology of World Literature. New York: Bedford/St. Martin's, 2004. 6
Vols.
D'haen, Theo. The Routledge Concise History of World Literature. London: Routledge, 2011.
D'haen, Theo, David Damrosch, and DjelalKadir, eds. The Routledge Companion to World
Literature. London: Routledge, 2011.
D'haen, Theo, César Domínguez, and MadsRosendahl Thomsen, eds. World Literature: A
Reader. London: Routledge, 2012.
Domínguez, César. “GualterioEscoto: A Writer across World-Literatures”. Translation and
World Literature.Ed. Susan Bassnett. London: Routledge, 2019. 75-91.
Hashmi, Alamgir. The Commonwealth, Comparative Literature, and the World. Islamabad:
Indus Books, 1988.
Juvan, Marko, ed. “World Literatures from the Nineteenth to the Twenty-first Century”.
Special Issue CLCWeb: Comparative Literature and Culture 15.5 (2013)
Juvan, Marko. Worlding a Peripheral Literature. Singapore: Palgrave Macmillan, 2019.
doi:10.1007/978-981-32-9405-9.
Lawall, Sarah, ed. Reading World Literature: Theory, History, Practice. Austin: University
of Texas Press, 1994.
Pizer, John. The Idea of World Literature: History and Pedagogical Practice. Baton Rouge:
Louisiana State University Press, 2006.
Prendergast, Christopher, ed. Debating World Literature. London: Verso, 2004.
Puchner, Martin, Suzanne Conklin Akbari, WiebkeDenecke, VinayDharwadker, Barbara
Fuchs, Caroline Levine, Sarah Lawall, Pericles Lewis, and Emily Wilson, eds. The Norton
Anthology of World Literature. New York: W. W. Norton, 2012. 6 Vols.
Rothenberg, Jerome, and Pierre Joris, eds. Poems for the Millennium: A Global Anthology.
Berkeley: University of California Press, 1998. 2 Vols.
Sturm-Trigonakis, Elke.Comparative Cultural Studies and the New Weltliteratur. West
Lafayette: Purdue University Press, 2013.
Tanoukhi, Nirvana. "The Scale of World Literature".New Literary History 39.3 (2008).
Thomsen,MadsRosendahl. Mapping World Literature: International Canonization and
Transnational Literatures. London: Continuum, 2008.

29
 SEMESTER IV

FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH ANDMALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 8: EML 1432 – Narratives of Resistance

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Introduce the various narratives of resistance, literary and other wise.

Objectives
1. Help form an informed opinion of the ways that discourses of resistance are
framed.
2. Gain insights into the language of resistance resonating in all forms of creative
expression.
3. Understand narratives of resistance as a subset of literary output of socio-political
activity involved in a struggle against dominant ideologies.

Course Outcome
CO 1: Be able to identify themes of resistance in different forms and genres of
literature.
CO 2: Have a sense of the various kinds of injustice related to race, ethnicity and
gender prevalent in society.
CO 3: Develop an idea of literature as a form of resistance to all forms of totalitarian
authority.
CO 4: Understand the inter connection between various genres in manifesting
resistance
CO 5: How resistance is an undeniable presence in the everyday narratives of literary
and other artistic expressions.

Course Outline
Module 1 Principles
Introduction to historical evolution of Resistance through the ages – Forms of Resistance–
Nature and Function of Resistance -Totalitarianism –Various genres as a form of protest –
written and performance – reading identities, nationalities, citizenships, subalternities,
sexualities, disabilities – War - Dissent –Temple Entry Proclamation – Anti-Apartheid
Movement- Mothers of Plaza de Mayo – Ganda Filipinas – Pride March – Panchami Land
Rights

30
 Core Reading:

1. Harlow, Barbara. “The Theoretical Historical Context”.(Chapter 1).Resistance

Literature. New York, Methuen, 1987.
2. K KKochu. “Writing the History of Kerala: Seeking A Dalit Space”. K Satyanararyana,
Susie J Tharu. No Alphabet in Sight. New Delhi: Penguin, 2011.
3. Dr. B R Ambedkar. “Buddhism and the Future of his Religion”. Section II.
https://velivada.com/2015/05/31/buddha-and-future-of-his-religion-dr-b-r-ambedkar/

Module II People
Core Reading:
1. Sally Morgan. My Place. Hachette: Brown Book Group, 1982.
2. TaareZameen Par. Directed by AmolGupte, performances by Aamir Khan, Darsheel
Safary, director’s cut, Aamir Khan Producions, 2007.
https://www.youtube.com/watch?v=EMgg80F2KYg&t=1355s
3. Rangarajan, Swarnalatha and SreejithVarmaJothibaiPariyadath. Tr. Mayilamma: The
Life of a Tribal Eco-Warrior.Hyderabad: Orient Blackswan, 2018. Chapter 13.
“Protest: The First Year”. Pages 55 – 59.
4. LalnunsangaRalte. “Names”. https://www.lyrikline.org/en/poems/names-12233
Y.B. Satyanarayana. My Father Balliah. Noida: Harper Collins, 2011.

Module III Places

Core Reading:
1. Adrienne Rich- “What Kind of Times Are These”.
https://www.poetryfoundation.org/poems/51092/what-kind-of-times-are-these
2. Mahmoud Darwish- “ID Card”. https://www.poemhunter.com/poem/identity-card/
3. Sharafat Ali. http://www.wandemag.com/sharafat-ali-symbols-of-resistance-photo-
essay/
4. Elana Bell. “Letter to Arafat”. https://poets.org/poem/letter-arafat
5. Beygairat Brigade. “Alooanday”. https://www.youtube.com/watch?v=ZEpnwCPgH7g
6. Siddhartha Sarma. Year of the Weeds. Chennai: Duckbill, 2018.
https://www.amazon.in/Year-Weeds-Siddhartha-Sarma/dp/9387103110

Module IV Practices

Core Reading:

1. Meena Kandasamy. “Becoming a

Brahmin”https://www.poemhunter.com/poem/becoming-a-brahmin/
2. Denise Levertov- “Making Peace”.
https://www.poetryfoundation.org/poems/53900/making-peace
3. Arya Krishnan R. Sweet Maria Monument.
https://www.youtube.com/watch?v=lK79akItgwY
https://universes.art/en/kochi-muziris-biennale/2019/photos/aryakrishnan
4. OzhivuDivasathe Kali. Directed by Sanal Kumar Sasidharan, performances by
NishtarSaith, BaijuNetto, director’s cut,Niv Art Movies, 2015.
https://www.youtube.com/watch?v=OqllqX2DDA

31
5. Assange, Julian. “Conspiracy as Governance.” State and Terrorist Conspiracies. 7-
12https://cryptome.org/0002/ja-conspiracies.pdf
6. Louis Armstrong. “What a Wonderful World”.
https://www.youtube.com/watch?v=MSS8HtWFEaA
7. SaiKiran. “Stand Up Comedy”
https://www.youtube.com/watch?v=aTUiGWJinX0s://www.youtube.com/watch?v=O
qllqX2DDA

Recommended Reading

e-resources

Allen Ginsberg's “Kaddish”.https://www.poetryfoundation.org/poems/49313/kaddish

Battleship Pottemkin. Directed by Sergei Eisenstein, performances by Members of the

crew of the Potemkin, director’s cut, Mosfilm, 1925.
https://www.youtube.com/watch?v=2986SLGCgeE&t=1043s

Dutta, Mohan J. Voices of Resistance: Communication and Social Change. Purdue

University Press. 2012.

J Devika.“Imagining Women’s Social Space in Early Modern

Keralam”.https://www.researchgate.net/publication/5127065_Imagining_women's_so
cial_space_in_early_modern_Keralam/link/545cebcb0cf27487b44d447f/download
John Steinbeck. Of Mice and
Men.http://giove.isti.cnr.it/demo/eread/Libri/sad/OfMiceAndMen.pdf

Maya Angelou. “Still I Rise”. https://www.poetryfoundation.org/poems/46446/still-i-

rise

Mark Haddon. The Curious Incident of the Dog in the Night-time.

http://www.metropolitancollege.com/curious.pdf

Uday Chandra. Rethinking Subaltern

Resistancefile:///C:/Users/user/Downloads/Introduction-
RethinkingSubalternResistance.pdf

32
 SEMESTER V
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 9: EML 1531 –Translation Studies

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Familiarize the students with the basics and nuances of translation

Objectives
1. Introduce Translation Studies as an academic interdiscipline.
2. Help them understand the theory and practice of translation.
3. Equip the learners to be well informed in the uniqueness of language structures.

Course Outcome
CO 1: Recognise the art involved in translation.
CO 2: Get well versed in the uniqueness of language structures.
CO 3: Learners take up translation as a profession.
CO 4: Procure and improve language and vocabulary skills
CO 5: Undertake an independent Translation Project.

COURSE OUTLINE
Module 1: Fundamentals of translation
Definitions-a brief history of translation in Malayalam-Theories of translation-
linguistic-literary-cultural-communicative-Types of translation-Literary-Non-Literary-
Technology aided translation.

Module II: Key Concepts

Source language-Target language-Afterlife-Linguistic and cultural systems-
faithfulness-fidelity – untranslatability - confusions-equivalence

Module III: Case Studies

1. Analysis of a translated Text:
a. From Malayalam to English
I. A story
ii. A poem

33
b. From English to Malayalam
i. A story
ii. Problems of translations

Module IV: Translation Practice

a. Non-Literary (Equivalent technical terms-idioms, phrases, proverbs in English and
Malayalam-Translation of sentences and passages from English to Malayalam and vice-
versa)
b. Literary (Translation of short literary prose pieces including fiction from English to
Malayalam and vice-versa)

COURSE MATERIAL
Modules 1-4

Core reading
Harishankar, V. Bharathi, Mini Krishnan and G.S. Jayasree.Word Worlds: Translation and
Communication. OUP, 2013.

Recommended Reading
Abdulla, V. and R.E. Asher, Ed. Wind Flowers, New Delhi: Penguin,004.
Ashly, C.N. O.HenriyudeTheranjeduthaKathakal.Papion, Kozhikode.
Basheer, VaikomMuhammed. Poovan Banana and Other Stories.Abdulla,V. tr. Hyderabad:
Orient Black Swan, 2009.
Hatim, Basil and Jeremy Munday, Translation: An Advanced Resource Book. London:
Routledge, 2004.
Palumbo, Giuseppe. Key Terms in Translation Studies.Continuum, 2009.
Ramakrishnan, Malayattoor.Roots. Abdulla, V. tr. Hyderabad: Orient Black Swan, 2009.
Vasudevan Nair, M.T. Kuttiedathi and Other Stories.Abdulla,V.tr. Hyderabad: Orient Black
Swan,2009.
‘Vanampadiyodu’ by Vyloppilly Sreedhara Menon. (Translation of Keats’ “Ode to a
Nightingale”)

e-resources
https://www.uniassignment.com/essay-samples/english-language/what-is-translation-and-
translation-studies-english-language-essay.php (What is Translation Studies)
http://dcac.du.ac.in/documents/E-Resource/2020/Metrial/420RatikaAnand1.pdf (Notes on
Translation)
http://amsacta.unibo.it/2393/1/Manfredi_2008_Monografia.pdf (Translation theory)

34
 SEMESTER V
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 10: EML 1532 – Criticism and Theory

No. of Credits: 4 No. of Instructional hours: 5 per week (Total 90 Hours)

Aim Provide a historical and critical over view of the origin and development of literary
criticism

Objectives

1. Give the students a historical overview of the critical practices from classical period
to the present.
2. Introduce to them some of the significant concepts that had a seminal influence on the
development of critical thought.
3. To develop in them a critical perspective and capacity to relate and compare various
critical practices and schools.
4. Trace the development of critical practices from ancient to the present.
5. Explain the critical concepts that emerged in different periods, places and historical
milieus

Course Outcome
CO 1: Analyze and appreciate texts critically, from different perspectives.
CO 2: Appreciate Indian Aesthetics and find linkages between Western thought and
Indian critical tradition.
CO 3: Show an appreciation of the relevance and value of multidisciplinary
theoretical models in literary study.
CO 4: Demonstrate an understanding of important theoretical methodologies and
develop an aptitude for critical analysis of literary works.
CO 5: Gain a critical and pluralistic understanding and perspective of life

COURSE OUTLINE

Module I
Western Critical Thought
1. Classical:
Plato: Mimesis and the critique of poetry
Aristotle: Tragedy
Longinus: The Sublime
2. Neo Classical:
Dryden: Defence of Poetry

35
3. Romantic:
William Wordsworth: Definition of poetry
S.T. Coleridge: Fancy and Imagination
4. Victorian:
Matthew Arnold: Function of poetry, Touchstone method
5. Modernism:
T.S. Eliot: Theory of Impersonality, Dissociation of Sensibility, Objective
Correlative, Tradition and Individual Talent

Module II
Indian Aesthetics
The Evolution of Indian Poetics-Art and Aesthetics of Dramatic Experience-Bharatamuni-
Natyasastra - Rasa Theory-Alamkara- Ritisiddhant- DhwaniSiddhant- Vakrokti- Auchitya-
Thinai Poetics

(Mention the importance of the above schools of thought in Indian Criticism and their
relation to Western Criticism like Rasa is equivalent to purgation or catharsis, Dhvani and
symbolism, vibhavas and objective correlative, Alamkara and Rhetorics, Vakrokti and
Ambiguity ).

Module III
A Brief Introduction to Critical Theory
1. New Criticism - Russian Formalism
2. Structuralism(Langue/Parole, Sign-Signifier-Signified)
3. Deconstruction
4. Feminisms (Waves of Feminism, Womanism, Intersectionality, Gynocriticism)
5. Psychoanalytic Criticism: (Id, Ego, Super ego)
(The Real, the Imaginary, the Symbolic)
6. Postcolonial Criticism: (Orient/Occident, Eurocentrism, Othering, Negritude,
Subaltern)
7. Gender and Sexuality: (Performativity)
8. Modernism, Postmodernism (Parody and Pastiche)

Module IV
Practical Criticism
Literary forms and devices.
Criticism of an Unseen Passage (Prose OR Poetry) using any of the theories prescribed.

Recommended Reading

Barry, Peter. Beginning Theory - An Introduction to Literary and Cultural Theory.Fourth Ed.
Manchester UP, 2017.
Cuddon, J A and M A R Habeeb. The Penguin Dictionary of Literary Terms and Literary
Theory: Fifth Edition. Penguin: 2015.
Das, B and J M Mohanty.Literary Criticism: A Reading. OUP, 1997.
Habeeb, M A R. Literary Criticism from Plato to the Present: An Introduction. Wiley-
Blackwell, 2011.
Lodge, David and Nigel Wood.Modern Criticism and Theory: A Reader. Routledge, 2014.

36
Nagarajan, M S. English Literary Criticism and Theory. Hyderabad: Orient Blackswan, 2011.
Pollock, Sheldon. A Rasa Reader: Classical Indian Aesthetics. Columbia UP, 2016.
Seturaman, V S. Indian Aesthetics. Laxmi, 2017.
Upadhyay, Ami. A Handbook of the Indian Poetics and Aesthetics. Bareilly: Prakash Book
Depot, 2017.

e-resources

Classical Criticism http://www.egyankosh.ac.in/bitstream/123456789/22610/1/Unit-1.pdf

Classical Criticism
https://www.academia.edu/35408906/CLASSICAL_CRITICISM_A_CRITICAL_ENQUIRY
From Plato to the Present
http://elibrary.bsu.az/books_400/N_33.pdf
Longinus –On the Sublime https://sites.google.com/site/zhmlit/literary-criticism/longinus-s-
ideas-on-the-sublime
John Dryden https://literariness.org/2017/11/17/literary-criticism-of-john-dryden/
Criticism of Dryden http://www.eajournals.org/wp-content/uploads/Dryden-as-the-Father-of-
English-Criticism.pdf
Classical and Neo classical criticism
https://ddceutkal.ac.in/Syllabus/MA_English/Paper_02.pdf
Dr Johnson as a Critic
https://literariness.org/2017/12/05/literary-criticism-of-samuel-johnson/
Romantic Criticism https://ddceutkal.ac.in/Syllabus/MA_English/Paper_07.pdf
Romantic Criticism
http://studymaterial.unipune.ac.in:8080/jspui/bitstream/123456789/4853/1/Romantic%20Crit
icism.pdf
Wordsworth’s theory of poetry
https://dducollegedu.ac.in/Datafiles/cms/ecourse%20content/B.A.%20(Hons)%20ENG%20P
APER%209%20WORDSWORTH_S_THEORY_OF_POETRY_IN_THE_LYR.pdf
Coleridge as critic
https://dducollegedu.ac.in/Datafiles/cms/ecourse%20content/B.A.%20(Hons)%20ENG%20P
APER%209%20Coleridges_Biographia_Literaria_1817.pdf
Matthew Arnold as critic https://www.lsj.org/literature/essays/arnold
Arnold and High culture https://sites.udel.edu/britlitwiki/matthew-arnold/
T S Eliot as critic https://sites.google.com/site/nmeictproject/presentations/4-1-introduction-t-
s-eliot-as-a-critic
Indian Aesthetics https://www.openart.in/general-topics/indian-aesthetics/
A Student’s Handbook of Indian Aesthetics
https://www.cambridgescholars.com/download/sample/63790
Rasa Theory
https://www.lkouniv.ac.in/site/writereaddata/siteContent/202004120632194631nishi_Rasa_T
heory.pdf
The Rasa Theory https://sg.inflibnet.ac.in/bitstream/10603/126482/9/09_chapter%203.pdf
Rasa- Indian Aesthetic Theory https://globalphilosophyresources.com/2017/08/10/rasa-
indian-aesthetic-theory/
Literary Theory https://courses.lumenlearning.com/introliterature/chapter/introduction-to-
critical-theory/
Held, D. (1980). Introduction to critical theory: Horkheimer to Habermas. Berkeley:
University of California Press.

37
Literary Theory http://ekladata.com/Tn8NJwPeVe21wsE0MuX7LyFQ6Gg/Literary-
Theory_an-overview.pdf
Literary Theory http://elibrary.bsu.az/books_400/N_92.pdf
Literary theory https://mthoyibi.files.wordpress.com/2011/05/literary-theory_an-
introduction_terry-eagleton.pdf
Practical criticism
https://www.danielxerri.com/uploads/4/5/3/0/4530212/teaching_practical_criticism.pdf
Practical criticism http://egyankosh.ac.in/bitstream/123456789/22635/1/Unit-1.pdf
https://iep.utm.edu/literary/ (What is Literary Theory)
https://courses.lumenlearning.com/suny-britlit1/chapter/literary-criticism/ (Literary Criticism)
http://site.iugaza.edu.ps/ahabeeb/files/2012/02/An_Introduction_to_Literature__Criticism_an
d_Theory.pdf (Introduction to Literary Theory and Criticism)
https://ayushnanda.com/history-indian-aesthetics-brief-notes (History of Indian Aesthetics)
https://www.cambridgescholars.com/download/sample/63790 (A Student’s Handbook of
Indian Aesthetics)
https://www.slideshare.net/m_b2011/comparative-aesthetics (Comparison between Indian
and Western Aesthetics)

38
 SEMESTER V
FIRST DEGREE PROGRAMME (CBCS System)

Common guidelines for Project/Dissertation

B.A. ENGLISH AND MALAYALAM LITERATURES

(2020 Admission onwards)

Core 11: EML 1533 Project/Dissertation

No. of Credits: 2 No. of Instructional hours: 3 per week (Total 54 Hours)

Maximum Marks: 100

A. Guidelines for Teachers:

1. The Project/Dissertation should be done under the direct supervision of a teacher of the
department, preferably the Faculty Advisor for the FIFTH semester. However the work of
supervising the Projects should be distributed equally among all the faculty members of the
department.
2. The teaching hours allotted in the sixth semester for the Project/Dissertation [i.e., 2
hours/week] is to be used to make the students familiar with Research Methodology and
Project writing.
3. A maximum of five students will work as a group and submit their project as a [single]
copy for the group. The members of a group shall be identified by the supervising teacher.
Subsequently each group will submit a project/dissertation and face the viva
individually/separately.
4. The list containing the groups and its members should be finalized at the beginning of the
FIFTH semester.
5. Students should identify their topics from the list provided in consultation with the
supervising teacher or the Faculty Advisor of the class [Semester 5] as the case may be. The
group will then collectively work on the topic selected.
6. Credit will be given to original contributions. So students should not copy from other
projects.
7. There will be an external evaluation of the project by an External examiner appointed by
the University. This will be followed by a viva voce, which will be conducted at the
respective college jointly by the external examiner who valued the projects/dissertations and
an internal examiner. All the members within the group will have to be present for the viva
voce. The grades obtained [for external evaluation and viva voce] will be the grade for the
project/dissertation for each student within that group.
8. The Project/Dissertation must be between 20 and 25 pages. The maximum and minimum
limits are to be strictly observed.
9. A Works Cited page must be submitted at the end of the Project/Dissertation.
10. There should be a one-page Preface consisting of the significance of the topic, objectives
and the chapter summaries.
11. Two copies have to be submitted at the department by each group. One copy will be
forwarded to the University for valuation and the second copy is to be retained at the
department.

39
B. General guidelines for the preparation of the Project:
• Paper must of A4 size only.
• One side Laser Printing.
• Line Spacing: double.
• Printing Margin: 1.5 inch left margin and 1 inch margin on the remaining three sides.
119
• Font: Times New Roman only.
• Font size: Main title -14/15 BOLD & matter - 12 normal.
• The project need be spiral-bound only.
• Paragraphs and line spacing: double space between lines [MLA format].
• Double space between paragraphs. No additional space between paragraphs.
• Start new Chapter on a new page.
• Chapter headings (bold/centred) must be identical as shown:
Chapter One
Introduction
• Sequence of pages in the Project/Dissertation:
i. Cover Page.
ii. First Page.
iii. Acknowledgement, with name & signature of student.
iv. Certificate (to be signed by the Head of the Dept and the Supervising Teacher).
v. Contents page with details of Chapter Number, Chapter Heading & Page Numbers.
• Specimen copies for (i), (ii), (iv) and (v) will be sent to the colleges.
• Chapter divisions: Total three chapters.
Preface
Chapter One: Introduction – 5 pages
Chapter Two: Core chapter - 10 pages
Chapter Three: Conclusion - 8 pages.
Works Cited
[Numbering of pages to be done continuously from Chapter One onwards, on the top right
hand corner]

C. Specific guidelines for preparation of Project:

1. Only the Title of the Project Report, Year and Programme/Subject should be furnished on
the cover page of the University copy of the Project. The identity of the College should not be
mentioned on the cover page.
2. Details like Names of the Candidates, Candidates’ Codes, Course Code, Title of
Programme, Name of College, Title of Dissertation, etc. should be furnished only on the first
page.
3. Identity of the Candidate/College should not be revealed in any of the inner pages.
4. The pages containing the Certificate, Declaration and Acknowledgement are not to be
included in the copy forwarded to the University.
5. The Preface should come immediately before the Introductory Chapter and must be
included in all the copies.

D. Selection of Topics:
Students are permitted to choose from any one of the following areas/topics. Selection of
topics/areas has to be finalized in the course of the first week of the final semester itself with
the prior concurrence of the Faculty Advisor / Supervisor:

40
1. Post-1945 literature. This must not include the prescribed work/film coming under Core
study. [Works/films other than the prescribed ones can be taken for study]
2. Analysis of a film script.
3. Analysis of advertisement writing [limited to print ads]. Study should focus on the
language aspect or be analyzed from a theoretical perspective [up to a maximum of 10
numbers].
4. Analysis of news from any of these news stations/channels: AIR, Doordarshan, NDTV,
Headlines Today, Times Now, BBC, and CNN. [News from 5 consecutive days highlighting
local, regional, national, international, sports, etc]
5. Celebrity Interview: from film, politics, sports and writers [Only one area or one
personality to be selected].
6. Studies on individual celebrities in the fields of arts and literature. Example: a Nobel Prize
winner, a dancer/singer/musician/film star, etc, of repute [Only one personality to be
selected].
7. Studies based on any 5 newspaper editorials or articles by leading international or national
columnists like Thomas Friedman, Paul Krugman, Anees Jung, etc.
8. Compilation and translation of any 5 folk stories of the region.
9. Analysis of the language used in email and sms. The study should focus on the language
aspect used in such modes of messaging, limiting to 10 pieces of email/sms. [Reference:
David Crystal Txtng: the GR8 Dbt. OUP, 2008]
10. Studies on popular folk art forms like Koodiyattam, Theyyam, Pulikali, ChakyarKoothu,
Nangyar Koothu, Kalaripayattu, Kathakali, Mohiniyattam, Maargamkali, Oppanna, etc.
[Only one art form to be selected].
11. Study on any 5 popular songs in English. Songs of popular bands like the ABBA, Boney
M, Backstreet Boys, Beatles, Pink Floyd, Rolling Stones, Westlife, Boyzone, etc can be
selected.
12. Study based on the life and works of one Nobel Prize winner in literature.

E. Details of Course Contents:

(1) Academic writing: The following areas are to be made familiar to the students during the
course of the 2 instructional hours/week set aside for the same in the sixth semester:
(a) Selecting a Topic
(b) Compiling a Working Bibliography
(c) Writing Drafts
(d) Plagiarism and Academic Integrity
(e) Mechanics of Writing
(f) Methods of quoting texts:
(g) Format of the Research Paper
Reference text: M.L.A. Handbook 8th Edition.
(2) Documentation of sources in the works cited page(s): Samples of different types of
sources will be provided.

41
 SEMESTER VI
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 12: EML 1631 – English for the Media

No. of Credits: 4 No. of Instructional hours: 4 per week (Total 72 Hours)

Aim Introduce the essential requirements of writing for the media.

Objectives

1. Familiarise the learners with the process of writing for the media.
2. Make them familiar with the specific use of English in the field of media.
3. Generate interest in various aspects of media and thereby equip them with the
basic writing skills required for the same.

Course Outcome

CO 1: Familiarize students with the process of writing for the media

CO 2: Make them familiar the specific use of English in the field of media
CO 3: Generate interest in various aspects of media and thereby to equip them
with the basic writing skills required for the same.
CO 4: Enable the students to take up jobs in the media industry- both in the print,
broadcast and the new media.
CO 5: Promote their writings with the help of the new media

Module I: Writing for the print media

Newspaper: Writing headlines – Analysing newspaper articles- Practising interview

skills – Planning and writing a newspaper article

Magazine: Composing magazine covers –Planning the contents of a magazine –

Giving instructions for a photo shoot –Planning and writing a true life story.

Module II: Writing for Radio, Television and Film

Radio: Understanding the language of radio presenters – Understanding the

production process – Planning a newslist – Giving post production feedback.

Television: Understanding the pre-production process –Organising a filming schedule

–Filming on location –Editing a TV documentary

42
Film: Writing a screenplay –Pitching successfully –Organising a shoot –Writing a film
review.

Module III: Writing for advertisements

Advertisement : Creating a print advert –Creating a screen advert –Presenting a

finished advert- Analysing market trends – Setting up a marketing communication
strategy – Organising the relaunch of a product – Evaluating the success of a
relaunch.

Module IV: Writing for the New Media

New Media: Briefing a website designer –Analysing problems and providing

solutions – Planning and writing a blog – Creating a podcast- Vlogs – Graphic novel.

[It is suggested for students to follow the different styles of reporting in various
media and to familiarize themselves with the emerging trends in the new media]

Core Reading:

Ceramella, Nick and Elizabeth Lee. Cambridge English for the Media. CUP, 2008.

Recommended Reading

Raman, Usha. Writing for the Media.OUP, 2009.

Ryan, Michael and James W Tankard.Writing for Print and Digital Media.McGraw-Hill,
2005.

Allen, Victoria, Karl Davis et al. Cambridge Technicals Level 3 Digital Media.
Hodder,2016.

Hayward, Susan. Cinema studies: The Key Concepts. Routledge, 1996.

Ogilvy, David. Ogilvy on Advertising.Welbeck. 2007.

Ouellette, Laurie. The Media Studies Reader.Routledge, 2012.

Manovich, Lev. The Language of New Media. Cambridge: MIT P, 2002.

Axford,Barrie and Richard Huggins. New Media and Politics. Sage,2001.

Parthasarathy, Rangaswami. Here is the News! Reporting for the Media.Sterling Publications.
1998.

e-resources

https://www.google.co.in/books/edition/Designing_New_Media/

https://www.google.co.in/books/edition/AS_Media_Studies

43
https://www.google.co.in/books/edition/Social_Media_and_Democracy

https://www.google.co.in/books/edition/Writing_Feature_Articles

https://www.google.co.in/books/edition/Writing_Space

http://downloads.bbc.co.uk/writersroom/scripts/bbcradioscene.pdf

https://indiegroundfilms.files.wordpress.com/2014/01/titanic-numbered.pdf

https://podcasts.google.com/

44
 SEMESTER VI
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MALAYALAM LITERATURES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 13: EML 1632 – Linguistics and Structure of the English Language

No. of Credits: 4 No. of Instructional hours: 4 per week (Total 72 Hours)

Aim Understand the language structure of the English Language

Objectives
1. Give the learners a preliminary idea regarding the nature, function and scope
of languages, in general.
2. Sensitize them to the specificities of the oral and written dimensions of English.
3. Appreciate Linguistics as a branch of learning with its own defined material and
methodology.
4. Explain the verbal, grammatical, and phonetic inputs that constitute a proper study
of the English language.

Course Outcome

CO 1: Understand the phonological and grammatical structure of English Language

CO 2: Be able to analyse actual speech in terms of the principle of linguistics
CO 3: Improve the accent and pronunciation of the language
CO 4: Introduce the students to internationally accepted forms of speech and writing
English
CO 5: Explore the ancient linguistic tradition of India.

COURSE OUTLINE
Module I: Linguistics
Introduction - Nature and scope of Linguistics – Types of Linguistics – Historical Linguistics,
Phonetics, Phonology, Morphology, Syntax, Semantics and Pragmatics, Lexicography
Approaches to the study of language – Diachronic and Synchronic – Prescriptive and
Descriptive Language as a system of signs – Sign, Signifier and Signified, Langue and
Parole, Competence and Performance, Syntagmatic and Paradigmatic axes.
Varieties of Language – Dialect, Register, Pidgin and Creole.
Significance of Received Pronunciation (RP)

Module II: Phonetics and Phonology

Phonetics – definition – types – Articulatory, Acoustic and Auditory.

45
Speech mechanism – Organs of speech – Speech sounds – classification – Vowels, Cardinal
vowels, Consonants – three part labelling
Phonology – Phonemes – Allophones and their distribution
Syllable structure – Suprasegmental features - Stress – word stress and sentence stress –
Strong and weak forms - Rhythm –Juncture –Intonation – Assimilation – Elision
Transcription (sentences and passages) – IPA

Module III: Morphology and Syntax

Morphology – Morphemes – classification – Free and Bound – Roots and Affixes – Lexical
and Grammatical – Inflectional and Derivational - Allomorphs and their distribution
Syntax – Word classes – Form class and Function class – Formal features
Traditional Grammar – Structural and Functional study of grammatical categories –
Grammaticality and Acceptability
Structural grammar – Introduction to IC Analysis – Phrase Structure (PS) Grammar –
Transformational Generative (TG) Grammar

Module IV: Linguistics in Ancient India

Major practitioners – Panini - Ashtadhyayi – Karaka theory, Katyayana – Va:rttika ,
Patanjali – Mahabhasya, Bharthruhari – Vakyapadiya – Sphota theory
Influence on Modern Linguistics

Texts for Reference

Balasubramanian, T. A Textbook of English Phonetics for Indian Students.Second Edition.

Madras: Macmillan, 2013. Print.
Chalker, Sylvia. The Little Oxford Dictionary of English Grammar. Oxford: OUP, 1995.
Print.
Davidappleyard.com/English/pronunciation.htm.Web
Hocket, F. Charles. A Course in Modern Linguistics. New Delhi: Macmillan, 1958. Print.
Jones, Daniel. English Pronouncing Dictionary.Seventeenth Edition. Cambridge, CUP, 2006.
Print.
Kapoor, Kapil. Language Linguistics and Literature: The Indian Perspective. Academic
Foundation, 1994.
Lyons, John. Language and Linguistics: An Introduction. Cambridge, CUP, 1989. Print.
Marks, Jonathan. English Pronunciation in Use: Elementary. Cambridge, CUP, 2008. Print.
Rani, D. Sudha.A Manual for English Language Laboratories. New Delhi: Pearson, 2010.
Print.
T. Eastwood, John. Oxford Guide to English Grammar. New Delhi: OUP, 1994. Print.
Trask, R. L. Key Concepts in Language and Linguistics. London, Routledge, 2004. Print.

46
 SEMESTER VI
FIRST DEGREE DOUBLE MAIN PROGRAMME IN

B.A ENGLISH AND MEDIA STUDIES (CBCS SYSTEM)

(2020 Admission onwards)

Core Course 14: EML 1633 – Creative Writing

No. of Credits: 3 No. of Instructional hours: 4 per week (Total 72 Hours)

Aim Generate interest and prompt creativity.

Objectives
1. Recognise the elements needed to give expression to their creativity.
2. Encourage students to use these self-recognized elements to develop their creative
writing talent.
3. Sensitize them to the fact that creative writing has gone beyond the traditional genres
in today’s world and includes many new forms that have grown with the media and
social media boom, thereby blurring the boundaries between “creative” and
“functional” writing.
Course Outcome
CO 1: Create a body of original creative works which exhibit basic elements of literary
writing.
CO 2: Generate the ability to apply the creative as well as critical approaches to the reading
and writing of literary genres.
CO 3: Critique and support the creative writing of peers in a guided workshop environment.
CO 4: Engage in literary output by identifying, analyzing and expressing socially sensitive
and personally abstract themes and ideas.
CO 5: Gain expertise in providing critical readings of works of literary expressions.

COURSE OUTLINE
Module I: Art and Craft of Writing
• Introduction
Creative Writing definition – Measuring Creativity – Inspiration and Agency –
Creativity and Resistance – Imagination – Importance of Reading
• The Art and Craft of Writing
Tropes and Figures – Style and Register – Formal/Informal Usage – Varieties of
English – Language and Gender – Word Power – Grammar and Word Order – Tense and
Time

Module II: Creative Writing across Genres

• Poetry
Definition – Beginning to write poems – Shape, Form, Technique – Rhyme and
Reason – Fixed forms and Free Verse – Modes of Poetry (Lyrical, Narrative, and Dramatic) –
Voices – Indian English poets/works – Problems with writing poetry – Beginning to write

47
Individual Creative Activity
Poems
• Fiction
Fiction – Literary and Popular Fiction – Short Story – Analysis of a short story – A
Conversation with a creative writer – Beginning to write
Individual Creative Activity
Short Stories
• Drama
Concepts and characterization of drama – Verbal/non-verbal elements – Different styles of
contemporary theatre in Indian English – Developing a situation – Creating a sequence of
events – Transforming it into a scene for a play
Individual Creative Activity
One Act Play
• Writing for Children
Children’s literature – writing verse – fiction – scripting for children’s theatre
Individual Creative Activity
Poems/Short Stories/Plays for children

Module III: Creative Writing in Other Forms

Reviews
Book reviews, Film reviews
Travel Writing
Travelogues
Life Writings
Memoirs, Diary Entry, Biography, Autobiography
Blogs
Personal/Social/Cultural/Instagram poem/blogs
Creative Writing in Commercial Sphere
Forms
Advertisements, Tourist brochure, Recipe Writing
Individual Creative Activity
Book/film reviews, Travelogues, Memoirs, Diary Entry, Biography (Max. 300 words),
Autobiography (Max. 300 words), Personal/Social/Cultural/Instagram poems/blogs

Course Material
Modules I & II
Creative Writing: A Beginner’s Manual by Dev, Anjana Neira et al. Pearson Longman, 2009.
Reference
Modules III
Book Review
www.writingcenter.unc.edu/tips-and-tools/book-reviews/
www.writingcenter.unc.edu/esl/resources/writing-critique/
Film Review
www.wikihow.com
“How to Write a Movie Review (With Sample Reviews)”
Travelogues
www.researchgate.net/publication/274640565_TRAVELOGUES_AN_INNOVATIVE_AND
CREATIVE_GENRE_OF_LITERATURE
www.academichelp.net/create-writing/write-travelogue.html

48
Memoir
www.selfpublishingschool.com/how_to_write_a_memoir/
“How to Fast Draft Your Memoir with Rachael Herron”
www.youtube.com
Diary Entry
www.reliving.co.uk/write-a-diary-entry-expressing-your-feelings/
Biography
www.masterclass.com/articles/how-to-write-a-biography#6-tips-on-how-to-write-a-
biography/
Autobiography
www.theclassroom.com/write-autobiography-university-4581.html/
“How to Write an Autobiography: The Ultimate Guide with Pro Tips”
www.essaypro.com/blog/autobiography
Blogs
“How to Write a Blog Post: A Step-by-Step Guide”
blog.hubspot.com
www.wordstream.com>blog>2015/02/09>how-to-write-a-blog-post
Instagram Poems/Blogs
www.writersxp.com>how-to-become-an-instagram-poet
www.business2community.com>instagram>14-blogging...>02308043
Advertisements
“Creativity in Advertising-Harvard Business Review by Werner Reinartz and Peter Saffert
www.hbr.org>2013/06>creativity-in-advertising-when-it-w.../
Tourist Brochure
www.library.uncg.edu>nclitmap>TravelBrochureInclusion
www.wikihow.com>...>ArtMedia>Brochures>
Recipe Writing
www.sharonpalmer.com>rules-for-good-recipe-writing
www.thekitchn.com>how-to-write-a-recipe-58522
“How to write a recipe” by Jessica Focht 1 Nov. 2019
www.grammarly.com/blog/how-to-recipe/
Reviews - Commercial
Product
www.impactbnd.com/blog/how-to-write-product-reviews/

General Reference
Abrams, M. H., Geoffrey Galt Harpham. A Glossary of Literary Terms Eleventh Edition.
Cengage Learning
Cheney, Theodore A. Rees. Writing Creative Nonfiction: Fiction Techniques for Crafting
Great Non-Fiction Writing and Journalism. Ten Speed Press
Cuddon, J. A., Dictionary of Literary Terms & Literary Theory. Penguin.
Earnshaw, Steven. Ed. The Handbook of Creative Writing.Edinburgh University Press.
Mills, Paul. The Routledge Creating Writing Coursebook.Routledge.
Morley, David. The Cambridge Introduction to Creative Writing.Cambridge University
Press.
Prasad B. A Background to the Study of English Literature. Macmillan
Roney, Lisa. Serious Daring: Creative Writing in Four Genres. Oxford University Press.
Zinsser, William. On Writing Well: The Classic Guide to Writing Non-Fiction.HarperCollins.
https://www.scribendi.com/advice/best_book_blogs_2015.en.html

49
Note: How to implement this course

Students should be exposed to the above as far as possible in the classroom sessions. Since
there are many forms listed, group work and division of work along with self-teaching
activities may be resorted to. Keeping this in view, certain items in the syllabus have been
listed for individual/team writing. Writing workshops should also be conducted.

50
 Syllabus and Scheme
for
Malayalam (MAIN II)

in
B.A English and Malayalam Literatures
Double Main Programme
(2020 Admission onwards)
 B.A. DOUBLE MAIN PROGRAMME
ENGLISH AND MALAYALAM LITERATURES
(2020 Admission onwards)
SEMESTERS I to VI - COURSE BREAKUP
[MALAYALAM ]

Sem Course No Course Title Instructional Credits

No. Hours
1 EN 1111.5 Language Course 1: Language Skills 5 3
1 ML 1111.4 Language Course 2: [Additional Language 1] 5 3
KZy-km-lnXyw
1 EML 1121 Foundation Course-I hnh-c-km-t¦-XnI hnZybpw 2 2
ae-bmf `mjm ]T-\hpw
1 EML 1141 Core Course 1: B[p-\n-I -I-hnX 4 4
1 EML 1142 Core Course 2: tIc-f-]-T-\w-þ1 2 2
2 EN 1211.5 Language Course 3: English Grammar, Usage 5 3
and Writing
2 ML 1211.4 Language Course 4: [Additional Language 2] 5 3
Zriy-I-em-km-lnXyw
2 EML 1241 Core Course 3: t\mhÂkm-lnXyw 4 4
2 EML 1242 Core Course 4: tIc-f-]-T-\w-þ2 3 3
3 EN 1311.5 Language Course 5: English for Career 5 3
3 EML 1341 Core Course 5: ae-bm-f-\m-S-I-km-lnXyw 5 4
3 EML 1342 Core Course 6:aebm-f-`m-jm-km-ln-Xy-N-cn-{Xw 1 5 4
4 EN 1411.5 Language Course 6: Readings in Literature 5 3
4 EML 1441 Core Course 7: `mc-Xo-b-`m-jm-imkv{Xw 5 4
4 EML 1442 Core Course 8:aebm-f-`m-jm-km-ln-Xy-N-cn{Xw 2 5 4
5 EML 1541 Core Course 9: B-[p-\n-I-]qÀÆ-Ihn-X 5 4
5 EML 1542 Core Course 10 : sNdp-I-Ym-]T\w 5 4
5 EML 1551 Open Course 1 : 2 2
EML1551.1 ae-bmf Ne-¨n{X]T\w
EML1551.2 Xmc-X-ay-km-lnXyw
EML1551.3 tZio kuµ-cy-imkv{Xw
6 EML 1641 Core Course 11: ae-bm-f-hym-I-cWw 5 4
6 EML 1642 Core Course 12 : ]uc-kvXy-km-ln-Xy-ao-amw- 5 4
kbpw ae-bm-f-\n-cq-]-Whpw
6 EML 1643 Core Course 13: PROJECT 3 2

Malayalam (Main II):

No. of Instructional Hours (Core) = 56.
No. of Credits = 47.
Foundation Course 1 (Semester I)
No. of Instructional Hours = 2.
No. of Credits = 2.

Open Course (Semester V)

No. of Instructional Hours = 2.
No. of Credits = 2.

Total No. of Instructional Hours = 60.

Total no. of Credits =51.
 ae-bm-fhpw BwK-e` - m-jbpw XΩnep≈ kmwk-vImcnI _‘Øn\v \mep \q‰m-≠n-
te- s d- ° m- e sØ ]g- ° - a p- ≠ v. temI`mj F∂\nebn¬ hn\nabØnepw
kmwkvImcnIhym]\Ønepw CwKvfojns‚ kzm[o\w A\p`hn®dn™ Hcp kaqlamWv
tIcfØnep≈-Xv. Cu ]mckv]cyw tIc-f-Øns‚ ⁄m\-a-WvU-e-Ønepw `uXnI ]cn-
tXm-hÿ- b - nepw ImX-emb am‰-Øn\v \nan-Øa- m-bn-´p-≠.v Cw•ojv ae-bmfw U_nƒ sabn≥
t{]m{Km-ans‚ cq]-s∏-S-en\p ]n∂n¬ Du¿÷-ambn {]h¿Øn-®Xv ta¬∏-d™ ImgvN-∏m-
Sm-Wv. c≠p `mjIsfbpw Ahbnse kmlnXysØbpw apJyhnjbambn ]Tn°pI
hgn hnZym¿∞nbpsS k¿KmflIamb A°mZanI PohnXØn\v IqSpX¬ `{ZX
e`n°pIbpw XmcXaykmlnXy `mh\ hnIkn°pIbpw sNøpw. _lp`mjm sshZKv[yw,
anI® a\pjyhn`htijnbmbn ]cnKWn°s∏Sp∂ C°meØv c≠p `mjbnepap≈
kmlnXymflIamb Adnhv hnZym¿∞nsb ]eXeßfn¬ apt∂dm≥ t{]cn∏n°pw.
A`ncpNnbpw Adnhpw XΩnep≈ BtcmKyIcamb kwhmZ߃ kr„n°s∏Sp∂Xn\pw
AXneqsS apt∂dp∂Xn\pw anI® temIho£Ww D≠mtb aXnbmhq. H∂ntesd
`mjmkmlnXysØ Htc kabw XpeyKuchtØmsS ssIImcyw sNøp∂
hnZym¿∞nIsfbmWv Cu t{]m{Kmw hn`m-h\ sNøp-∂X - .v temIkmlnXysØ hnimeamb
]cnt{]£yØn¬ kao]n°p∂Xn\v Cu t{]m{Kmw k÷amWv.
t{ijvT`- mjm _lp-aXn t\Sn-bn-´p≈ C¥y-bnse A]q¿Δw `mj-If - n-sem-∂mb ae-
bmfw _rl-Ømb ssh⁄m-\nI kmlnXy ]mc-ºc - y-ap≈ Cw•ojv `mj-bp-ambn Xpe\w
sNbvXv ]Tn-t°-≠Xv h¿Ø-am-\I - me kml-Nc - y-Øn¬ A\n-hm-cy-am-Wv. Iem kmwkvIm-
cnI ]mc-º-cy-߃ Xpe\w sNbvXv ]Tn-°p-∂-Xn-t\m-sSm∏w ]pXnb sXmgn¬ ss\]p-Wn-
I-fn-te°v ]Tn-Xm-hns\ ssI]n-Sn-®p-b¿Øp-hm\pw Cu t{]m{Kmw klm-b-I-am-Wv.
s]mXp-\n¿t±i߃
1. kmln-Xy-]T - \
- t- Øm-sSm∏w ]Tn-Xm-hns‚ `mjm ss\]p-Wnbpw hnI-kn-°p-∂p-s≠∂v
Dd-∏p-hc
- p-tØ-≠X - m-Wv.
2. ]T-\m-\p-`-h-ß-fp-ambn _‘-s∏´v bm{X-Iƒ kwL-Sn-∏n-°p-Ibpw A\p-_-‘-amb
dnt∏m¿´p-Iƒ, ]T-\° - p-dn-∏p-Iƒ, ]´n-Is
- ∏-Sp-Øe - p-Iƒ XpS-ßn-bh Xøm-dm-°p-hm≥
hnZym¿∞n-Iƒ°v \n¿t±iw \¬tI-≠X - p-am-Wv.
3. Cu t{]m{Km-ans‚ `mK-ambn F√m hnZym¿∞n-Ifpw hy‡n-K-X-ambn ae-bm-f-Øn¬
Hcp t{]mPIvSv Xøm-dm-t°-≠Xp≠v. A©mw ska-Ãd - n¬ t{]mP-IvSns‚ {]h¿Ø-\-
߃ Bcw-`n-°p-Ibpw Bdmw ska-Ãd - n¬ am¿§-Z¿in-bmb A≤ym-]I - s‚ km£y-
]-{X-tØm-Sp-IqSn Un∏m¿´p-sa‚n¬ ka¿∏n-°p-Ibpw thWw. 25 t]Pn¬ Ipd-bm-
sXbpw 35 t]Pn¬ Ihn-bm-sX-bp-ap≈, Un.-‰n.-]n. sNbvX t{]mP-IvSns‚ c≠p tIm∏n-
I-fmWv ka¿∏n-t°-≠Xv.
t{]mPIvSv dnt∏m¿´n\v \n›n-Xa - mb Hcp LS\ D≠m-bn-cn-°W - w. hy‡-amb BapJw,
D≈S°-Øns‚ kz`mhw A\p-kc - n®p th¿Xn-cn-bp∂ `mK-߃/A≤ym-bß - ƒ, Is≠-
Ø-ep-If - p-sSbpw \nK-a\
- ß
- f
- p-sSbpw ASn-ÿm-\Ø - n-ep≈ D]-Z¿i-\ß
- ƒ, ASn-°p-
dn-∏p-Iƒ, {KŸ-kqNn F∂o LS-I-߃ tN¿∂-Xm-bn-cn-°Ww dnt∏m¿´v.
 t{]m{Kmans‚ ]T\^e{]m]vXn

 CwKvfojnepw aebmfØnepw `mjmsshZKv[yw t\Sp∂p

 XmcXaykmlnXyZ¿i\Øn¬ ]pXnb ImgvN∏mSpIƒ cq]s∏Sp∂p

 CwKvfojnepw aebmfØnepw hnh¿Ø\tijn ssIhcn°p∂p

 kmlnXykn≤m¥w, kmlnXyhna¿i\w, kmlnXyNcn{Xhn⁄m\obw

F∂o taJeIfn¬ KthjWXmev]cyw cq]s∏Sp∂p.

 k¿KmflIcN\bn¬ ]pXnb ]cnioe\߃ t\Sp∂p

 `mjmkmt¶XnIhnZybn¬ sshZKv[yw D≠mIp∂p.

 kmlnXy kwhmZßfn¬ BflhnizmktØmsS ]s¶Sp°p∂p.

 H∂papX¬ Bdp-hsc ska-Ã-dp-I-fn-te-°p≈
tImgvkp-Ifpw kne-_kpw
ska-ÿ : H∂v

ska-ÿ : I
tImgvkv tImUv : ML 1111.4
emwtKzPv tImgvkv : II (A-Uo-j-W¬ emwtKz-Pv)
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 3

KZykmlnXyw
(]pkvXIw: KZy`mcXn ˛ bqWnthgvkn‰n {]kn≤oIcWw)

]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-Ønse KZy-km-ln-Xy-Øns‚ hnIm-k-N-cn{Xw a\- n-em-°p-∂p.
2. hnhn[ KZy-km-ln-Xy-cq-]-ß-fpsS LS-\, kz`mhw F∂nh hnth-Nn®v a\-kn-em-°p-
∂-Xn\pw Ah \ncq-]Ww sNøp-∂-Xn\pw {]m]vXn t\Sp-∂p.
3. KZy-km-ln-Xy-c-N-\-I-fnse D≈-S-°w hni-I-e\w sNbvXv ka-Im-en-Im-h-ÿ-tbmSv
_‘n-∏n®v hne-bn-cp-Øp-∂p.
4. kmln-Xy-cN
- \
- I
- f- nse apJym-ib
- ß
- ƒ a\- n-em-°p-∂X
- n\pw Ahsb Bkv]Z- a
- m°n
\nK-a-\-߃ cq]-s∏-Sp-Øp-∂-Xn\pw A]-\n¿Ωn°p-∂-Xn-\p-ap≈ tijn t\Sp-∂p.
5. kmln-Xy-c-N-\-I-fpsS `mjm-kz-cq]w hni-I-e\w sNøm≥ {]m]vXn t\Sp∂p.

]mTy]≤Xn
samUyqƒ : H∂v (18 aWn-°q¿)
t\mh¬
]T-\^
- e
- {- ]m]vXn
1. ae-bmft\mh-ens‚ Ncn{Xw kmam-\y-ambn {Kln-°p-∂p.
2 B[p-\nI ae-bmf t\mh¬ km-ln-Xy-Øns‚ khn-ti-jX - I
- ƒ hni-Ie- \w sNøm≥
{]m]vXn t\Sp-∂p.
3. Sn.-hn.-sIm-®p-_m-hb
- psS t\mh-ep-Is
- f-°p-dn®v kmam-\y-⁄m\w t\Sp-∂X - n\pw hr≤-
k-Z\w F∂ t\mh-ens\ khn-ti-ja - mbn hni-Ie- \w sNbvXv a\- n-em-°p-∂X - n\pw
tijn t\Sp-∂p.
aebmft\mh¬ ˛ {]mcw`cq]߃ ˛ BZyIme FgpØpIm¿ ˛ t\mhens‚
hnImkL´w ˛ hn`n∂ t\mh¬cq]߃ ˛ FgpØpIm¿. B[p\nI ho£Ww ˛ IrXnIƒ
˛ FgpØpIm¿ ˛ kaIm-e-t\m-h¬- ˛ kmam\ym-h-tem-I\w-

1
hniZ]T\w:
1. hr≤k-Z\w : Sn. hn. sIm®p_mh.

samUyqƒ : c≠v (18 aWn-°q¿)

sNdpIY
]T-\^
- e
- {- ]m]vXn
1. \thm-∞m-\-Ime sNdp-I-Y-bpsS khn-ti-j-X-Iƒ Xncn-®-dn-bp-∂p.
2. B[p-\n-I-X-bn¬ \n∂v B[p-\n-Im-\-¥-c-X-bn-te-°p≈ ae-bmf sNdp-I-Y-bpsS
]cn-Wmaw th¿Xn-cn-®-dn-bp-∂p.
3. IY-I-fnse D≈-S°w A]-{K-Yn-°p-∂-Xn\pw {]Xn-I-c-W-߃ kz¥w cq]-Øn¬
{]I-Sn-∏n-°p-∂-Xn\pw tijn ssIh-cn-°p-∂p.
B\pImenIßfpsS {]Nmcw ˛ aebmf sNdpIYbpsS hnImk ]cnWma
L´ßƒ ˛ IrXnIƒ ˛ IYmIrØp°ƒ.
hniZ]T\w
1. sh≈s∏m-°Ø- n¬- ˛ XIgn
2. s\bv]mbkw- ˛ am[hn-°p´n-
3. aÆv ˛ knXmc-. Fkv.
4. I¿Æ]¿hw- ˛ Fkv. B¿. em¬

samUyqƒ : aq∂v (27 aWn-°q¿)

D]\ymkw, ]T\w
]T-\^
- e
- {- ]m]vXn
1. D]-\ymkw, ]T\w F∂o KZy-cq-]-ß-fpsS khn-ti-j-X-Iƒ th¿Xn-cn®v a\-kn-em-
°p-∂p.
2. ae-bm-f-Ønse {]apJ kmln-Xy- hn-a¿i-I-sc-°p-dn-®p≈ Adnhp t\Sp∂p.
3. D]\ymk-ß-fn-sebpw ]T-\-ß-fn-sebpw D≈-S°w hni-I-e\w sNøp-∂p.
D]\ymkßfpsS Bhn¿`mhw ˛ D]\ymkkamlmc߃ ˛ D]\ymkimJsb
kº∂am°nb FgpØpIm¿ ˛ hnjbsshhn[yw ˛ KZymhnjvIcWØnse sXfna ˛
hnjbm]{KY\߃
hniZ]T\w
1. kmln-X-y-Ønse kv{Xo ˛ tPmk^v ap≠t»cn
2. Ihn-Xbpw ]cn-ÿn-Xnbpw ˛ F v. cmP-ti-Jc
- ≥.
3. FgpØp-Im-c\pw- ]mcº-cyhpw- ˛ sI. ]n. A∏≥.
4. kv]μn°p-∂ AÿnamSw- ˛ Fw. sI. km\p
(\£-{X-ß-fpsS- kvt\l`mP-\w)-
5. ssieotZmj߃ (\√ `mj) ˛ s{]m^. ]∑\ cmaN{μ≥ \mb¿

2
 samUyqƒ : \mev (18 aWn-°q¿)
PohNcn{Xw, BflIY, bm{Xm\p`hw
]T-\^
- e
- {- ]m]vXn
1. Poh-N-cn-{Xw, Bfl-I-Y, bm{Xm-\p-`hw F∂o kmln-Xy-cq-]-ß-sf-°p-dn®v kmam-\y-
]-cn-⁄m\w t\Sp-∂p.
2. kam-\k - z-`m-ha
- p≈ kmlnXycq]-ßf - p-ambn ]cn-Nb
- s
- ∏-Sp-∂X
- n\pw Ah-sb-°p-dn®v
]T-\-߃ Xøm-dm-°p-∂-Xn\pw {]m]vXn ssIh-cn-°p-∂p.
3. Ncn-{X-]-chpw kmwkvIm-cn-I-hp-ambn {]m[m-\y-ap≈ ÿe-߃ kμ¿in-°m-\p≈
Xmev]cyw h¿≤n-°p-∂p.

PohNcn{Xw ˛ BflIY ˛ bm{Xm\p`hw ˛ kz`m-h-k-hn-ti-j-X-Iƒ ˛ BJym-\-

coXn ˛ {][m-\-Ir-Xn-Iƒ
hniZ]T\w
1. IÆocpw In\mhpw ˛ hn.Sn. `´Xncn∏mSv.

samUyqƒ : A©v (9 aWn-°q¿)

`mjmip≤n, X¿÷a, D]\ymkcN\
]T-\^
- e
- {- ]m]vXn
1. `mjm-ip≤nsb°p-dn-®p≈ t_m[w Dd-bv°p-Ibpw sX‰n-√msX `mj {]tbm-Kn-°m-
\p≈ tijn t\Sp-Ibpw sNøp-∂p.
2. X¿÷-a, D]-\ym-k-c-N\ F∂nh \n¿h-ln-°p-∂-Xn\p≈ {]m]vXn ssIh-cn-°p-∂p.

hmIyip≤n ˛ ]Zip≤n ˛ s]mXphnjbsØ Bkv]Zam°n ˛ D]\ymkw ˛ X¿÷a

˛ Cw•ojn¬ \n∂pw aebmfØnte°v.
klmbI{KŸßƒ
1. t\mh¬ kmlnXyNcn{Xw ˛ tUm. sI. Fw. XcI≥, tIc-f-km-lnXy A°m-Zan
2. BflIYmkmlnXyw aebmfØn¬ ˛ tUm. \Sph´w tKm]meIrjvW≥.
3. BflIYmkmlnXyw aebmfØn¬ ˛ tUm. hnPbmebw PbIpam¿.
4. bm{XmhnhcWw ˛ Fw. sI am[h≥ \mb¿ (kmlnXyNcn{Xw {]ÿm\-
ßfneqsS, FUn. tUm. sI. Fw. tPm¿Pv).
5. k©mckmlnXyw ˛ tUm. Sn. Pn. am[h≥Ip´n.
6. k©mckmlnXyw aebmfØn¬ ˛ hn. ctajvN{μ≥.
7. kºq¿Æ aebmfkmlnXyNcn{Xw ˛ (FUn.) ]∑\ cmaN{μ≥ \mb¿, Id‚ v
_pIvkv, tIm´-bw.
8. \√-`mj ˛ s{]m^. ]∑\ cma-N-{μ≥ \mb¿, Id‚ v _pIvkv, tIm´-bw.
9. sXfn-ae
- b - mfw ˛ Fw.-F≥.-Im-ct- »cn, Un.-kn.-_p-Ivkv, tIm´-bw.
10. KZy-inev]w ˛ kn.-hn.-hm-kp-tZ-h-`-´-Xn-cn, tIcf `mjm C≥Ãn-‰yq-´v.
11. ae-bm-fs- si-en, Ip´n°rjvWa - m-cm¿, amcm¿ kmln-Xy-{]-Im-iw, tImgn-t°m-Sv.

3
 ska-ÿ : I
tImgvkv tImUv : EML 1121
^ut≠-j≥ tImgvkv : I
ka-b-{Iaw : BgvN-bn¬ 2 aWn-°q¿
(18 BgvN-bn¬ 36 aWn-°q¿)
s{IUn‰v : 2

hnhckmt¶XnIhnZybpw aebmf`mjm]T\hpw

tImgvkns‚ ]T\^e-{]m]vXn
1. hnhckmt¶XnIhnZysb°pdn®p≈ Nn¥Iƒ aebmfØn¬ AhXcn∏n°p∂Xn\v
Ignbp∂p.
2. C˛aebmfØns‚ km[yXIsf A]{KYn°p∂p.
3. `mjm Iºyq´nßns\∏‰n hniIe\mflIambn Nn¥n°p∂p.
4. `mjmtkm^v‰vshbdpIsf ]cntim[n°p∂p.
5. aebmfØnse ssk_¿kmlnXysØ ]cnNbs∏Sp∂p.
6. \ham[yaßfnse aebmf`mjbpsS CSs]SepIsf hnebncpØp∂p.

samUyqƒ H∂v (9 aWn-°q¿)

]T-\^
- e
- {- ]m-]vXn
1. Iºyq´¿ kmt¶XnIhnZybn¬ AhKmlw t\Sp∂p.
2. A®Snk{ºZmbØnep≠mb ]pXnb am‰ßsf ]cntim[n®dnbp∂p.
3. aebmfØn¬ ssS∏psNøp∂Xn\p≈ sshZKv≤yw t\Sp∂p.
Iºyq´dns‚ Ncn{Xw ˛ Xe-ap-d-Iƒ ˛ aebmfw Iºyq´nßns‚ Ncn{Xw ˛ kzX{¥
aebmfw Iºyq´nßv ˛ hnhn[ aebmfw tkm^v‰vshbdpIƒ ˛ Iºyq´dpw A®Snbpw ˛
hnLSnX t^m≠pIfpw ka{Ken]n k©bhpw ˛ aebmfw ssS∏nwKv- ˛ hnhn[ t^m≠pIƒ
˛ bqWnt°mUnse aebmfw
hniZ]T\Øn\v
1. aebmf`mjm Iºyq´nwKv Ncn{XmhteI\w˛atljv awKem´v .

samUyqƒ c≠v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. aebmfØn¬ BI¿jIamb tªmKpIƒ Xømdm°p∂p.
2. tkmjy¬ao-UnbbpsS km[yXIƒ Xncn®dnbp∂p.
3. hn°naebmfw kwcw`Øn¬ ]¶mfnbmIm≥ {ian°p∂p.

4
4. UnPn‰¬ t]mbIv‰nI-vkns\∏‰nbp≈ [mcWIƒ cq]s∏Sp∂p.
5. aebmfnbpsS ssk_¿kmlnXyhf¿® ]cntim[n°p∂p.
6. ssk_¿ kt¶X߃ ]cºcmKXkmlnXycN\bn¬ CSs]Sp∂ coXn
A]{KYn°p∂p.
C‚¿s\‰ns‚ Bhn¿`mhhpw hnhchn\nabhnπhhpw˛sh_v s sk‰pIfpw
sh_vt]m¿´epIfpw ˛ aebmf`mjbpw kmlnXyhpambn _‘s∏´ sh_vssk‰pIƒ ˛
kmam\yhnhcw. tªmKv ˛ khntijXIƒ ˛ aebmfØnse tªmKpIƒ ˛ tªmKpw
CXcam[yaßfpw; kn‰nk¨ tP¿Wenkw. tkmjy¬ s\‰vh¿°pIƒ ˛ s]mXp-C-S-
ßfpw kwhmZssienbpw˛ bqSyq_v, t^kv_p°v, hm´vkvB∏v, Szn‰¿˛Hm¿°q´ns‚
Xntcm[m\w. C˛_p°v , C˛kmlnXyw ˛ C˛doUnwKv ˛ aebmfw hn°n]oUnb ˛
t]PvsU]vXpw D≈S°hpw˛KqKnƒ {Sm≥t…‰v ˛ ssk_¿kmlnXyw˛aebmfØnse
ssk_¿kmlnXyw ˛ ssk_¿temIØp\n∂v A®SnbnseØp∂ kmlnXyIrXnIƒ ˛
s^bvkv_p°nse kmlnXyw ˛ Szo‰v^n£≥, ^m≥^n£≥ ˛ ssk_¿ {]tabamIp∂
aebmfkmlnXyIrXnIƒ ˛ kmam\y]T\w.
hniZ]T\Øn\v
1. aebmfnbpsS \ham[yaPohnXw˛ {ioIm¥v. B¿. hn. (aebmfw Iºyq´nwKv :
km[yXIfpsS h¿Øam\w F∂ ]pkvXIw)
2. `mh\mXoXw : IYbpw {]XoXnbmYm¿∞yhpw ˛ ]n. sI. cmPtiJc≥
(GIm¥\Kc߃)

sam-Uyqƒ aq∂v (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. aebmfw ssS∏nwKv ]cnioen°p∂p.
2. Iºyq´¿ k¿KmflIXbn¬ sshZKv≤yw t\Sp∂p.
3. kaqlam[yaßfn¬ {it≤bamb D≈S°ßƒ kw`mh\ sNøp∂p.
]h¿t]mbn‚ v ss…UpIƒ \n¿Ωn°¬ ˛ aebmfw ssS∏nwKv ˛ tªmKv \n¿ΩmWw
˛ hoUntbm FUn‰nwKv ˛ sh_vt]Pv ˛ kmaqlnIam[yaßfn¬ BI¿jIamb D≈S°w
\n¿Ωnt°≠ hn[w.
klmbI{KŸßƒ
1. C≥^¿taj≥ sSIvt\mfPn˛ tUm. ANypXv i¶¿ Fkv. \mb¿,
tIcf`mjmC≥Ãn‰yq´v.
2. Iºyq´¿ ]cnNbhpw {]tbmKhpw˛ tUm. ANypXv i¶¿ Fkv. \mb¿,
3. `qtKmfh¬°cWw˛ tUm. ANypXv i¶¿ Fkv . \mb¿, {]nbZ¿in\n
]ªnt°j≥kv.
4. hcq \ap°v Iºyq´dpw C‚¿s\‰pw ]cnNbs∏Smw˛ hn. sI. BZ¿iv, Un. kn.
_pIvkv.
5. hnhckmt¶XnIhnZy \nXyPohnXØn¬˛ hn. sI. BZ¿iv, tIcf`mjmC≥Ãn‰yq´v.
6. C\n hmb\ C˛hmb\˛ hn. sI. BZ¿iv, Un.kn. _pI-vkv.

5
7. BtemIw apX¬ C temIw hsc˛ tUm. sP. hn. hnf\new,
tIcf`mjmC≥Ãn‰yq´v.
8. C‚¿s\‰pw C≥^¿taj≥ hnπhhpw˛ sI. cho{μ≥ & tUm. _n. CIv_m¬, Un.
kn. _pI-vkv.
9. C‚¿s\‰v Hcp ]T\w˛ ]n. tkXpam[h≥, en]n ]ªnt°j≥kv.
10. Fßs\ aebmfØn¬ tªmKmw˛ ]n. Fw. _m_pcmPv, Un. kn. _pI-vkv.
11. sh_vssk‰v˛ cN\, cq]Iev]\, ]cn]me\w˛ _n. at\mPv,
tIcf`mjmC≥Ãn‰yq´v.
12. ssk_¿ aebmfw˛ kp\oX. Sn. hn (FUn.), Id‚ v _pI-vkv, Xriq¿.
13. C˛ aebmfw˛ kp\oX. Sn. hn, tIcf`mjmC≥Ãn‰yq´v.
14. `mh\mXoXw˛ aebmfØnse ssk_¿ IYIƒ˛ ]n. sI. cmPtiJc≥ (FUn.),
Un. kn. _pI-vkv.
15. ssk_¿˛ _lpkzchmb\Iƒ˛ kPn Icntßme (FUn.)
16. aebmfhpw C‚¿s\‰pw˛ kp\oX. Sn. hn, en]n ]ªnt°j≥kv, tImgnt°mSv.
17. hn\nabw, hyhlmcw, kmaqlnIX˛ km_p tIm´p°¬ (\-ha - m-[y-aß
- ƒ ˛ P\-Io-
b-Xbpw hnizm-ky-X-bpw)
18. \ham[ya߃˛ P\IobXbpw hnizmkyXbpw˛ Sn. sI. kt¥mjv Ipam¿ (FUn.)
19. aebmfw Iºyq´nwKv : km[yXIfpsS h¿Øam\w, {ioIm¥v B¿. hn (FUn.),
aebmfhn`mKw, tIcfk¿ΔIemime, 2019.
20. aebmfw Iºyq´nwKv : {]k‡nbpw {]tbmKhpw, {ioIm¥v. B¿. hn (FUn.),
tIcfk¿ΔIemime, 2019
21. Fßs\ ae-bm-f-Øn¬ tªmKmw ˛ _m_p-cmPv ]n.-Fw.

6
 ska-ÿ : I
tImgvkv tImUv : EML 1141
tIm¿ tImgvkv : I
ka-b-{Iaw : BgvN-bn¬ 4 aWn-°q¿
(18 BgvN-bn¬ 72 aWn-°q¿)
s{IUn‰v : 4

B[p-\n-II
- h
- nX

]T-\-^-e-{]m]vXn
1. B[p-\n-I-L´Ønse ae-bm-f-I-hn-X-bpsS kmam-\y-kz-`mhw Xncn-®-dn™v s]mXp-
\n-K-a-\-߃ cq]-s∏-Sp-Øp-∂-Xn-\p≈ {]m]vXn t\Sp-∂p.
2. B[p-\nI Ihn-{Xb Ihn-X-Iƒ (Im-ev]-\nI IhnX H∂mw-L-´w) apX¬ ae-bm-f-I-
hn-X-bn-ep≠mb `mjm-]-chpw `mhp-I-Xz-]-c-hpamb ]cn-Wmaw hna¿i-\m-fl-I-ambn
A]-{K-Yn°p-∂p.
3. ]m›mXy kº¿°-^-e-ambn Ihn-X-bpsS {]ta-b-Ønepw cq]-˛-`m-h-ß-fnepw kw`-
hn® am‰w kq£va-]-T-\-hn-t[-b-am°p-∂p.
4. hnhn[ Bhn-jI v c
- t- Wm-]m-[n-If - psS ({]Xo-Iw, _nw_-Ie - ]v \
- - XpS-ßn-bh) {]tbmKw
B[p-\n-I-L´ Ihn-X-I-fn¬ F{X-tØmfsa∂v Xncn-®-dn™v ]pXnb {]tbm-K-km-
[y-X-Iƒ Is≠-Øp-∂p.
5. B[p-\n-Im-\¥ - c ae-bm-fI - h- n-Xb - nse `mjm-]c - hpw cN-\m-]c - hpw LS-\m-]c - h
- p-amb
khn-ti-jX - I
- sf k¿§m-flI - a- mbn hne-bn-cpØn ]pXnb hyh-lmc cq]-߃ kr„n-
°p-∂p.
6. B[p-\n-IL - ´ ae-bm-fI - h- n-Xb - psS hyXy-kvXI - f- n-eq-∂n-bp≈ Imhym-kzm-Z\ - /Bem-
]\/kr„n-ss\-]p-Wn-Iƒ t\Sp-Ibpw {]tbm-Kn-°p-Ibpw sNøp-∂p.

samUyqƒ : H∂v (18 aWn-°q¿)

Imev]-\n-I-I-hnX ˛ H∂mw-L´w
]T-\^
- e
- {- ]m]vXn
1. B[p-\n-IX- b
- psS BZy-In-cW
- ß
- ƒ Ihn-{X-bI- h
- n-XI
- f
- n¬ F{X-tØm-fs - a∂v N¿®-
sNbvXv \nK-a-\-߃ cq]-s∏-Sp-Øp-∂p.
2. Ihn-{Xb Ihn-X-I-fpsS {]ta-b-]-chpw inev]-]-chpw `mhp-I-Xz-]-c-hp-amb khn-ti-
j-X-Iƒ Xmc-Xayw sNbvXv ]pXnb ]cn-I-ev]-\-Iƒ kr„n-°p-∂p.
3. Ihn-{Xb Ihn-X-I-fpsS khn-ti-j-L-S-I-߃ hna¿i-\m-fl-I-ambn kzmwio-I-cn®v
a‰v hyh-lm-c-cq-]-߃ kr„n-°p-∂p.
Imev]-\nI ]q¿Δ-I-hn-X ˛ Imev]-\n-IX ˛ `mh-Km\w ˛ B[p\n-I-X-bpsS BZy-In-
c-W-߃ ˛ Ihn-{Xbw ˛ CXn-hrØkzoI-cWw ˛ tZio-b-t_m[w˛ kzmX-{¥y-Nn¥ ˛

7
I¿Ω-hocyw XpS-ßn-b-h. inev]-]-c-amb khn-ti-j-X-Iƒ ˛ hnh¿Ø\w ˛ ]mc-º-cyhpw
B[p-\n-I-Xbpw XΩn-ep≈ kwL¿jw
hni-Z]
- T
- \
- Ø
- n\v
1. \fn\n (BZysØ 14 t«mIw) ˛ Ipam-c\
- m-im≥
2. Dam-tI-cfw ˛ D≈q¿ Fkv. ]c-ta-iz-c-ø¿
(H∂mw k¿§w ˛ BZysØ 14 t«mIw)
3. I¿Ω-`q-an-bpsS ]n©p-Im¬ ˛ h≈-tØmƒ
(km-ln-Xy-a-RvPcn \memw-`m-Kw)

samUyqƒ : c≠v (18 aWn-°q¿)

Imev]-\nI IhnX ˛ c≠mw-L´w
]T-\^
- e
- {- ]m]vXn
1. Imev]\ - n-IX- b
- psS {]tXy-IX- I
- ƒ Xncn-®d - n™v AXns‚ kzm[o\w Ihn-{X-bm-\¥- -
c-Ih
- n-XI - f
- n¬ Fß-s\-bmWv {]Xn-^e - n-°p-∂s
- X∂v hna¿i-\m-flI
- a
- mbn N¿®-sN-
øp-∂p.
2. Ihn-{X-bm-\-¥c Ihn-X-I-fpsS {]ta-b-]-cn-k-c-߃ Xmc-Xayw sNbvXv hnIm-k-X-e-
ß-sf-°p-dn®p≈ s]mXp-\n-K-a-\-߃ cq]-s∏-Sp-Øp-∂p.
4. `mjm-]c - hpw LS-\m-]c - hpw `mh-]c
- h
- p-amb LS-Iß - ƒ N¿®-sNbvXv ]pXnb Bkzm-
Z\/Bem-]-\-X-e-߃ cq]-s∏-Sp-Øp∂ kr„n-Iƒ \S-Øp-∂p.
]m›mXy Imhy-cq-]-ßfpsS kzm[o\w ˛ hnjmZw ˛ {]Wbw ˛ arXyp ˛ hyXykvX
{]ta-b-߃ ˛ ]mÃ-d¬ FenPn ˛ Ihn-Xbpw kwKo-Xhpw ˛ sshb-‡n-IX ˛ {]ÿm-\-
ß-fpsS kzm[o\w ˛ Imev]-\nI `mh-ß-fn¬ \n∂v Kl-\-X-e-ß-fnte°v ˛ BJym-\-I-
hnX ˛ Ihn-X-bpsS Pohn-Xm-`n-apJyw
hni-Z]
- T
- \
- Ø
- n\v
1. ]Yn-Is‚ ]m´v ˛ Pn.-i¶
- c
- °
- p-dp∏v
2. ca-W≥ (D]-{I-a-cwKw) ˛ Nß-ºpg
3. amºgw ˛ sshtem-∏n≈n
4. ]qX-∏m´v ˛ CS-t»cn
5. F\n°p ac-W-an√ ˛ hb-em¿
6. im¿MvKI-∏£
- n-Iƒ ˛ H.-F≥.-hn.

samUyqƒ aq∂v (18 aWn-°q¿)

B[p-\nI IhnX
]T-\^
- e
- {- ]m-]vXn-
1. Imev]-\n-I-X-bpsS XpS¿® B[p-\n-I- Ihn-X-I-fn¬ GXv cq]-Øn¬ {]Xy-£-s∏-Sp-
∂p-sh∂v kq£vam-]-{K-Y\w \S-Øp-∂p.

8
2. kmaq-ln-I˛- c
- m-{„o-b˛- P
- o-hn-X˛- ]
- c
- n-ÿn-Xn-{]-i\v ß
- ƒ ae-bm-fI - h- n-Xb
- n¬ Fßs\ AS-
bm-f-s∏-Sp-Øn-bn-cn-°p-∂p-sh∂v hna¿i-\m-fl-I-ambn ]cn-tim-[n-°p-∂p.
3. B[p-\n-I-X-bpsS kzm[o\w Ihn-X-bpsS {]ta-b-Ønepw Ah-X-c-W-Ønepw F¥p
am‰-amWv kr„n-®n-cn-°p-∂s - X∂v Xncn-®d - n™v s]mXp-\n-Ka
- \
- ß- ƒ cq]o-Ic - n-°p-Ibpw
{]tbm-Kn-°p-Ibpw sNøp-∂p.
]m›mXy B[p-\n-I-X-bpsS kzm[o\w ˛ ]pXnb a[y-h¿§-Øns‚ IhnX ˛ kmaq-
lnI hna¿i\w ˛ hy‡nXz inYn-eo-I-cWw ˛ hnizm-k-ØI¿® ˛ \K-c-hXvIcWw ˛
`n∂-tijn ˛ B[p-\n-I-X-bpsS ImesØ hgn-am‰w ˛ DØ-cm-[p-\n-I-X-bn-te-°p≈
Im¬hbv∏v
hni-Z]
- T
- \
- Ø
- n\v
1. XØt® ]qΩ ]qΩ ˛ Pn.-Ip-am-c-]n≈
2. hgn-sh-´p-∂-h-tcmSv ˛ F≥.-F≥.I-°mSv
3. im¥ ˛ IS-Ω\ - n´
4. ISep ImWm≥ t]mb-h¿ ˛ kpK-X-Ip-amcn
5. \mhp-acw ˛ k®n-Zm-\μ - ≥

samUyqƒ : \mev (18 aWn-°q¿)

B[p-\n-Im-\-¥c IhnX
]T-\^
- e
- {- ]m-]vXn-
1. ka-Im-enI Ihn-Xb- nse ]pØ≥{]-hW - X- I- ƒ/{]Xn-\n-[m-\ß
- ƒ hna¿i-\m-flI- a
- mbn
]cn-tim-[n®v ]pXp-kr-„n-I-fn¬ G¿s∏-Sp-∂p.
2. Bi-b-kzmw-io-I-c-W-Øn-s\m∏w hyXy-kvX-X-bp≈ Bem-]\ X{¥-߃ cq]-s∏-
Sp-Øn {]tbm-Kn-°p-∂p.
3. B[p-\n-IXbn¬\n∂v B[p-\n-Im-\¥ - c- X
- b- n-te-°p≈ Ihn-Xb- psS ]cn-Wmaw aqey-
\n¿Wbw sNøp-∂p.
4. B[p-\n-Im-\-¥c L´-Ønse {]apJ Ihn-Isf ]cn-N-b-s∏-Sp-∂p.
]pXn-b{- ]-hW
- X- I
- ƒ ˛ kzXz-]c
- a
- mb \ne-]mSpIƒ ˛ kv{Xo˛-Zf
- n-X˛v- ]
- c
- n-ÿn-Xn˛ {]ta-
b-]-chpw cq]-]-c-hp-amb khn-ti-j-X-Iƒ ˛ `mh-cq] ]cn-Wmaw ˛ _lp-kz-c-X
hni-Z]
- T
- \
- Ø
- n\v
1. hm≥tKm-Kn\v Hcp _en-∏´v ˛ F.-Aø- ∏- ≥
2. arK-in-£I- ≥ ˛ hnP-be- £van
3. iyma-am-[hw (A-h-km\ JWvUw) ˛ {]`m-h¿Ω
(IØpw I¿∏q-ca - m-bv... F∂-Xp-ap-X¬
C√n-ß-Xn≥ thcpta F∂-Xp-h-sc)
4. ]´m-ºn-∏pg aW-en¬ ˛ ]n.-]n.-cm-a-N-{μ≥
5. {]XnjvT ˛ kmhn{Xn cmPo-h≥
6. ew_w ˛ F¬.-tXm-ak - vIp´n

9
klm-bI
- {- K-Ÿß
- ƒ
1. ae-bm-fI- h - nXm kmln-Xy-Nc - n{Xw ˛ tUm.-Fw.-eo-em-hXn, tIcf kmlnXy A°mZan
2. h¿Æ-cmPn ˛ tUm.-Fw.-eoem-h-Xn, F≥.-_n.-F-kv. tIm´-bw.
3. Ihn-Xm-]T - \ - ß - ƒ ˛ (F-Un.) s{]m^. ]∑\ cma-N{- μ≥\m-b¿, Id‚ v _pIvk,v tIm´bw.
4. Ihn-Xbpw P\-Xbpw ˛ k®n-Zm-\-μ≥, Un.-kn.-_p-Ivkv.
5. \thm-∞m-\m-\-¥c ae-bm-f-I-hnX ˛ tUm.-F-kv.-cm-P-ti-J-c≥
6. Imhy-`m-jb - nse {]iv\ß- ƒ ˛ (F-Un.) tUm.-tZ-ia - w-Kew cma-Ir-jW
v ≥, tIcf `mjm
C≥Ãn-‰yq-´v.
7. alm-Im-hy-{]-ÿm-\w ˛ Sn.-Pn.-am-[-h≥Ip-´n, tIcf `mjm C≥Ãn-‰yq-´v.
8. B[p-\n-IX ae-bm-f-I-hn-X-bn¬ ˛ tUm.-F≥.-AP - b
- I
- p-am¿
9. IhnX-bpsS {Kma-߃ ˛ C.-]n.-cm-P-tKm-]m-e≥, ta[m _pIvkv, tImgn-t°m-Sv.
10. s]¨h-gn-Iƒ ˛ (F-Un.) sI.-Pn.-i¶ - c- ∏- n≈, Iem-t£-{Xw, Imk¿tKm-Uv.
11. Ihn-Xbpw a\x-im-kv{Xhpw ˛ Fw.-F≥.-hn-P-b≥, amXr-`qan, tImgn-t°m-Sv.
12. B[p-\nI Imhy-]m-T-߃ ˛ tUm.-kn.-]n.-in-h-Zm-k≥, tIcf kmlnXy A°m-Z-an.
13. ae-bm-f-I-hnX ˛ B[p-\n-Im-\-¥cw ˛ tUm.-kn.-B¿.-{]-kmZv
14. `mh-Ko-XØ - ns‚ AS-bm-fß - ƒ ae-bm-fI - h
- n-Xb
- n¬ ˛ tUm.-B¿.-Fk - v.c
- m-Pohv
15. Imhyw A∂c-k-abw ˛ tUm.-]n.-tkm-a≥
16. Ihn-X-bpsS ctYm-’hw ˛ tUm.-A-P-b-]pcw tPymXn-jvIp-am¿, tIcf `mjm
C≥Ãn‰yq´v.
17. `mhp-I-Xz-Øns‚ hgn-Iƒ ˛ Fw.-Ir-jvW≥\-ºq-Xncn, skUv sse{_-dn, Xncp-h\ - ¥
- -
]p-cw.
18. IS-en¬ Xßnb Im¥-`qan ˛ tUm.-_n.-hn.-i-in-Ip-am¿, tIcf `mjm C≥Ãn-‰yq-´v.
19. B[p-\n-IX - b - psS ]mT-߃ ˛ ae-bm-fI - h- n-Xb
- nse kv{Xo]£cm{„obw ˛ bmt°m_v
tXmakv
20. Icn-bn-e-°n-fn-Iƒ Ie-ºp-∂p≠v ˛ tUm.-kn.-D-Æn-°r-jvW≥
21. H.-F≥.-hn. ]T\w ˛ (F-Un.) sI.-_n.-si¬h-aWn
22. DØ-cm-[p-\n-I-I-hn-Xm-]-T\w ˛ tUm.-Fw.-F-kv.-t]mƒ, tIc-f-km-lnXy A°m-Uan.
23. Np‰n-ep-tamtcm kz¿§w Xmgv∂p Xmgv∂-I-ep-tºmƒ ˛ tUm.-Sn.-sI.-kt- ¥m-jvIp-am¿.
24. Ihn-X-bnse ÿe-Im-e-߃ ˛ tUm.-F.-A-c-hn-μm-£≥, Id‚ v _pIvkv, Xr»q¿.

10
 ska-ÿ : I
tImgvkv tImUv : EML 1142
tIm¿ tImgvkv : II
ka-b-{Iaw : BgvN-bn¬ 2 aWn-°q¿
(18 BgvN-bn¬ 36 aWn-°q¿)
s{IUn‰v : 2

tIcf ]T\w ˛ 1
]T\^-e{- ]m]vXn
1. tIcfØnse `mj, kmlnXyw, Iemcq]߃ F∂nhbpsS hnImkØn\v
Ifsamcp°nb kmwkvImcnIhpw cmjv{Sobhpamb ]›m-Øe - sØ a\- n-em-°p∂p.
2. kmwkvImcnIØ\na Xncn®dnbm≥ km[n°p∂p.
3. tZiobt_m[w hfcp∂-Xn-s\m∏w, ]ucXzhnImkhpw e`n-°p-∂p.
4.- N-cn-{Xhpw kwkvIm-chpw tcJ-s∏-Sp-Øm-\p≈ t{]c-W-bp-≠m-Ip-∂p.
5. kwL-Ime kmaqly Pohn-XsØ hnen-bn-cp-Øm≥ Ign-bp-∂p.
6. k
- wL-Ime kmln-Xy-IX - n-Iƒ IqSp-Xe
- mbn ]cn-Nb
- s
- ∏-Sm≥ {ian-°p-∂p.

samUyqƒ : H∂v (18 aWn°q¿)

]T-\^
- e
- {- ]m]vXn
1. hntZi hmWn-Py-_-‘-߃ tIc-f-Øn¬ sIm≠p-h∂ kwkvIm-csØ hne-bn-cp-
Øp-∂p.
2.. tIc-f-Øns‚ hntZ-i-_‘ßfpsS t\´hpw tIm´hpw Xncn-®-dn-bm≥ Ignbp-∂p.
3. -tI-c-f-Ønse BZn-a-\n-hm-kn-I-fpsS Pohn-X-kw-kvImcw ASp-Ø-dnbp-∂p.
tIcfw ˛ `qanimkv{X]camb {]tXyIXIƒ ˛ tIctfm-ev]-Øn˛Ncn-{Xw-˛-sF-
XnlyIYIfpsS hnebncpج ˛ tIcf- k w- k v I mc - ] T\Øn\v klmbIamb
D]mZm\߃ ˛ sIm√h¿jw- ˛ tIcf-Ønse BZna \nhmknIƒ ˛Pohn-X-co-Xn-˛-B-Nm-c-
߃˛ kmwkvImcnI khntijXIƒ ˛alminem kwkvImcw ˛ AhinjvS߃, I√dIƒ,
IpS-°√pIƒ, \∂ßmSnIƒ, sXm∏n°√pIƒ, ]pe®n°√pIƒ, apXpa°-ØmgnIƒ,
]mgpXdIƒ, KplIƒ F∂nhbpsS kmwkvImcnI aqeyw.{]mNo\ImesØ hntZi˛hm-
Wn-Py˛_‘߃ ˛ hntZik©mcnIƒ˛-tc-J-Iƒ, XpdapJ߃, hntZi_‘߃
sIm≠p≠mb kmwkvImcnI t\´w ˛ kwL-Imew ˛ kmaqlyPohnXw ˛ `mj˛
kmlnXyIrXnIƒ˛ kwkvImcw˛ BNmcm-\pjvTm\߃. Im¿jnI kwkvImcw˛_p≤ ˛
ssP\ ˛ ssih ˛ sshjvWh ˛ PqX ˛ ss{I-kvXh ˛ C…mwaX-ßfpsS kmwkvIm-cnI
kw`mh\Iƒ
samUyqƒ: c≠v(18 aWn-°q¿)
]T\^-e{- ]m]vXn:
1. {]mNo\ tIc-f-Ønse aXhpw kwkvIm-chpw Xncn-®-dn-bm≥ Ign-bp-∂p.
2. 10,11 \q‰m-≠p-If
- nse tIc-fØns‚ kmwkvIm-cn-Im-hÿ
- sb hna¿i-\_
- p-≤n-tbmsS
kao-]n-°m≥ Ign-bp-∂p.

11
3.- \-ºq-Xn-cn-{]-`mh Ime-L-´-Øns‚ t\´hpw tIm´hpw a\- n-em-°p-∂p.
4.- tI-c-f-Ønse t£{X-I-e-I-fpw kwkvIm-chpw ASpØ-dn-bp-∂XneqsS kmwkvIm-
cnI hnIm-k-ap-≠m-Ip-Ibpw IqSp-X¬ ]T-\-Øn\v t{]c-W- e`n-°p-Ibpw sNøp-∂p.
G.Un. 10, 11 \q‰m≠pIfnse tIcfw ˛ \ºqXncnamcpsS {]`mhw ˛ kmaqlnI,
kmºØnI, kmwkvImcnI cwKßfnse kzm[o\X ˛acpa°Ømbw, PmXnhyhÿ ˛
P∑n k{º-Zm-bw.˛hmWnPyw ˛ h¿ØI kwL߃˛ hmkptZh- `´Xncn, tXme≥,
i‡n`{Z≥ F∂nhcpsS kw`mh\. lnμpaXw ˛ i¶cmNmcy¿, hmKv`Sm-\-μ≥ ˛
t£{XkwkvImcw ˛ t£{XIeIƒ ˛ A\pjvTm\IeIƒ ˛
klmbI{KŸßƒ
1. tIcfkwkvImc]T\߃ ˛ (FUn.) s{]m^. ]∑\ cmaN{μ≥\mb¿, Id‚ v _pIvk,v
tIm´bw
2. tIcfNcn{Xw ˛ F. {io[ctat\m≥, F≥.-_n.-Fk
- v., tIm´bw.
3. tIcfNcn{Xw ˛ Fw.B¿.cmLhhmcy¿, cmP≥ Kpcp°ƒ (h≈tØmƒ hnZym]oTw,
ipI]pcw).
4. tIcfØns‚ kmwkvImcnINcn{Xw ˛ ]n. sI. tKm]meIrjvW≥, tIcf `mjm
C≥Ãn-‰yq-´v.
5. tIcf kwkvImcw ˛ F. {io[ctat\m≥, F≥.-_n.-F-kv., tIm´bw
6. tIcfhn⁄m\tImiw ˛ tZi_‘p ]ªnt°j≥kv, Xncp-h-\-¥-]p-cw.
7. tIcfkwkvImc ]T\߃ ˛ Fw. Pn. Fkv. \mcmbW≥.
8. kwLImesØ tIcfw ˛ hn. hn. sI. hmeØv, F≥.-_n.-F-kv., tIm´bw
9. kwLkmlnXyNcn{Xw ˛ taeßØp \mcmbW≥Ip´n, tIcf `mjm C≥Ãn-‰yq-´v.
10. _p≤aXhpw tIcfhpw ˛ Fkv. i¶pAø¿, F≥.-_n.-F-kv., tIm´bw
11. tIcfNcn{XØns‚ ASnÿm\ineIƒ ˛ tUm. ]pXpt»cn cmaN{μ≥, tIcf `mjm
C≥Ãn‰yq´v).
12. tIcfNcn{Xw (hmeyw 1, 2) ˛ tIcf lnÃdn Atkmkntbj≥.
13. kwLIme`cWkwhn[m\w ˛ F≥.kp{_“Wy≥, (Un.kn. _pIvkv, tIm´bw).
14. tZhZmknIfpw tIcfNcn{Xhpw ˛ tUm. ]n. tkma≥.
15. IqØpw IqSnbm´hpw ˛ AΩma≥ Xºpcm≥.
16. tIcfØns‚ C∂seIƒ ˛ sI. F≥. KtWjv (h≈tØmƒ hnZym]oTw).
17. tIcfkwkvImcw ˛ s{]m^. Fkv. ANypXhmcy¿.
18. IpetiJc \mSIßfpw tIcfNcn{Xhpw ˛ Fw. ]n. i¶pÆn\mb¿.
19. CfwIpfw Ip™≥]n≈bpsS Xncs™SpØ IrXnIƒ ˛ CfwIpfw Ip™≥]n≈.
20. tIcfw aebmfnIfpsS amXr`qan ˛ C.Fw.Fkv. (Nn¥ ]ªnt°j≥kv,
Xncph\¥]pcw).
21. tIcfØns‚ aq∂pZiI߃ ˛ (FUn.) F≥. hnPb≥, tIcf`mjm C≥Ãn‰yq´v.
22. PmXnhyhÿbpw tIcfNcn{Xhpw ˛ ]n. sI. _meIrjvW≥.
23. tIcfØnse Nph¿®n{X-߃ ˛ tUm. Fw. Pn. iin`qj¨, tIcf `mjm C≥Ãn-
‰yq´v.
24. kwkvImcap{ZIƒ ˛ tUm. \Sph´w tKm]meIrjvW≥.

12
 ska-ÿ : c≠v

ska-ÿ : II
tImgvkv tImUv : ML 1211.4
emwtKzPv tImgvkv : IV (A-Uo-j-W¬ emwtKzPv
tImgvkv 2)
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 3

ZriyIemkmlnXyw

]T-\^
- e
- {- ]m]vXn
1. kmln-Xy-Ir-Xnbpw Zriy-Iebpw XΩn-ep≈ _‘w Xncn-®-dn-bp-∂p.
2. tIc-fØ
- ns‚ Zriy-Ie- I
- sf kq£vaa
- mbn \nco-£n®v kmPm-Xy-ssh-Pm-Xy-߃ Is≠-
Øp-∂p.
3. A¥¿eo-\-amb Iem-hm-k-\-Iƒ DW-cp-Ibpw Ah ]cn-io-en-°m\pw {]I-Sn-∏n-°m-
\p-ap≈ t{]c-W-bp-≠m-hp-Ibpw sNøp-∂p.
4. Fgp-Øv, A`n-\b
- w, kwhn-[m\w XpS-ßnb Iem-]c - a
- mb CS-s]-Se
- p-Iƒ°v km[y-am-
Ipw-hn[w kr„n-]-c-amb Nn¥-Iƒ DS-se-Sp-°p-∂p.
5. ssIh-i-ap≈ kmt¶-Xn-I-hn-Zy-Iƒ {]tbm-P-\-s∏-SpØn jq´nw-Kv, FUn-‰nwKv XpS-
ßn-bh ]cn-io-en®v Iem-{]-h¿Ø-\-ß-fn¬ G¿s∏-Sp-∂p.

samUyqƒ : H∂v (36 aWn-°q¿)

B´-°-Y, Xp≈¬km-lnXyw
]T-\^
- e
- {- ]m]vXn
1. ¢m nIv ˛ \mtSmSn Iem-]m-c-º-cy-ß-sf-°p-dn®v Adn-hp-t\-Sp-∂p.
2. IrXnbpw Ah-X-c-W-ßfpw XΩn-ep≈ hnIm-khpw A\p-`-hn-®-dn-bm≥ Ign-
bp∂p.
3. Iem-kzm-Z-\-Øns‚ `mK-am-bp≈ \nco-£-W-]m-Shw h¿≤n-°p-∂p.
IYIfnbpsS D¤hhnImk]cnWma߃ ˛ B´°YmkmlnXyw ˛ {][m\
B´°YmIrØp°ƒ ˛ Xp≈¬{]ÿm\w ˛ Ncn{Xw ˛ hnImk ]cnWm-aß
- ƒ- ˛ Ip©≥\-
ºym¿ ˛ Xp≈¬kmlnXyw ˛ kmam\y]cnNbw.
hniZ]T\w
1. \fN--cnXw B´°Y- ˛ DÆmbn-hm-c-y¿, H∂mwZn--hkw
(ZqXp ]q¿Æam-Ip-∂-Xp-hsc)

13
2. IeymWkuK‘nIw ˛ Ip©≥\ºym¿
(F¶ntem ]≠p bp[njvTnc≥ `oa\pw
.........................................................................
Im´n¬∏c∂Xpw I≠p hrtImZc≥)

samUyqƒ : c≠v (36 aWn-°q¿)

\mSIw
]T-\^
- e
- {- ]m]vXn
1. kwkvIr-X\ - m-SI
- ß
- f
- psS kmt¶-Xn-Ih
- n-Zy-Iƒ Dƒs°m-≈p-∂p.
2. ae-bmf \mS-I-th-Zn-bpsS hnIm-k-]-cn-Wm-a-Z-i-Iƒ Xncn-®-dn-bp-∂p.
3. hyXykvX Bhn-jvI-cW coXn-Iƒ a\- n-em°n kz¥w Iem-`n-cp-Nnsb ]cn-t]m-
jn-∏n-°p-∂p.
4. cN-\m-kw-cw-`-ß-fn¬ G¿s∏-Sp-∂p.
\mSIw F∂ ZriyIe- ˛ kmlnXycq]w ˛ aebmf- \mSI {]ÿm\w ˛ Bcw-`-hn-
Imk Ncn{Xw ˛ kmam\ym-htemI\w ˛ BZy-Ime \mS-I-߃ ˛ kwkvIr-X-\m-S-I-kzm-
[o\w ˛ KZy-\m-SIw ˛ B[p-\n-I-\m-SIw ˛ ka-Im-en-I-\m-S-Iw.
hniZ]T\w
1. `·`-h\w ˛ F≥. IrjvW]n-ff-
2. te_¿ dqw ˛ sI.hn-. {ioP

samUyqƒ : aq∂v
Xnc°Ym]T\w
]T-\^
- e
- {- ]m]vXn
1. kmt¶-Xn-I-hn-Zybpw Iem-ta-∑bpw Dƒs°m≠v Ne-®n-{XsØ Kuc-h-tØmsS kao-
]n-°m≥ t{]c-W-bp-≠m-Ip-∂p.
2. Xnc-°Ym cN-\-bpsS kmt¶-Xn-I-h-i-߃ a\- n-em-°p-∂p.
3. Hcp kmln-Xy-cq-]-sa∂ \ne-bn¬ Xnc-°-Ysb hne-bn-cp-Øm-\m-hp-∂p.
4. Ne-®n-{X-\n-cq-]W
- ß
- ƒ \S-Øp-Ibpw s]mXp-kw-hm-Zß
- f
- n¬ CS-s]-Sp-Ibpw sNøp∂p.
Xnc-°-Ybpw kn\n-abpw ˛ Xnc-°-Y-bpsS {]m[m\yw ˛ temI-{]-kn≤ Xnc-°-Y-Iƒ
˛ A\p-h¿Ø\w ˛ ae-bm-f-Ønse {]apJ Xnc-°-Ym-Ir-Øp-°ƒ ˛ Fw.-Sn. ˛ ]fl-cm-P≥ ˛
ASq¿ tKm]m-e-Ir-jvW≥ ˛ F.-sI.-tem-ln-X-Zmkv ˛ Xnc-°Y kmlnXyw F∂ \ne-bn¬
hniZ]T\w
1. HcnS-sØmcp ^b¬hm≥ ˛ ]fl-cmP≥-
klmbI{KŸßƒ
1. B[p\nI kmlnXyNcn{Xw {]ÿm\ßfneqsS (B´°Y/Xp≈¬) : FUn. tUm.
sI. Fw. tPm¿Pv.

14
2. ssIcfnbpsS IY ˛ F≥. IrjvW]n≈, F≥.-_n.-F-kv.
3. aebmf\mSIkmlnXyNcn{Xw ˛ s{]m^. Pn. i¶c]n≈, tIcf kmlnXy A°mZan.
4. aebmf\mSIkmlnXyNcn{Xw ˛ tUm. hbem hmkptZh≥ ]n≈, tIcf kmlnXy
A°m-Za - n.
5. \mSI]T\߃ ˛ ]n. sI. ]ctaizc≥ \mb¿ {SÃv, Id‚ v _pIvkv, tIm´-bw.
6. \mSIw ˛ Hcp ]T\w ˛ amfq_≥ ]ªnt°j≥kv.
7. IYbpw Xnc°Ybpw ˛ tPmkv. sI. am\ph¬.
8. IYbpw Xnc°Ybpw ˛ B¿. hn. Fw. ZnhmIc≥.
9. IY, Xnc°Y, kn\na (]T\w) ˛ Fw. Sn. hmkptZh≥ \mb¿.
10. ]co-£-W-\m-S-Iw, F¬.-tXm-a-kvIp-´n, tIcf `mjm C≥Ãn-‰yq-´v.
11. Ne-®n-{X-kn-≤m-¥-߃, tUm.-Sn.-Pn-tX-jv, tIcf `mjm C≥Ãn-‰yq-´v.
12. hntizm-Øc Xnc-°-Y-Iƒ, hnP-b-Ir-jvW≥, lcnXw _pIvkv, tImgn-t°m-Sv.
13. kph¿Æ-N-tIm-c-Øns‚ IY, im¥≥, tIcf `mjm C≥Ãn-‰yq-´v.
14. ]fl-cm-Ps‚ Xnc-°Y - I
- ƒ, ]fl-cm-P≥, Un.-kn.-_p-Ivkv, tIm´-bw.
15. Hcn-S-sØmcp ^b¬hm≥, ]fl-cm-P≥, Un.-kn.-_p-Ivkv, tIm´-bw.

15
 ska-ÿ : II
tImgvkv tImUv : EML 1241
tIm¿ tImgvkv : III
ka-b-{Iaw : BgvN-bn¬ 4 aWn-°q¿
(18 BgvN-bn¬ 72 aWn-°q¿)
s{IUn‰v : 4

t\mh¬ kmlnXyw

]T-\^
- e
- {- ]m]vXn
1. aebmfØn¬ t\mh¬kmlnXyw cq]s∏Sp∂Xns‚ ]cnWmaNcn{XsØ
\n¿≤mcWw sNøp∂p.
2. t\mhens\ {]tabw, `mj, `mhpIXz]cnWmaw F∂nh ap≥\n¿Øn
A]{KYn°p∂p.
3. t\mh¬\ncq]WØn\pth≠ hniIe\_p≤n cq]s∏SpØp∂p.
4. t\mhepIsf kmlnXyNcn{X]cambn XcwXncn°pIbpw AXns‚ km[yXIsfbpw
]cnanXnIsfbpw hniIe\w sNøpIbpw sNøp∂p.
5. ]pXpt\mhepIfpsS kuμcyimkv{XsØ Is≠ØpIbpw Ah hmb\bn¬
{]tbmP\s∏SpØpIbpw sNøp∂p.
6. C¥y≥t\mhepIsfbpw temIt\mhepIsfbpw ASpØdnbpIbpw
XmcXayhniIe\w \SØpIbpw sNøp∂p.

samUyqƒ H∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. aebmft\mhens‚ ]cnWmaNcn{XsØ At\zjn®dnbp∂p.
2. t\mhens‚ kmlnXycq]]camb e£Wimkv{XsØ A]\n¿Ωn°p∂p.
3. t\mhens‚ emhWyimkv{X]chpw kmaqlnIimkv{X]chpamb {]m[m\ysØ
A]{KYn°p∂p.
t\mhens‚ DZv`hw ˛ sdmam≥kv t\msh√ t\mhse‰v ˛ aebmft\mhens‚
BZyImecq]amXrIIƒ : LmXIh[w, kckzXohnPbw, ]pt√en°p©p ˛ IpμeXbpw
t\mh¬ e£Wßfpw ˛ N¥ptat\m\pw knhnbpw ˛ kmaqlnIt\mhepw Ncn{Xt\mhepw
˛ imcZ (A]q¿Wt\mh¬)
hniZ]T\Øn\v
1. am¿Ømfih¿Ω ˛ kn. hn. cma≥]n≈ (kºq¿Wt\mh¬)

16
 samUyqƒ c≠v (18 aWn-°q¿)
]T\^e-{]m]vXn
1. t\mhens\ _lpssh⁄m\nIambn hniIe\w sNøp∂p.
2. aebmfØns‚ t\mh¬hna¿i\sØ km¿htZiob ]›mØeØn¬
t\m°n°mWp∂p.
3. t\mh¬`mhpIXzsØ kw_‘n® ]pXnb kwhmZ߃°v cq]w \¬Ip∂p.
t\mhepw kmaqlnI]cnh¿Ø\hpw ˛ `mh\bnepw `mjbnepap≠mb hnImkw ˛
"XIgnalmIhn' F∂ tIkcnbpsS {]tbmKw ˛ dnbenkhpw \mNzdenkhpw.
hniZ]T\Øn\v
1. tXm´nbpsS aI≥ ˛ XIgn
2. ‚p∏p∏ms°mcmt\≠m¿∂v ˛ _jo¿

sam-Uyqƒ aq∂v (18 aWn-°q¿)

]T\^e-{]m]vXn
1. t\mh¬`mh\bnep≠mb a\ximkv{X]camb hf¿®sb \n¿≤mcWw sNøp∂p.
2. B[p\nIXbpsS emhWy]≤Xnsb hna¿i\mflIambn kao]n°p∂p.
3. t\mh¬\ncq]W߃ FgpXp∂Xn\v {]m]vXn t\Sp∂p.
hy‡na\ximkv { Xw t\mhenep≠m°nb At\zjW߃ ˛ Fw. Snbpw
am[hn°p´nbpw efnXmw_nI A¥¿÷\hpw ˛ B[p\nIXbpsS hchpw
iq\yhmZXØzNn¥bpw ˛ t\mhepw AkvXnXzmt\zjWßfpw.
hniZ]T\Øn\v
1. \mepsI´v ˛ Fw. Sn
2. Jkm°ns‚ CXnlmkw ˛ H. hn. hnPb≥.

sam-Uyqƒ \mev (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. t\mh¬`mhpIXzØns‚ kq£vamJym\]cnkcßsf Is≠Øp∂p.
2. kzXz]camb `mh\Isf \n¿≤mcWw sNøp∂p.
3. B[p\ntImØcXbpsSbpw AXns‚ \ncmIcWØns‚bpw kmlNcyßsf
aebmft\mhepIfn¬ At\zjn°p∂p.
kq£vaPohnXm\p`hßfpw t\mhepw ˛ ]cnkchpw ]cnÿnXnbpsS cm{„obhpw
˛ s]sÆgpØns‚ (ecriture feminine) cm{„obhnh£Iƒ ˛ DØcm[p\nIXbpw
t\mhepw.

17
hniZ]T\Øn\v
1. BemlbpsS s]¨a°ƒ ˛ kmdmtPmk^v
2. {]Xn ]qh≥tImgn ˛ DÆn B¿
klm-bI
- {- K-Ÿß
- ƒ
1. t\mh¬ kmlnXyw ˛ Fw.-]n.-t]mƒ
2. t\mh¬ kzcq]w ˛ sI.-kp-tc-{μ≥, F≥.-_n.-F-kv.
3. t\mh¬ kmln-Xy-]-T-\-߃ ˛ tUm.-Un.-_-©-an≥, amfp-s_≥ ]ªn-t°-j≥kv.
4. ae-bmf t\mh-ens‚ -th-cp-Iƒ ˛ Xpº-a¨ tXmakv, F≥.-_n.-F-kv.
5. ae-bm-f-t\m-h¬ 19-˛mw \q‰m-≠n¬ ˛ tUm.-tPm¿÷v Ccp-ºbw, F≥.-_n.-F-kv.
6. t\mh-ep-If
- n-eqsS ˛ sI.-]n.-ic
- ®
- {- μ≥, F≥.-_n.-Fk
- v.
7. amdp∂ ae-bmf t\mh¬ ˛ sI.-]n.-A-∏≥, KuXa ]ªn-tj-gvkv, Be-∏p-g.
8. t\mh¬ kn≤nbpw km[-\bpw ˛ ]n.-sI.-_m-eI
- r-jvW≥
9. B[p-\nI t\mh¬ Z¿i\w ˛ sI.-Fw.-Xc
- I
- ≥, F≥.-_n.-Fk
- v.
10. t\mh¬ t_m[hpw ˛ {]Xn-t_m-[hpw ˛ ]n.-sI.-cm-Pt- i-Jc
- ≥
11. A‘-\mb ssZhw ˛ ]n.-sI.-cm-P-ti-J-c≥, Un.-kn.-_p-Ivkv.
12. t\mh¬ hmb-\-Iƒ ˛ hn.-kn.-{io-P≥, Un.-kn.-_p-Ivkv, tIm´-bw.
13. ae-bm-f-t\m-h-ens‚ tZi-Im-e-߃ ˛ C.-hn.-cm-a-Ir-jvW≥, amXr-`qan _pIvkv.
14. t\mhepw BJym-\-I-ebpw ˛ tUm.-Fw.-hn-P-b≥]n-≈, ]®-a-e-bm-fw, sIm√w.
15. XI-gnbpw ae-bm-f-t\m-hepw ˛ (F-Un.) tUm.-hn.-F-kv.-i¿Ω
16. XIgn ]T-\ß
- ƒ, (F-Un.) s{]m^. ]∑\ cma-N{- μ≥\m-b¿, Id‚ v _pIvk,v tIm´bw.
17. The Art of the Novel - Henry James
18. The Craft of the Novel - Percy Lubbock
19. Structure of Novel - Edwin Mir
20. Aspects of the Novel - E.M.Forster
21. Anotamy of Novel- Marjorie Boltan
22. Contemporary Fiction - Jago Morrison

18
 ska-ÿ : II
tImgvkv tImUv : EML 1242
tIm¿ tImgvkv : IV
ka-b-{Iaw : BgvN-bn¬ 3 aWn-°q¿
(18 BgvN-bn¬ 54 aWn-°q¿)
s{IUn‰v : 3

tIcf ]T\w ˛ 2

1. tIcfØnse `mj, kmlnXyw, Iemcq]߃ F∂nhbpsS hnImkØn\v

Ifsamcp°nb kmwkvImcnIhpw cmjv{Sobhpamb ]›m-Øe - sØ a\- n-em-°p∂p.
2. kmwkvImcnIØ\na Xncn®dnbp∂p.
3. tZiobt_m[w hfcp∂-Xn-s\m∏w, ]ucXzhnImkhpw e`n-°p-∂p.
4. N-cn-{Xhpw kwkvIm-chpw tcJ-s∏-Sp-Øm-\p≈ t{]c-W-bp-≠mIp-∂p.
5. \nco-£-W-]m-Shw A`n-hr-Øn-s∏-Sp-∂p, Ncn-{X-K-th-j-W-Ønepw kmwkvIm-cn-I-
{]h¿Ø-\-ß-fnepw XmXv]-cy-ap-≠m-Ip-∂p.

samUyqƒ : H∂v (18 aWn°q¿)

]T-\^
- e
- {- ]m]vXn:
1.- ]m-›mXy A[n-\n-th-i -i-‡n-I-fpsS hchv tIc-f-Øn-ep-≠m-°nb kmwkvIm-cnI
am‰w Adnbp-∂p.
2.- A[:ÿnX-cpsS D∂-a\ - Ø
- n-\mbn tIc-fØ
- n-¬ \S∂ Iem-]ß
- ƒ hne-bn-cpØp∂p.
3.- hn-tZ-i-an-j-\-dn-am¿ tIc-f-Øn-\p-\¬Inb kw`m-h-\-Iƒ Xncn-®-dnbp-∂p.
t]m¿´pKokv, U®v ]m›mXy A[n\nthi i‡nIfpsS IS∂phchv ˛ kmaqlnI,
kmºØnI, kmwkvImcnI cwKßfn¬ Ah Dfhm°nb am‰ßƒ, A[xÿnXcpsS
D∂a\w, {_n´ojv A[n\nthiImew ˛ AXns\Xnsc D≠mb kac߃ ˛ B‰n߬-
Iem]w ˛ ]g»ncmP, thepغnZfh. ]m›mXyhnZym`ymkØns‚ Bcw`w ˛ hntZi
anjWdnamcpsS {]h¿Ø\߃ ˛ kmwkvImcnIcwKsØ ]cnh¿Ø\߃.

samUyqƒ : c≠v (18 aWn°q¿)

]T-\^
- e-{]m]vXn:
1. tI-c-f-Øn-ep-≠mb kmaq-lnI ]cn-jvI-cW {]ÿm-\-ßsf hne-bn-cp-Øm≥ Ign-
bp∂p.
2.- tI-c-f-Ø-nse kmwkvIm-cnI \mb-I-∑msc IqSp-X-embn Adn-bm≥ {ian°p-∂p.
3. Ah-cpsS kmwkvIm-cnI kw`m-h-\Isf ap≥\n¿Øn XpS¿-]-T\Øn\v {ian°p∂p.

19
 kmaqlnI ]cnjvIcW {]ÿm\߃ ˛ Nm∂m¿ elf, ssh°w, ]menbw,
Kpcphmbq¿ kXym{Kl߃, AbntØm®mS\w ˛ aebmfn ˛ Cugh satΩmdn-b-epIƒ,
t£{X{]thi\ hnfw_cw ˛kmapZmbnI kwLS\Iƒ˛ N´ºnkzmanIƒ,
{io\mcmbWKpcp, ktlmZc≥ Aø∏≥, Aø¶mfn, h°w auehn, Sn. sI. am[h≥,
a∂Øp ]fl\m`≥, sI.tIf∏≥, hn.Sn. `´Xncn∏mSv, s]mbvIbn¬ IpamcKpcptZh≥,
sNdptIm¬ ip`m\μKpcptZh≥, Nmhdb-®≥-.

samUyqƒ : aq∂v (18 aWn°q¿)

]T\^-e{- ]m]vXn:
1.- kzm-X-{¥ym-\-¥ctIc-fsØ hna¿i-\m-fl-I-ambn hne-bn-cp-Øp-∂p.
kzmX{¥ym\¥c tIcfw : tIcf∏ndhn, `q\nbaw, {]hmknIƒ, hntZi[\w
Dfhm°nb kmaqlnI hyXn{Iaw˛IpSntb‰w˛Bbp¿thZw ˛ {]IrXnNnIn’, \m´pssh-
Zyw ˛ {]ÿm\߃ ˛ {KŸimem{]ÿm\w ˛ tIcf {KŸimemkwLw ˛
]pkvXI{]km[\w, A®Sn, Zriy˛{ihy am[ya߃ (C‚¿s\‰v, tªmKv, Iºyq´¿, ]{Xw,
sSenhnj≥, kn\na, tdUntbm) Ie-Iƒ-˛-kw-Ko-Xw,-in-ev]-I-e,-hm-kvXp-hn-Zy.
s]mXp-\n¿t±-iß - ƒ
1. Hmtcm hnZym¿Ynbpw ta¬∏-d-™- sam-Uyq-fpI-fnse hnj-b-ß-fn¬ -GsX-¶n-
epsam∂ns\ kz¥w tZi-hp-ambn _‘-s∏-SpØn skan-\m¿ t]∏-dp-Iƒ Ah-X-cn-
∏n-°pIbpw AXv Ivfmkn¬ N¿®bv°v hnt[-b-am-°p-Ibpw sNøpI.
2. Ncn-{X-]-c-ambpw kmwkvIm-cn-I-ambpw {]m[m-\y-ap≈ ÿe-ßfpw ÿm]-\-ßfpw
kμ¿in®v dnt∏m¿´p-Iƒ Xøm-dm-°W - w.
3. ÃUnSqdn-\p≈ ^≠v πm\nßv ^≠n¬\n∂pw A\p-h-Zn-t°-≠-Xm-Wv.
klmbI{KŸßƒ
1. tIcfkwkvImc]T\߃ ˛- (FUn.) s{]m^. ]∑\ cmaN{μ≥ \mb¿, Id‚ v
_pIvkv, tIm´-bw.
2. tIcfNcn{Xw ˛ F. {io[ctat\m≥, F≥.-_n.-F-kv.
3. tIcfNcn{Xw ˛ Fw. B¿. cmLhhmcy¿, tUm. cmP≥ Kpcp°ƒ.
4. tIcfkwkvImcw ˛ F. {io[ctat\m≥, F≥.-_n.-F-kv.
5. tIcfØns‚ kmwkvImcnINcn{Xw ˛- ]n. sI. tKm]meIrjvW≥, tIcf `mjm
C≥Ãn-‰yq-´v.
6. tIcfØnse \thm∞m\kac߃ ˛- tUm. B¿. cm[mIrjvW≥(amfp_≥
]ªnt°j≥kv).
7. kmaqlnI \thm∞m\hpw kmlnXyhpw ˛ tUm. F≥. kmw.
8. tIcfNcn{Xinev]nIƒ ˛ s{]m^. F. {io[ctat\m≥.
9. s\øm‰n≥Ic F. ]n. \mbcpw ⁄m\{]Zmbn\nbpw ˛ tUm. F.Fw. DÆn°rjvW≥.
10. am[ya]T\߃ ˛ (FUn.) s{]m^. ]∑\ cmaN{μ≥\mb¿, Id‚ v _pIvk,v tIm´bw.
11. IemtemIw ˛- sI. ]n. \mcmbW∏njmcSn, tIcf kmlnXy A°m-Z-an.
12. tIcf]{X{]h¿Ø\Ncn{Xw ˛- ]pXp∏≈n cmLh≥.

20
13. tIcfhnPvRm\tImiw ˛- tZi_‘p]ªnt°j≥kv.
14. ]g»nkac߃ ˛ tUm. sI. sI. F≥. Ipdp∏v.
15. tIcfNcn{X[mcIƒ ˛- tUm. \Sph´w tKm]meIrjvW≥.
16. \thm∞m\kwkvImcw tIcfØn¬ ˛ (FUn.) tUm. ]n. hn. thembp[≥]n≈.
17. tIcfkwkvImcw ˛ s{]m^. Fkv. ANypXhmcy¿.
18. XncphnXmwIq¿ Ncn{Xw ˛ ]n. i¶pÆntat\m≥, `mjm C≥Ãn‰yq´v.
19. ssIcfnbpsS IY ˛ s{]m^. F≥. IrjvW]n≈.
20. \mcmb-W-Kp-cp-kzman- ˛ Fw. sI. km\p.
21. N´ºn-kzm-an-Iƒ- ˛ s{]m^. kn. iin[-c-°p-dp∏v-.
22. Aø¶mfn- ˛ Sn. F®v. ]n. sN¥mct»cn-.
23. B≤ymflnI\thm∞m\Øns‚ inev]nIƒ ˛ Fkv. Kp]vX≥ \mb¿.
24. kwkvImcap{ZIƒ ˛- tUm. \Sph´w tKm]meIrjvW≥.
25. tIcf \thm∞m-\hpw- Nmhd-b-®\pw- ˛ tUm. Ipcymkv Ipºf-°pgn-.
26. {KŸim-em-{]-ÿm\w- ˛ tUm. kn. DÆn°rjvW≥.
27. tIc-f-\-thm-∞m\w, ]pXp-h-gn-Iƒ tXSn, h°w aue-hn, ^ut≠-j≥ {SÃv, Xncp-h-
\-¥-]p-cw.
28. h°w aue-hn Ah-cpsS ImgvN∏ - m-Sn¬ (F-Un.), F.-kp-ssl¿, sI.-AP
- o¿Ip-´n, h°w
aue-hn ^ut≠-j≥ {SÃv, Xncp-h-\-¥-]p-cw.

21
 ska-ÿ : aq∂v

ska-ÿ : III
tImgvkv tImUv : EML 1341
tIm¿ tImgvkv : V
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

ae-bmf \mS-I-km-lnXyw

]T-\-^-e-{]m]vXn
1. \mSIØns‚ D¤h hnImk ]cn-Wm-aßsf-°p-dn-®p≈ Ncn-{X-]c - a- mb Ah-t_m[w
t\Sp-∂p.
2. \mS-Ik- m-ln-Xy-Øn\v CXc kmln-Xy-cq-]ß - f- n¬ \n∂p≈ hyXymkw Xncn-®d - n™v
AXns‚ {]tbm-K-ss\-]pWn ssIh-cn-°p-∂p.
3. \mS-Im-h-X-c-W-sØ-°p-dn®pw Acßv sshhn-[y-sØ-°p-dn-®p-ap≈ [mcW Dd-
bv°p∂p.
4. kmaq-ln-IP - o-hn-XØ
- ns‚ ]cn-Wm-aß - ƒ°-\p-kr-Xa - mbn ae-bm-f\ - m-SI
- Ø
- n-\p-≠mb
hyXn-bm-\-sØ-°p-dn®v kq£vam-]-{K-Y\w \S-Øp-∂p.
5. B[p-\n-IX - b- psS kzm[o\w ae-bmf \mS-Iß - f - n¬ F{]-Imcw {]mtbm-Kn-Ia - m-sb∂v
]cn-tim-[n-°p-∂p.
6. hnhn[ Ime-L´- ß - f- nse \mS-II
- r-Øp-°s
- f-°p-dn®v hnh-ct- i-Jc
- Ww \S-Øp-Ibpw
hyXy-kvX-X-bm¿∂ A\p-`-h-߃ kzmwio-I-cn-°p-Ibpw sNøp-∂p.
7. cN-\m-kw-cw-`-ß-fn-te¿s∏-Sp-∂p.

samUyqƒ : H∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m-]vXn-
1. \mS-II
- e
- b
- psS cq]-hX
- vIc
- W
- h
- p-ambn _‘-s∏´ kml-Nc
- y-߃ ]cn-Nb
- s
- ∏-Sp-∂p.
2. \mtSym-ev]-Øn-bpsS ]m›mXy ]uckvXy k¶-ev]-߃ Xncn-®-dn-bp-∂p.
3. \mS-I-Øns‚ hnhn[ {]tbm-P-\-hm-Z-߃ Xmc-Xayw sNøp-∂p.
5. \mS-I-I-e-bn¬ hnhn[ Ime-L-´-ß-fn-ep-≠mb hyXn-bm-\-ßsf kw_-‘n®v ZØ-
߃ tiJ-cn-°p-Ibpw ka-{K-hn-h-cWw Xøm-dm-°p-Ibpw sNøp-∂p.
\mS-I-I-e-bpsS D¤hw ˛ \mS-I-km-lnXyw ˛ CX-c-km-ln-Xy-cq-]-ß-fn¬\n-∂p≈
hyXymkw ˛ Ah-X-c-W-k-hn-ti-j-X-Iƒ ˛ Acßv ˛ ae-bmf \mS-I-N-cn-{Xw ˛ {]h-W-X-
Iƒ ˛ tIc-f-Øns‚ \mSy-]m-c-º-cyw.

22
 samUyqƒ : c≠v (18 aWn-°q¿)
]T-\^
- e- {- ]m]vXn
1. BZy-Ime \mS-I-ß-fpsS {]ta-b-]-chpw LS-\m-]-c-hp-amb khn-ti-j-X-Iƒ \n¿-
≤m-cWw sNøp-∂p.
2. {]l-k-\-߃ ]cn-`mjm \mS-I-߃ Ch A]-{K-Yn®v s]mXp-\n-K-a-\-ß-fn¬
FØp∂p.
BZy-Ime \mS-I-߃ -˛ {]l-k-\-߃ ˛ BZy-Ime \mS-I-ßfpsS {]ta-b-]-chpw
cq]-]-c-hp-amb khn-ti-j-X-Iƒ ˛ \mS-I-hn-h¿Ø-\-߃ (Cw-•ojv, kwkvIr-Xw)
hni-Z]
- T
- \w
1. a[y-a-hym-tbmKw ˛ `mk≥ (hn-h.) h≈-tØmƒ
2. adn-bmΩ ˛ A¶w 13, 14 ˛ sIm®o-∏≥ Xc-I≥

samUyqƒ : aq∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m-]vXn-
1. ae-bm-f\
- m-SI
- Ø
- ns‚ kmaq-lnI _‘sØ kw_-‘n®v hnh-ct- i-Jc - Ww \SØp∂p.
2. {]ta-b-ssh-hn[yw {]mtbm-Kn-I-am-°p-∂-Xn¬ \mS-I-Ir-Øp-°ƒ F{X-tØmfw hnP-
bn-s®∂v Is≠-Øp-∂p.
3. \mS-Im-h-X-c-W-Ønse ]cn-Wm-a-ßfpw inev]-]-c-amb ta∑bpw hne-bn-cp-Øp-∂p.
\mS-IØ- ns‚ kaq-l_ - ‘w ˛ hy‡n, kaq-lw, A[n-Imcw ˛ ÿm]-\ß - ƒ ˛ hn.-Sn.
˛ Fw.-B¿.-_n. ˛ t{]wPn ˛ cm{„obw ˛ \mS-I-Ønse ]pXnb {]h-W-X-Iƒ ˛ C_vk-
\nkw ˛ {]iv\-\m-SIw ˛ kpL-Sn-XXzw ˛ F∏nIv, FIvkv{]-j-\nÃv {]h-W-X-Iƒ ˛ \mS-
Im-hX
- c
- W
- Ø
- nse ]co-£W - ß- ƒ.
hni-Z]
- T
- \w
1. sXmgn¬tI-{μ-Øn-te°v ˛ (F-Un.) F≥.-B¿.-{Km-a-{]-Imiv
2. `·-`-h\w ˛ F≥.-Ir-jvW-]n≈

samUyqƒ : \mev (18 aWn-°q¿)

]T-\^
- e
- {- ]m-]vXn-
1. ae-bm-f\
- m-SI
- Ø
- ns‚ B[p-\n-Io-Ic
- W
- Ø
- ns‚ hyXykvX Xe-߃ Xncn-®d
- n-bp-∂p.
2. hnhn[ \mS-I-ssi-en-Iƒ Xmc-X-ay-s∏-Sp-Øp-∂p.
3. kz¥w kwkvIr-Xn-bn¬\n-∂p≈ \mS-I-ap-t∂-‰-Øns‚ Bh-iy-IX Xncn-®-dn™v
cN-\m-ss\-]pWn t\Sp-∂p.
ae-bm-f-\m-S-I-Ønse B[p-\n-IX ˛ bqtdm-]y≥ \mS-Im-i-b-ß-fpsS kzm[o\w ˛
{]tabw Acßv Ch-bnse ]cn-h¿Ø\w ˛ hnhn-[X - cw \mS-Is
- si-en-Iƒ ˛ tZi-kw-kvIr-
Xnbpw \mS-Ihpw ˛ ico-c-`mj
hni-Z]
- T
- \w
1. IcSn ˛ B‚¨ sNt°mhv
(hn-h, s{]m^.-F-kv.-Kp-]vX≥\m-b¿,
F≥.-_n.-Fk - v.)

23
2. e¶m-e£van ˛ kn.-F≥.-{io-IW
- vT≥\m-b¿,
en]n ]ªn-t°-j≥kv
3. am¿Øm-WvU-h¿Ω Fßs\ c£-s∏´p˛ \tc-{μ-{]-kmZv

samUyqƒ : A©v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. ka-Ime ae-bm-f-\m-S-I-Øns‚ s]mXp-ÿnXn hni-I-e\w sNbvXv \nK-a-\-ß-fn-se-
Øp-∂p.
2. \mS-I-km-ln-Xy-Ønse hyXykvX {]Xn-\n-[m-\-ß-sf-°p-dn®v N¿® sNøp-∂p.
3. Imem-\p-kr-X-amb {]ta-b-߃ Is≠Øn cN-\m-kw-cw-`-ßn¬ G¿s∏-Sp-∂p.
ka-Im-enI \mS-I-߃ ˛ {]ta-b-߃ cN-\m-ssi-en-Iƒ ˛ X\Xv \mSIw ˛ \mS-I-
Ønse kv{Xo apt∂-‰-߃ ˛ A`n-\-b-Ønepw Ac-ßn-ep-ap≈ ]pØ≥ ]co-£-W-߃ ˛
Ip´n-I-fpsS \mS-I-thZn
hni-Z]
- T
- \w
1. ]pen-P∑w ˛ F≥.-{]-`m-Ic
- ≥
2. Hmtcmtcm ImeØnepw˛ sI.-hn.-{ioP
klm-bI
- {- K-Ÿß
- ƒ
1. ae-bm-f- \m-SI kmlnXy Ncn{Xw ˛ Pn.-i-¶-c-∏n-≈, tIcf kmlnXy A°m-Zan
2. ae-bm-f- \m-SI kmlnXy Ncn{Xw ˛ hbem hmkp-tZ-h≥]n-≈, tIcf kmlnXy
A°m-Za - n.
3. Db-cp∂ bh-\n-I ˛ kn.-sP.-tXm-a-kv, amfq-s_≥
4. \mSIcq] N¿® ˛ Im´p-am-Sw \mcm-b-W≥
5. \mS-I-Z¿∏Ww ˛ F≥.-F≥.-]n≈
6. Imºn-t»cn ˛ km_p tIm´p-°¬, tIcf kmlnXy A°m-Zan
7. \mS-I-Z¿i\w ˛ Pn.-i-¶-c-∏n-≈, Un.-kn.-_p-Ivkv.
8. \mS-IØ- n-te°v Hcp \S-∏m-X, F.-]n.-]n.-\º - q-Xn-cn, ae-bmfw ]ªn-t°-j≥kv, tImgn-
t°mSv
9. A`n-\bNn-¥-Iƒ ˛ Imºn-t»cn Icp-Wm-I-c≥, {]`mXv _p°v lukv
10. \ΩpsS Zriy-I-e-I-fnse \mS-Io-bmw-i-߃ ˛ h´-∏-d-ºn¬ ]oXmw-_-c≥, F≥.-_n.-
F-k.v
11. s]Æcßv ˛ Imem-¥cbm-{X-Iƒ ˛ tUm.-B¿.-_n.-cm-P-e-£van, tUm.-{]n-bm-\m-b¿,
kaX, Xr»q¿.
12. F≥.-Ir-jvW] - n-≈bpw {]iv\\ - m-SI
- ß
- f
- pw, tUm.-B¿.-_n.-cm-Pe - £
- van, tIcf `mjm-
C≥Ãn‰yq-´v, Xncp-h-\-¥-]p-cw.
13. \mS-I{- X-bw, kn.-F≥.-{io-IW
- vT≥\m-b¿, (sI.-Aø - ∏- ∏
- W
- n-°c
- psS Ah-Xm-cnI) Un.-
kn.-_p-Ivkv.
14. \S-\-`q-an-I-bnse \h-`m-hp-I-Xzw, cmPm-hm-cy¿, F≥.-_n.-F-kv.

24
 ska-ÿ : III
tImgvkv tImUv : EML 1342
tIm¿ tImgvkv : VI
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

aebmf `mjm˛kmln-Xy-N-cn{Xw 1

]T-\^
- e
- {- ]m]vXn
1. ae-bm-f`- m-jb
- p-sSbpw kmln-Xy-Øn-s‚bpw Bcw-`I
- mew apX¬ Ct∂m-fa - p≈ hnIm-
k-]-cn-Wm-a-ß-sf-°p-dn®v kmam-\ym-h-t_m[w D≠m-Ip-∂p.
2. `mjm-˛-km-ln-Xym-Zn-I-sf-°p-dn-®p≈ ]T\w AXXv P\-X-bpsS kmwkvIm-cn-Im-t\z-
jWw IqSn-bm-sW∂v Xncn-®-dn-bp-∂p.
3. hmsam-gn-bnepw hc-sam-gn-bn-ep-ap≈ kmln-Xy-Øns‚ Ncn-{X-]-T-\-Øn-eqsS hnhn[
kmln-Xy-cq-]-ßfpw {]ÿm-\-ßfpw ]cn-N-b-s∏-Sp-∂p.
4. ]m´v, aWn-{]-hmfw F∂n-hbv°v `mj-bnepw kmln-Xy-Ønepw D≈ ]¶v hni-Ie - \w
sNøm≥ tijn t\Sp-∂p.
5. CXc Iem-cq-]ß - fpw kmln-Xy-hp-am-bp≈ _‘-sØ°p-dn®v Ah-Km-la - p-≠m-Ip∂p.
6. kmln-Xy-Øn-s‚bpw `mj-bp-sSbpw ka-Im-em-h-ÿ-Iƒ hne-bn-cp-Øm≥ {]m]vXn
t\Sp-∂p.
7. kmln-Xy-Øn-ep-≠mb `mhp-I-Xz-]-c-amb am‰-߃, Imhy-k-{º-Zm-b-߃ F∂n-h-
bn¬ Adn-hp-t\Sn k¿Km-flI {]h¿Ø-\-Øn¬ G¿s∏-Sp-∂p.

samUyqƒ H∂v (36 aWn-°q¿)

km-ln-Xy-N-cn{Xw

1. {]mNo\ kmln-Xy-]T- \
- Ø
- ns‚ {]k‡n a\- n-em-°p-Ibpw kmln-Xy-Øns‚ hf¿®-
sb-°p-dn®v kmam-\y-⁄m\w t\Sp-Ibpw sNøp-∂p.
2. hmsam-gn-bn¬ \n∂pw hc-sam-gn-bn-te-°p≈ kmln-Xy-Øns‚ ]cn-Wmaw a\- n-em-
°p-∂p.
3. ]m´p-{]-ÿm-\sØ hne-bn-cp-Øm≥ tijn t\Sp-∂p.
hmsam-gn-km-lnXyw ˛ (Im¿jn-I-hr-Øn, A\p-jvTm-\w, hnt\m-Zw, {]mtZ-in-I-kw-
kvImcw F∂n-h-bp-ambn _‘-s∏-´v) ˛ Rm‰p-]m-´v ˛ tXm‰w-]m´v ˛ Du™m¬]m´v ˛ hS-
°≥]m-´p-Iƒ ˛ sX°≥]m´p-Iƒ ˛ hc-sam-gn-km-ln-Xy-Øns‚ {]mcw`w ˛ ]m´p-{]-ÿm\w
˛ ]m´n\v eoem-Xn-eIw \¬Ip∂ e£Ww ˛ ]m´p-{]-ÿm-\Ø - nse {][m\ IrXn-Iƒ (cm-
a-N-cn-Xw, Xncp-\n-g¬am-e, cma-I-Y-∏m´v, \ncWw IrXn-Iƒ) ˛ sNdp-t»cn (Ir-jvW-Km-Y) ˛

25
Fgp-Ø-—≥ (In-fn-∏m´v) ˛ ]q¥m\w (⁄m-\-∏m-\) ˛ cma-]p-c-Øp-hm-cy¿ (h-©n-∏m-´v) ˛
am∏n-f-∏m´v ˛ \mS-I-Km-\-߃ ˛ Ne-®n-{X-Km-\-߃.

samUyqƒ : c≠v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. aWn-{]-hm-f-I-hnX kmln-Xy-Øn-ep-≠m-°nb kzm[o-\-sØ-°p-dn®v Ah-t_m-[-ap-
≠m-Ip-∂p.
2. Zriy-I-em-km-lnXyw ]cn-N-b-s∏-Sp-Ibpw kmln-Xy-Øns‚ {]tbm-P-\-]-cX Xncn-®-
dnbp-Ibpw sNøp-∂p.
aWn-{]-hmfw ˛ aWn-{]-hm-fØ - n\v eoem-Xn-eIw \¬Ip∂ e£Ww ˛ {]mNo\ aWn-
{]-hm-fI
- r-Xn-Iƒ (N-ºp-˛D
- Æ
- n-b®
- n, DÆn-®n-cp-tX-hn, DÆn-bmSn ˛ ktμ-iI
- m-hy-߃ ˛ DÆp-
\o-en-k-tμ-iw, tImI-k-tμ-iw) ˛ aWn-{]-hmf eLp-Im-hy-߃ ˛ a[y-Ime aWn-{]-hm-f-
Ir-Xn-Iƒ (cm-am-bWw Nºp, `mjm ss\j[w Nºp XpS-ßn-b-h) ˛ Zriy-I-em-km-ln-Xyw
˛ Xp≈¬ ˛ Ip©≥\-ºym¿ ˛ B´-°Y - m-km-lnXyw (D-Æm-bn-hm-cy¿, Cc-bn-Ω≥Xºn XpS-
ßn-b-h-cpsS tkh-\-߃).

samUyqƒ : aq∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. KZy-km-ln-Xy-Øn\pw ]Zy-km-ln-Xy-sØ-t∏mse Hcp Ncn-{X-ap-s≠∂p Xncn-®d- n-bp∂p.
2. {]mNo\ KZy-km-ln-Xy-Ønse IrXn-Iƒ ]cn-Nb- s
- ∏-Sp-Ibpw `mjm-Iu-Se
- o-bw, h¿Ø-
am-\-∏p-kvXIw F∂n-ß-s\-bp≈ IrXn-I-fpsS {]m[m\yw a\- n-em-°p-Ibpw
sNøp∂p.
{]mNo\ KZy-Øns‚ Bhn¿`mhw ˛ IqØn-\p-]-tbm-Kn-®n-cp∂ hmsam-gn-h-g°w ˛
\ºym-¥a - ngv ˛ DZ-bw-t]-cq¿ kq\-lt- Zm-knse Imt\m-\I
- ƒ ˛ `mjm-Iu-Se
- obw ˛ {_“m-
WvU-]p-cmWw ˛ h¿Ø-am\-∏p-kvX-Iw.

samUyqƒ : \mev (18 aWn-°q¿)

`mjm-Nc
- n{Xw
]T-\^
- e
- {- ]m]vXn
1. ae-bm-f`- m-jb
- psS Dev]Ø
- n, hnIm-kw, ]cn-Wmaw F∂n-hb
- n¬ kmam-\ym-ht- _m[w
D≠m-Ip-∂p.
2. hmsam-gn-bn¬\n∂pw ae-bm-f-`mj hc-sam-gn-bmbn hf¿∂-Xns‚ Ncn{Xw hne-bn-cp-
Øm-\m-Ip-∂p.
ae-bm-f-Øns‚ \ncp‡n ˛ ae-bm-f-`m-j-bpsS Dev]Øn hnhn[ A`n-{]m-b-߃ ˛
imk\ `mj˛ en]n-˛]- m-´v, aWn-{]-hm-fw an{iw ˛ {]mNo\ ae-bm-fK
- Z- y-`mj (`m-jm-Iu-Se
- o-
bw, ZqX-hm-Iyw)

26
klm-bI
- {- K-Ÿß
- ƒ
1. tIc-f-]m-Wn-\obw ˛ ]oTnI, G.-B¿.-cm-P-cm-P-h¿Ω
2. tIc-f-`m-j-bpsS hnIm-k-]-cn-Wm-a-߃, Cfw-Ipfw Ip™≥]n-≈
3. tIc-f-km-ln-Xy-N-cn-{Xw, D≈q¿, tIcf k¿Δ-I-em-ime {]kn-≤o-I-c-Ww.
4. \ΩpsS kmln-Xyw \ΩpsS kaq-lw, tIcf kmlnXy A°m-Z-an.
5. ssIc-fn-bpsS IY, F≥.-Ir-jvW-]n≈, F≥.-_n.-F-kv.
6. ]q¿Δ-tI-cf `mj ˛ tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿
7. {]mNo-\-a-e-bmfw, imk-\-`m-jm-]-T-\w, tUm.-]p-Xp-t»cn cma-N-{μ≥
8. `mjm-N-cn{Xw ˛ Fgp-Ø-—≥hsc ˛ tUm.-sI.-c-Xv\Ω
9. `mjm-N-cn{Xw ˛ C.-hn.-F≥.-\-ºq-Xncn
10. en]n-I-fpsS Dev]Øn ˛ sI.-F.-P-eo¬
11. ae-bmf `mjm Ncn{Xw (F-Un.), Fkv.-hn.-th-W-tKm-]≥\m-b¿, amfq-s_≥
12. ae-bm-f-km-ln-Xy-N-cn-{X-߃, (k-ºm.), ]n.-sI.-]-c-ta-iz-c≥ \mb¿ kvam-cI {SÃv,
1994.
13. ae-bm-f-km-lnXyNcn{Xw ˛ ]n.-sI. ]c-ta-iz-c≥\m-b¿, kmlnXy A°m-Z-an,
\yqsU¬ln.
14. kmlnXyN-cn{Xw {]ÿm-\-ß-fn-eqsS, (FUn.) sI.-Fw.-tPm¿÷v
15. ]Zy-km-ln-Xy-N-cn-{Xw ˛ Sn.-Fw.-Np-Ωm¿
16. ae-bm-fI- h
- nXm kmln-Xy-Nc - n{Xw, Fw.-eo-em-hXn
17. KZy-km-ln-Xy-N-cn{Xw ˛ Sn.-Fw.-Np-Ωm¿
18. ams‰men, tPmk^v ap≠-t»cn
19. KmYbpw Infn-∏m-´pw, F≥.-ap-Ip-μ≥
20. sh◊-Wn-{]-ÿm\w, AI-hq¿ \mcm-b-W≥
21. Ip©≥\-ºymcpw At±-l-Øns‚ IrXn-I-fpw, hn.-F-kv.-i¿Ω
22. Ihn-Xm-ka - o-£, Fkv.c- m-Pt- i-Jc - ≥
23. Imev]-\n-IX ae-bm-f-I-hn-X-bn¬, Un.-_-©-an≥
24. IptN-e-hrØw h©n-∏m-´v, tUm.-Pn.-c-Lp-Ip-am¿
25. B[p-\n-IX ae-bm-fI - h- n-Xb- n¬, F≥.-AP - b
- I
- p-am¿
26. Ihn-X-bpsS \q‰m≠v c≠mw-`mKw ˛ Fw.-F≥.-hn-P-b≥
27. `mjm Nºp-°ƒ, D≈q¿ Fkv. ]c-ta-iz-c-ø¿
28. Fgp-Ø-—\pw Ime-hpw, tUm.-tN-e-\m´v ANyp-X-ta-t\m≥
29. ae-bm-f-k-tμ-i-Im-hy-߃ Hcp ]T\w ˛ tUm.-N-º-°pfw A∏p-°p-´≥\m-b¿

27
 ska-ÿ : \mev

ska-ÿ : IV
tImgvkv tImUv : EML 1441
tIm¿ tImgvkv : VII
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

`mc-Xob `mjm-imkv{Xw

]T-\^
- e
- {- ]m]vXn
1. `mj F∂ am[y-a-Øns‚ km[yX Xncn-®-dn-bp-∂p.
2. `mj-sbbpw `mjm-]-T-\-sØbpw Ipdn-®p≈ kmam-\y-[m-c-W-bp-≠m-Ip-∂p.
3. hymI-cW - w, `mjm-imkv{Xw F∂n-hb - nse kao-]\- c
- o-Xn-Iƒ XΩn-ep≈ hyXymkw
Xncn-®-dn-bp-∂p.
4. `mc-Xob `mjm-]-T\ ]mc-ºcyw hni-I-e\w sNøp-∂p.
5. {ZmhnU `mjm-]-T-\-Øns‚ Ncn-{Xhpw {Zmhn-U-`m-j-I-fpsS kmam-\y-kz-`m-hhpw
A]-{K-Yn-°p-∂p.
6. Ncn-{Xm-flI `mjm-im-k{v Xw, {]mtbm-KnI `mjm-im-k{v Xw, kmaq-lnI `mjm-imkv{Xw
F∂o k¶-ev]-\-ß-fpsS ASn-ÿm-\-Øn¬ ae-bm-f-`m-jsb A]-{K-Yn-°p-∂p.
7. ae-bm-f-`m-j-bpsS km[y-X-Ifpw sh√p-hn-fn-Ifpw Xncn-®-dn-bp-∂p.
8. `mj-bp-ambn _‘-s∏´ kwhm-Z-ß-fn¬ ]s¶-Sp-°m≥ {]m]vX-cm-Ip-∂p.

samUyqƒ : H∂v (36 aWn-°q¿)

`mjm-]-T-\-Øns‚ `mc-Xo-b-]m-c-º-cyw

]T-\^
- e
- {- ]m]vXn
1. `mjm-im-kv{Xw, hymI-cWw F∂n-hb - psS ASn-ÿm\ LS-\s - b-°p-dn-®p≈ [mc-W-
bp-≠m-Ip-∂p.
2. `mc-XØ- ns‚ kzIo-ba - mb `mjm-]T
- \
- ] - m-cº
- c
- yhpw AXns‚ hym]vXnbpw Xncn-®d
- n-
bp-∂p.
3. {Zmhn-U`- m-jI
- s
- f-°p-dn-®p≈ kmam-\y-t_m-[hpw ae-bm-fs - Ø-°p-dn-®p≈ khn-tij
[mc-Wbpw D≠m-Ip-∂p.
thZmw-K-߃ ˛ in£, \ncp-‡w, hymI-cWw F∂n-h-bpsS {]m[m-\yw ˛ BZy-Im-e-
]-T-\-߃ ˛ ]mWn\n ˛ A„m-[ymbn (]m-Wn-\o-bw) ˛ ImØym-b-\≥ ˛ hm¿Øn-Iw, ]X-

28
RvPen ˛ alm-`m-jyw, `¿Xr-lcn ˛ hmIy-]-Zobw ˛ kvt^mS-kn-≤m¥w ˛ bmkv°≥ ˛
\ncp‡w ˛ A¿∞hn⁄m-\o-b-hp-am-bp≈ _‘w, Aa-c-knw-l≥ ˛ Aa-c-tImiw ˛ ]Z-
tIm-i-]-T\w ˛ B\-μ-h¿≤-\≥ ˛ [z\n-kn-≤m¥w ˛ A`n-[, e£W, hyRvP\ F∂o
hn`m-K-߃ ˛ {Zmhn-U-`m-jm-]-T-\-]m-c-ºcyw ˛ XangvhymI-cW ]mc-ºcyw ˛ sXm¬°m-
∏nbw ˛ sXm¬°m-∏n-b¿, \∂q¬ ˛ `h\-μn, hoc-tNm-gnbw F∂n-h-sb-°p-dn-®p≈ kmam-
\y-[m-c-W. {Zmhn-U-`mj F∂ k¶ev]w ˛ `mc-Xob `mj-I-fn¬ Ah-bv°p≈ ÿm\w ˛
{Zmhn-U`- m-jI
- f
- psS kmam-\y-kz-`m-hw ˛ aqe-{Zm-hnUw F∂ k¶ev]w ˛ Xan-gns‚ {]mapJyw
˛ CX-c-{Zm-hn-U-`m-j-I-fpsS cq]o-I-c-W-Øn¬ sNep-Ønb kzm[o\w ˛ Xangpw ae-bm-
fhpw. CX-c-{Zm-hn-U-`m-j-Ifpw ae-bm-f-hpw.
hnti-j]
- T
- \w
1. kz\-hn-⁄m-\-Øns‚ `mc-Xob ]mc-ºcyw ˛ Sn.-_n.-th-Wp-tKm-]m-e-∏-Wn-°¿.

samUyqƒ : c≠v (36 aWn-°q¿)

{Zmhn-U-`m-j-Ifpw ae-bm-fhpw
]T-\^
- e
- {- ]m]vXn
1. `mjm-imkv{X kao-]-\-ß-fpsS ASn-ÿm-\-Øn¬ `mjsb hni-I-e\w sNøp-∂p.
2. `mjm-im-kv{X-kn-≤m-¥-ß-fpsS ]›m-Ø-e-Øn¬ ae-bmf `mjm-L-S-\sb A]-{K-
Yn-°p-∂p.
{Zmhn-U`- m-jI
- f
- n¬ ae-bm-fØ
- ns‚ ÿm\w. ae-bm-fe - n]n ˛ Ncn-{Xhpw ]cn-Wm-ahpw
]m›m-Xy-`m-jm-imkv{X kn≤m-¥ß - fpw ae-bm-fhpw ˛ D®m-cW
- i
- m-kv{X-Øns‚ ASn-ÿm-
\-Øn¬ ae-bm-f-Ønse kzc-hy-RvP-\-ß-fpsS h¿§o-Ic-Ww ˛ kz\n-a-hn-⁄m-\o-bhpw
ae-bm-f-Ønse kz\n-a-ßfpw ˛ cq]-hn-⁄m-\o-bhpw ae-bm-f-Ønse cq]n-a-ßfpw ˛ ae-
bm-f-]-Z-ß-fpsS ]ZmwK (syllable) LS\ ]cn-tim-[\ ˛ hmIy-hn-⁄m-\o-bhpw ae-bm-f-
Ønse hmIy-am-Xr-I-Ifpw ˛ A¿∞ ]cn-Wm-a-tl-Xp-°ƒ ˛ A¿∞-hn-⁄m-\o-bhpw ae-
bmf amXr-II - fpw ˛ A¿∞w, A¿∞-t`Zw F∂n-hb - p-ambn _‘-s∏´ k¶-ev]ß - sf ae-
bm-f-`m-j-bpsS ]›m-Ø-e-Øn¬ hne-bn-cp-ج.
hnti-j]
- T
- \w
1. ae-bmfw `mjm-imkv{X Zr„n-bn-eqsS ˛ tUm.-hn.-B¿.-{]-t_m-[N
- {- μ≥ (a-eb
- mfw ae-
bm-fn-tbm-fw)

samUyqƒ : aq∂v (18 aWn-°q¿)

ae-bmfw amXr-`mj F∂ \ne-bn¬
]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-`m-j-bp-ambn _‘-s∏´ ]cn-I-ev]-\-I-sf-°p-dn®v khn-tij [mc-W-bp-≠m-
Ip-∂p.
2. ae-bm-f-`m-j-bpsS km[y-X-Ifpw sh√p-hn-fn-Ifpw A]-{K-Yn-®-dn-bp-∂p.
ae-bmfw amXr-`mj F∂ \ne-bn¬ ˛ amXr-`mj ˛ H∂mw-`mj ˛ c≠mw`mj F∂o
k¶-ev]-߃. s]mXp-a-e-bmfw ˛ am\-I-a-e-bmfw F∂o ]cn-I-ev]-\-Iƒ. `mjm-k-º¿°-

29
km-l-N-cy-߃. CX-c-`m-jIfpw ae-bm-f-hpw. `mjm-an{Xw sh¶-e-`mj F∂o kw⁄-
Iƒ. Ad-_n-a-e-bmfw Xpfp-a-e-bmfw F∂o ]cn-I-ev]-\-Iƒ. ae-bm-f-Ønse ]c-Iob ]Z-
߃. tIc-fØ - nse `mjm-t`-Zß - ƒ. hne-°p-`mj ˛ BNm-c` - mj F∂o ]cn-Ie- v]\
- I
- ƒ˛
`mjm-kz-Xz-hmZw ˛ `mjm-at- \m-`mhw ˛ `mjm-kw-c£
- Ww ˛ `mjm-kq-{XWw ˛ `mjm-]Z- hn
˛ `c-W-`mj ˛ A[ym-b-\-am-[yaw ˛ ssk_¿`mj F∂n-h-bp-ambn _‘-s∏´v ae-bm-f-
`mj t\cn-Sp∂ sh√p-hn-fn-Iƒ ˛ \nL-≠p-hn-⁄m-\obw ae-bm-f-Øn¬. ae-bm-f-Ønse
{][m\ \nL-≠p-°ƒ.
hnti-j]
- T
- \w
1. A\y-`m-jm-kzm-[o\w ˛ tUm.-sI.-Fw.-{]-`m-Ic
- h
- m-cy¿ (`m-j, kmln-Xyw, hna¿i-\w)
klm-bI
- {- K-Ÿß
- ƒ
1. A[n-Im-chpw `mj-bpw, tUm.-]n.-Fw.-Kn-cojv
2. Adnhpw `mj-bpw, tUm.-]n.-Fw.-Kn-cojv, tIcf `mjm C≥Ãn-‰yq-´v.
3. B[p-\nI `mjm-imkv{Xw, tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿, im¥m AK-Ãn≥
4. {Zmhn-U` - m-jI - fpw ae-bm-fh - pw, tUm.-F≥.-AP - n-XvIp-am¿
5. \nL-≠p-hn-⁄m-\o-bw, tkma-ti-J-c≥\m-b¿. ]n
6. ]q¿Δ-tI-cf - `
- m-j, tUm.-sI.-Fw.-{]-`m-Ic - h- m-cy¿
7. `mjbpw `c-W-`m-j-bpw, tUm.-F-gp-a-‰q¿ cmP-cm-P-h¿Ω
8. `mjbpw a\x-im-kv{X-hpw, tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿
9. `mj kmlnXyw hna¿i\w, tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿
10. `mjm-]-T-\-߃, s{]m^.-kn.-F¬.-B‚Wn
11. `mjm-t`-Zh - n-⁄m-\w, tkma-ti-Jc - ≥\m-b¿.]n
12. `mjm-tem-Iw, Sn.-_n.-th-Wp-tKm-]m-e∏ - W
- n-°¿
13. `mjm-ht- em-I\ - w, tUm.-sI.-Fw.-{]-`m-Ic - h- m-cy¿
14. `mjm-imkv{Xw kn≤m-¥hpw {]tbm-Khpw ae-bm-f-Øn¬, F.-]n.-B≥{Uq-kvIp´n
15. `mjm-imkv{X hnth-Iw, tUm.-sI.-Fw.-{]-`m-Ic - h
- m-cy¿
16. ae-bm-fw, amXr-`qan _pIvkv, Hcp Iq´w teJ-I¿
17. ae-bmfw am‰hpw hf¿®-bpw, tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿
18. ae-bmfw ae-bm-fn-tbmfw, tUm.-hn.-B¿.-{]-t_m-[N - {- μ≥
19. ae-bm-f`- m-jbpw BtKm-fh - X- I
v c
- W
- h - pw, FUn. sI.-Fk - .v {- ]-Imiv Fkv.F
- .-jm-\h
- mkv
20. kmaq-ln-I-`mj hn⁄m-\w, Djm \ºq-Xn-cn-∏mSv
21. lcnX-`m-jm-hn-Nm-cw, tUm.-Sn.-{io-h-’≥
22. tIcf `mjm hn⁄m-\obw ˛ tUm.-sI.-tKm-Z-h¿Ω

30
 ska-ÿ : IV
tImgvkv tImUv : EML 1442
tIm¿ tImgvkv : VIII
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

ae-bmf `mjm-˛-km-ln-Xy-N-cn{Xw ˛2

]T-\^
- e
- {- ]m]vXn
1. {]mNo\ Ihn-{X-b-Øn-\p-tijw ae-bm-f-I-hn-X-bv°p-≠mb hyXykvX kc-Wn-Iƒ
]cn-N-b-s∏-Sp-∂p.
2. ]Zy-km-ln-Xy-Øn-\p-≈-Xp-t]mse Xs∂ sshhn[yw \nd™ KZy-km-ln-Xy-Øn-
s‚bpw Ncn{Xw hni-I-e\w sNøm≥ tijn t\Sp-∂p.
3. {]ta-bw, cN-\m-cq]w F∂n-h-bn¬ kmln-Xy-Øn\p kw`-hn® Imem-\p-kr-X-amb
am‰w hni-I-e\w sNøm≥ Ign-bp-∂p.
4. B[p-\n-I-km-ln-Xyw, DØ-cm-[p-\n-I-km-lnXyw F∂n-h-bpsS kz`mhw hne-bn-cp-
Øm-\m-Ip-∂p.
5. kmln-Xy-Ncn{X]-T-\sØ k¿Km-fl-I-ambn {]tbm-P-\-s∏-Sp-Øm-\m-Ip-∂p.
6. ae-bm-f`- m-jb
- psS h¿Ø-am-\m-hÿ
- I
- ƒ hne-bn-cp-Øm\pw `mjm-˛k
- m-ln-Xym-Zn-If
- n¬
Xmev]cyw h¿≤n-°m\pw CS-bm-Ip-∂p.

samUyqƒ : H∂v (18 aWn-°q¿)

kmln-Xy-N-cn{Xw
]T-\^
- e
- {- ]m]vXn
1. Ihn-X-bpsS `mhp-I-Xz-]-cn-Wm-a-sØ-°p-dn®v kmam-\ym-h-t_m-[-ap-≠m-Ip-∂p.
2. ae-bm-fI
- h
- n-Xb
- psS i‡nbpw kuμ-cyhpw kmln-Xy-Ønepw kaq-lØ - nepw Df-hm-
°nb kz[o\w hni-I-e\w sNøm-\p≈ tijn t\Sp-∂p.
tIc-f-h¿Ω hen-b-tIm-bn-Ø-ºp-cm≥ ˛ {]mk-hmZw ˛ sh¨a-Wn-{]-ÿm\w ˛ ap‡-
I-߃ ˛ alm-Im-hy-߃ ˛ G.-B¿.-cm-Pc - m-Ph
- ¿Ω ˛ B[p-\n-I I
- h
- n-{Xbw ˛ Ihn-Xb
- nse
`mhp-I-Xz-]-cn-Wmaw ˛ JWvU-Im-hy-{]-ÿm-\w.

samUyqƒ : c≠v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. Ihn-{Xb Ihn-Xb
- v°p-tijw IS-∂p-h∂ Imhy{]ÿm-\ß
- ƒ hni-Ie
- \w sNøm≥
tijn t\Sp∂p.

31
2. Ihn-X-bpsS `mhp-I-Xz-Øn¬ B[p-\n-Iw, B[p-\n-Im-\-¥cw XpS-ßnb {]h-W-X-
Iƒ sIm≠p-h∂ IrXn-Iƒ, Fgp-Øp-Im¿ F∂n-h-sc-°p-dn®v kmam-\y-⁄m\w
t\Sm≥ Ign-bp-∂p.
Imev]-\n-IX ae-bm-f-I-hn-X-bn¬ ˛ `mh-Ko-X-߃ ˛ hnem-]-Im-hy-߃ ˛ Imev]-\n-
tI-X-c-{]-h-W-X-Iƒ ˛ (dn-b-en-kw, k¿dn-b-enkw, B[p-\n-I-X, DØ-cm-[p-\n-IX F∂o
{]h-WX - I
- ƒ°-Sn-ÿm-\a
- mb IrXn-Iƒ ]cn-Nb - s
- ∏-Sp-I) ka-Ime Ihn-Xb
- psS ]cn-Wmaw.

samUyqƒ : aq∂v (36 aWn-°q¿)

-K-Zy-km-lnXyhpw
ssh⁄m-\n-Ikmln-Xyhpw
]T-\^
- e
- {- ]m]vXn
1. KZy-km-ln-Xy-Øns‚ hf¿®-sb-°p-dn®v kmam-\ym-h-t_m[w D≠m-Ip-∂p.
2. {]mNo-\-Z-i-bn¬\n∂pw t\mh¬, sNdp-IY XpS-ßnb kmln-Xy-cq-]-߃°v kw`-
hn® `mhp-I-Xz-]-cn-Wmaw hni-I-e\w sNøm≥ tijn t\Sp-∂p.
t\mh¬km-lnXyw (Ip-μ-e-X, Cμp-teJ XpSßn DØ-cm-[p-\n-Iw -hsc) ˛ sNdp-I-Ym-km-
lnXyw (hm-k-\m-hn-Ir-Xn-bn¬ XpSßn DØ-cm-[p-\nIw hsc) ˛ kmln-Xy-hn-a¿i\w ˛
(kn.-]n.-A-Nyp-X-ta-t\m≥, kmln-Xy-]-©m-\≥, sI.-]n.-A-∏≥, Fw.-F≥.-hn-P-b≥, eoem-h-
Xn, ]n.-sI.-cm-P-ti-J-c≥, hn.-kn.-{io-P≥ F∂n-ß-s\) Poh-N-cn{Xw ˛ Bfl-IY ˛ k©m-
c-km-lnXyw (ssh-⁄m-\nI kmln-Xy-ta-J-e-sb-°p-dn-®p≈ kmam-\y-]-T-\w) ˛ ka-
ImenI KZy-cN - \
- I
- ƒ.

samUyqƒ : \mev (18 aWn-°q¿)

`mjm-N-cn{Xw
]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-`m-j-bpsS hf¿®-sb-°p-dn®v Ah-t_m-[-ap-≠m-Ip-∂p.
2. A®-Sn-`m-j-bn-te°p \bn® hy‡n-Iƒ, {]ÿm-\-߃ F∂n-h-sb-°p-dn®v [mc-W-
bp-≠m-Ip-∂p.
3. ae-bm-f`
- m-jb
- psS h¿Ø-am-\I
- m-eÿ
- nXn hni-Ie
- \w sNøm-\p≈ tijn t\Sp-∂p.
IrjvW-Km-Y-bnse `mj ˛ `mjbpw Fgp-Ø-—\pw ˛ anj-W-dn-KZyw ˛ Ad-_n-a-e-
bmfw ˛ A®-Sn-bpsS Ncn{Xw ˛ Cw•ojv XpS-ßnb hntZ-i` - m-jIfpsS kzm[o-\w. sl¿a≥
Kp≠¿´v, _©-an≥ _bven XpS-ßn-bh - c- psS `mjm tkh-\ß - ƒ ˛ a‡n X߃, tPm¿÷v
amØ≥, G.-B¿.-cm-Pc- m-Ph
- ¿Ω F∂n-hc - psS `mjm-tk-h\
- ß- ƒ ˛ ae-bm-f`- m-jb
- psS h¿Ø-
am-\-Im-e-ÿnXn ˛ am[y-a-a-e-bmfw ˛ t{ijvT-`m-jm-]-Zhn ˛ `c-W-`mjm ae-bm-fw.
klm-bI
- {- K-Ÿß
- ƒ
1. tIc-f-]m-Wn-\obw ˛ ]oTnI, G.-B¿.-cm-P-cm-P-h¿Ω
2. tIc-f-`m-j-bpsS hnIm-k-]-cn-Wm-a-߃, Cfw-Ipfw Ip™≥]n-≈,
3. tIc-fk
- m-ln-Xy-Nc
- n-{Xw, D≈q¿

32
4. \ΩpsS kmln-Xyw, \ΩpsS kaq-lw, tIcf kmlnXy A°m-Zan
5. ssIc-fn-bpsS IY, F≥.-Ir-jvW-]n≈
6. `mjm-N-cn{Xw ˛ Fgp-Ø-—≥hsc ˛ tUm.-sI.-c-Xv\Ω
7. `mj-N-cn{Xw ˛ C.-hn.-F≥.-\-ºq-Xncn
8. ae-bmf `mjm Ncn{Xw (F-Un.), Fkv.-hn.-th-WptKm-]≥\m-b¿
9. ae-bm-f-km-ln-Xy-N-cn-{X-߃, (k-ºm.), ]n.-sI.-]-c-ta-iz-c≥ \mb¿ kvam-cI {SÃv
10. ae-bm-f-km-ln-Xy-N-cn{Xw ˛ ]n.-sI.-]-c-ta-iz-c≥\m-b¿, kmlnXy A°m-Z-an,
\yqsU¬ln.
11. kmlnXyN-cn{Xw {]ÿm-\-ß-fn-eqsS, (FUn.) sI.-Fw.-tPm¿÷v
12. ae-bm-fI - h
- nXm kmln-Xy-Nc - n{Xw, Fw.-eo-em-hXn
13. ams‰men, tPmk^v ap≠-t»cn
14. KmYbpw Infn-∏m-´pw, F≥.-ap-Ip-μ≥
15. sh◊-Wn-{]-ÿm\w, AI-hq¿ \mcm-b-W≥
16. Ihn-Xm-ka - o-£, Fkv.c
- m-Pt- i-Jc - ≥
17. Imev]-\n-IX ae-bm-f-I-hn-X-bn¬, Un.-_-©-an≥
18. B[p-\n-IX ae-bm-fI - h- n-Xb- n¬, F≥.-AP - b
- I
- p-am¿
19. ae-bm-ft- \m-h¬ kmln-Xy-Nc - n-{Xw, s{]m^.-sI.-Fw.-Xc
- I
- ≥
20. `mhp-IXzw Ccp-]-Øn-sbm∂mw \q‰m-≠n¬, Pn.-a-[p-kq-Z-\≥
21. DØ-cm-[p-\nI N¿®-Iƒ, tUm.-{]-k-∂-cm-P≥
22. DØ-cm-[p-\n-IX h¿Ø-am-\hpw hwim-h-en-bpw, sI.-]n.-A-∏≥
23. sNdp-I-Y hm°pw hgn-bpw, tUm.-sI.-F-kv.-c-hn-Ip-am¿
24. ae-bm-f-t\m-h¬ hna¿iw, _m_p sNdn-bm≥
25. ae-bmf sNdp-IYm kmln-Xy-N-cn-{Xw, tUm.-Fw.-Fw.-_-jo¿
26. sNdp-IY C∂se C∂v, Fw.-A-Nyp-X≥
27. ssk_¿a-e-bmfw, FUn. kp\nX Sn.-kn.
28. B temIw apX¬ Cu temIw hsc, tUm. sP.-hn.-hn-f-\new
29. Ihn-X-bpsS \q‰m≠v H∂mw-`m-Kw, Fw.-F≥.-hn-P-b≥
30. Ihn-X-bpsS \q‰m≠v c≠mw-`mKw ˛ Fw.-F≥.-hn-P-b≥
31. aq∂mw-temI k¶-S߃, km_p tIm´p-°¬, kpPnen ]ªn-t°-j≥kv, sIm√w.
32. B[p-\n-IX ae-bm-f-t\m-h-en¬, AK-Ãn≥ tPmk^v

33
 ska-ÿ : A©v

ska-ÿ : V
tImgvkv tImUv : EML 1541
tIm¿ tImgvkv : IX
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

B[p-\nI ]q¿Δ-I-hnX
]T-\^- e- {- ]m-]Xv- n
1. a-e-bm-fw H-cp km-ln-Xy-`m-j-bm-bn cq-]-s∏-´ Im-ew ap-X¬ ]-sØm-º-Xmw \q-‰m-≠n-
s‚ A-h-km-\w h-sc-bp-≈ hy-Xy-kv-X Im-hy-k-{º-Zm-b-ß-sf-bpw N-cn-{X-L-´-ß-sf-
bpw ]-cn-N-b-s∏-Sp∂p.-
2. Cu Im-eL - ´- Ø- n-se I-hn-Xm-Nc
- n-{X-sØ {]-ÿm-\m-Sn-ÿm-\Ø
- n¬ a-\  - n-em-°p-∂-
tXm-sSm-∏w I-hn--I-fp-sS Po-hn-X-]-›m-Ø-e-hpw tZ-i-t`-Z-ß-fpw F-{]-Im-cw Ir-Xn-I-
fn¬ {]-Xn-^-en-®n-cn-°p∂p F-∂pw Xncn-®-dn-bp-∂p.
3. Im-hy-hn-i-I-e-\-Øn-\pw Im-hym-kzm-Z-\-Øn-\pw {]m-]v-Xn ssI-h-cp-∂p.--
4. Im-hy-`m-j-bn¬ kw-`-hn-® Im-em-\p-kr-X-am-b am-‰-ß-sf-°p-dn-®p-≈ km-am-\y-[m-c-
W-bp-≠m-Ip∂p.-
5.-- Cu Im-e-b-f-hn-se k-am-\-am-b G-Xm-\pw Im-hy-`m-K-߃ hn-i-Z-am-bn ]Tn°p∂Xp-
hgn B-kzm-Z-\-hn-i-I-e-\-Øn-\p-≈ Xm-ev-]-cyw hn-I-kn-°p-∂p.--

sam-Uyqƒ: H-∂v (18 a-Wn-°q¿)

]T-\^
- e- {- ]m-]X
v- n
1. {]mNo\ Imhy-{]-ÿm-\ß - s- fbpw Imhy-cq-]ß
- s- fbpw Ipdn®v Ah-t_m[w t\Sp∂p
2. C-Xn-lm-km-Jym-\-ß-fp-sS {]-[m-\ {]-tXy-I-X-Iƒ I-s≠-Øp-∂p.--
3. {]m-No-\-Im-hy-߃ hm-bn-®m-kz-Zn-°m-\p-≈ {]m-]v-Xn t\-Sp-∂p.--
4. Im-hy-`m-K-߃ lr-Zn-ÿ-am-°p-∂p.--
\m-S≥ ]m-´p-Iƒ ˛ ho-c-I-Ym-Km-\-߃, N-cn-{X-I-Ym-Km-\-߃, Ir-jn-∏m-´p-Iƒ, hn-
t\m-ZK - m-\ß
- ƒ ˛ en-Jn-X km-ln-Xy-Øn-s‚ B-cw-`w, ]m-´v, eo-em-Xn-eI
- Ø
- n-se \n¿-hN- \
- w,
cm-aN -- c
- n-Xw, `m-jm-hn-Im-kØ
- n¬ cm-aN
- c
- n-XØ
- n-s‚ ÿm-\w, km-ln-Xy-aq-eyw ˛ ]m-´n-s‚ hn-
Im-k-]-cn-Wm-aw, Xn-cp-\n-g¬-am-e, \n-c-Ww Ir-Xn-Iƒ, I-Æ-»-cm-am-b-Ww, `m-c-X-am-e, `m-jm-
`-K-h-Xv-Ko-X, cm-a-I-Y-∏m-´v --
hn-iZ- ]
- T-\w
1. hnØp-s]m-en-∏m´v˛ Fs¥√mw Fs¥√mw s\√v s]men-I...
2. cm-a-N-cn-Xw-˛ 1˛mw ]-S-ew

34
 sam-Uyqƒ: c-≠v (18 a-Wn-°q¿)
]T-\^
- e
- {- ]m-]X
v- n
1. aWn-{]-hm-f-{]-ÿm-\-sØ-°p-dn®v a\- n-em-°p-∂p.
2. Cu {]ÿm-\-Øn¬s∏-Sp∂ IrXn-I-fnse `mj, Pohn-X-ho-£-Ww, kmwkvIm-cnI
{]Xn-^-e\w F∂nh A]-{K-Yn-°m≥ tijn t\Sp-∂p.
3. {]k-‡a - mb Im-hy-`m-Kß
- ƒ hn-iZ- a
- m-bn ]Tn-®v B-kzm-Z\
- hn-iI
- e
- \
- ß
- ƒ \-SØ
- m≥
ss\]pWn ssIh-cn-°p-∂p.
a-Wn-{]-hm-fw ˛ eo-em-Xn-eI - Ø- n-se \n¿-ΔN- \
- w ˛ a-Wn-{]-hm-fØ
- n-s‚ B-cw-`w ˛ aWn-
{]-hm-fI- m-hy-ßf- n-se `m-jm-]c- a- m-b k-hn-ti-jX- I- ƒ˛ C-Xn-hr-Øw- ˛ k-aI- m-en-IP
- o-hn-X-
tØm-Sp-≈ k-ao-]-\w ˛ {]m-tZ-in-I-X, Im-hy-Kp-Ww ˛ {]m-No-\-N-ºp-°ƒ k-tμ-i-Im-hy-
߃ ˛ D-Æp-\o-en-k-tμ-iw, tIm-I-k-tμ-iw ˛ Imhy-ho-£Ww ˛ kmaq-ln-IX ˛ a-[y-Im-e-
N-ºp-°-ƒ ˛ Imhy-k-ao-]\w ˛ `mj
hn-iZ- ]
- T-\w
1. DÆn-®n-cp-tXhn Ncn-Xw˛ 5˛mwKZyw (s]mbn-e-Øns‚ h¿Æ-\)
2. D-Æp-\o-en-k-tμ-iw (]q¿-Δ-`m-K-Øn¬-\n-∂v B-Zy-sØ 10 t«m-Iw)

sam-Uyqƒ: aq-∂v (27 a-Wn-°q¿)

]T-\^
- e
- {- ]m-]X
v- n
1. Im-hy-`m-j-bp-sS ]-cn-Wm-a-N-cn-{Xw A-t\z-jn-°p-∂p.--
2. ]m´p-{]-ÿm-\-Øns‚ ]cn-Wm-a-kz-`mhw hni-I-e\w sNøp-∂p.
3. Ihn-Xbpw kaq-lhpw XΩn-ep≈ _‘w \n¿≤m-cWw sNøp-∂p.
4. `‡n-{]-ÿm-\-Øns‚ kmwkvIm-cn-I-aqeyw hna¿i-\m-fl-I-ambn ]cn-tim-[n-°p-∂p.
5. Ad-_n-a-e-bm-f-Øns‚ {]tXy-I-X-Iƒ a\- n-em-°p-∂p.
]m-´n-s‚ ]-cn-Wm-aw ˛ {]-ÿm-\e- £
- W
- ß- f- n¬-\n-∂p-≈ hn-Sp-Xn ˛ Km-Ym-{]-ÿm-\w˛
{]-tXy-I-X-Iƒ ˛ Ir-jv-W-Km-Y- -˛ `-‡n-bpw \-thm-∞m-\-hpw ˛ F-gp-Ø-—-≥ ˛ Imhy-{]-
ÿm\w ˛ `mj-bpsS am\-Io-I-cWw ˛ `-‡n-{]ÿm\w ˛ ]n¬-°m-e-I-hn-X-bn¬ F-gp-Ø-
—-s‚ kzm-[o-\w ˛Io¿-Ø-\ km-ln-Xyw ˛ ]q-¥m-\w ˛ ⁄m-\-∏m-\- ˛ cma-]p-c-Øp-hm-cy¿
˛ h©n-∏m´v ˛ A-d-_n a-e-bm-f-w ˛ tambn≥Ip´n sshZy¿.
hn-iZ- ]
- T-\w
1. Ir-jv-W-Km-Y (th-Wp-Km-\w) ˛ sN-dp-t»-cn
2. alm-`m-cXw In-fn-∏m-´v (Km‘m-co-hn-em]w) ˛ F-gp-Ø— - ≥
kv{Xo]¿Δw

sam-Uyqƒ: \m-ev ( 27 a-Wn-°q¿)

]T-\^
- e
- {- ]m-]X
v- n
1. tIc-fob Zriy-I-e-I-fpsS hnIm-k-N-cn{Xw {Kln-°p-∂p.
2. tIc-f-h¿Ω bpK-Ønse Ihn-X-bp-sSbpw Imhy-cq-]-ß-fp-sSbpw `mhp-I-Xz-]-camb
khn-ti-j-X-Iƒ \ncq-]Ww sNøp-∂p.

35
3. Cu Ime-L-´-Ønse kmln-Xy-{]-ÿm-\-ß-fp-sSbpw kw`-h-ß-fp-sSbpw Ncn-{X-]-c-
amb bp‡n hni-I-e\w sNøp-∂p.
t-- I-c-fo-b Zr-iy-I-e-I-ƒ ˛ Xp-≈-¬ ˛ B-´-°-Y- ˛ D¤hhn-Im-k-߃ ˛ kmw-k-vIm-cn-I ]-
›m-Ø-ew ˛ cq-]-L-S-\ ˛ tIm´-b-ØpXºp-cm≥ ˛ DÆm-bn-hm-cy¿ ˛ Cc-bn-Ω≥Xºn ˛ tI-
c-fh
- ¿-Ω- ˛ a-lm-Im-hy-{]-ÿm-\w, c-N\ - m-]c - o-£W - ß- ƒ, kw-kvI
- r-X Im-hy-\m-SI
- ß
- f- p-sS
hn-h¿-Ø\ - w ˛ sIm-Sp-ß√ - q¿ I-fc
- n, ]-®a- e
- b - m-f {]-ÿm-\w ˛ sh◊-Wn-°h - n-XI
- ƒ, ap-‡-
I-߃, k-a-kym-]q-c-W-߃, I-hn-X-°-Øp-Iƒ, Im-hy-k-a-c-߃
hn-iZ- ]
- T-\w
1. IoN-I-h[w B´-°Y ˛ 8˛mw cwKw (]m-©m-en-bpsS IoN-I-a-μnc Ka-\w) ˛ Cc-bn-
Ω≥Xºn
2. koXm-kz-bw-hcw ˛ cm-a-N-{μ-hn-emkw alm-Imhyw 4˛mw k¿§w ˛ Ag-IØv ]fl-
\m`-°p-dp∏v
("Ip-eo-\-\mbv tIma-f\mw...' apX¬ "sNm√o´p aS-ßn-\m≥ apZm' hsc)
3. ap-‡I
- ß
- ƒ
1. ImSt√ \ns‚ `¿Øm-hn\p... ˛- sh-◊-Wn al≥
2. aqSn-√m-sØmcp ap≠p sIm≠p.... ˛ ]q-t¥m-´Øp Zmtam-Z-c≥ \ºq-Xncn
3. -- tImS-°m¿h¿Æ≥... ˛ sh¨aWn A—≥
k-lm-bI
- {- K-Ÿß
- ƒ
1. tI-c-f-km-ln-Xy-N-cn-{Xw -˛- D-≈q¿
2. km-ln-Xy-N-cn-{Xw {]-ÿm-\-ß-fn-eq-sS ˛ (F-Un.--) tUm.-- sI.-- Fw tPm¿-÷v
3. ]-Zy-c-Xv-\w (A-h-Xm-cn-I-) ˛ ]n.--sI \m-cm-b-W-]n-≈
4. a-e-bm-f-I-hn-Xm-km-ln-Xy-N-cn-{Xw- ˛ tUm.--Fw. eo-em-h-Xn
5. ssI-c-fn-bp-sS I-Y -˛- s{]m-^.--F≥.--Ir-jv-W-]n-≈
6. ]-Zy-km-ln-Xy-N-cn-{Xw- ˛ Sn.-Fw. Np-Ωm¿
7. cm-a-N-cn-X-hpw {]m-No-\-a-e-bm-f-hpw -˛ F≥. B¿ tKm-]n-\m-Y-]n-≈
8. cm-a-N-cn-Xw H-cp hn-a¿-i-\m-fl-I-]T-\w- ˛ ]n.--hn Ir-jv-W≥-\m-b¿
9. I-Æ-»-I-hn-Iƒ- ˛ -tZ-i-aw-K-ew cm-a-Ir-jv-W≥
10. Ip-©≥-\-ºym-cpw A-t±-l-Øn-s‚ Ir-Xn-I-fpw -˛ -tUm. hn.--F-kv i¿-Ω
11. a-- -Wn-{]-hm-f-I-hn-X- ˛ tUm. ]n.--hn th-em-bp-[≥-]n-≈
12. sh-◊-Wn-{]-ÿm-\w- ˛ A-I-hq¿ \m-cm-b-W≥
13. tI-c-f-`m-jm-N-cn-{Xw F-gp-Ø-—≥ h-sc- ˛ sI. c-Xv-\-Ω
14. tI-c-f-`m-j-bp-sS hn-Im-k-]-cn-Wm-a-߃- ˛ C-fw-Ip-fw Ip-™≥-]n-≈
15. H-‰-t«m-I-߃- ˛- F. `m-kv-I-c≥
16. Km-Y-bpw In-fn-∏m-´pw- ˛ tUm.--F≥. ap-Ip-μ≥

36
 ska-ÿ : V
tImgvkv tImUv : EML 1542
tIm¿ tImgvkv : X
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

sNdp-IY
- m-]T
- \w

]T-\^
- e
- {- ]m]vXn
1. temI-I-Ym-km-ln-Xy-Øns‚ `mK-ambn ae-bm-f-I-Y-Isf hne-bn-cp-Øp-∂p.
2. ae-bm-f- sNdpI-Yb - psS Ncn-{X-]c
- a
- mb hnImkw hni-Zo-Ic - n-°m\pw DZm-lc - n-°m\pw
km[n-°p-∂p.
3. ae-bm-fs- N-dp-IY
- b
- n¬ kmaq-lym-hÿ - I- f
- p-sSbpw kmln-Xy-Nn-¥b - p-sSbpw kzm[o\w
Xncn-®-dn™v \ncq-]-Wm-fl-I-amb cN-\-Iƒ \n¿h-ln-°m≥ Ignhp t\Sp-∂p.
4. A¥¿ssh-⁄m-\nI kao-]\߃ sNdp-IY - m-]T
- \- Ø
- n¬ {]tbm-P\ - s- ∏-Sp-Øp-∂p.
5. ]m›m-Xyhpw tIc-fo-bh - p-amb kmln-Xy-{]-ÿm-\ß - s - fbpw {]h-WX - I- s- fbpw Xmc-
Xayw sNøm\pw hna¿i-\m-fl-I-ambn hne-bn-cp-Øm\pw Ign-hp-t\-Sp-∂p.
6. Ncn-{X-]-chpw {]ÿm-\-]-c-hp-ambn kmln-Xy-{]-h-W-X-Isf ]´n-I-s∏-Sp-Øp-hm\pw
IrXn-I-fn¬ {]tbm-Kn®v t\m°p-hm\pw km[n-°p-∂p.
7. ae-bm-fs- N-dp-IY
- b
- psS hnIm-k]
- c
- n-Wm-aß
- fpw ka-Im-eÿ
- n-Xnbpw Xncn-®d
- n™v cN-
\m-]-co-£-W-ß-fn¬ G¿s∏-Sp-∂p.

samUyqƒ : H∂v (36 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn:
1. BZy-Ime ae-bm-f-sN-dp-I-Y-Isf LS-\m-]-c-ambpw {]ta-b-]-c-ambpw A]-{K-Yn-°p-
Ibpw A]-\n¿Ωn-°p-Ibpw sNøp-∂p.
2. BZy-Im-eI- Y
- I- sf Xmc-Xayw sNbvXv hne-bn-cp-Øp-hm\pw s]mXp-kh- n-ti-jX
- I
- ƒ
Nq≠n-°m-´p-hm\pw km[n-°p-∂p.
3. {]ta-b-ß-fpsS ka-Im-enI {]k‡n hna¿i-\m-fl-I-ambn hne-bn-cp-Øp-∂p.
F. IY \n¿Ωn-°p-Ibpw ]d-bp-Ibpw sNøp∂ a\p-jy-kz-`mhw ˛ apØ-»n-°Y ˛
\m´p-IY ˛ CXn-lm-k-߃ ˛ KpW-]m-T-I-Y-Iƒ ˛ `mc-Xo-bhpw ]m›m-Xy-hp-
amb IYm-]m-c-º-cyw ˛ sNdp-IY F∂ kmln-Xy-cq]w ˛ ]m›m-Xy-am-Xr-I-
bnse hf¿® ˛ tIc-fob IYm-]m-c-ºcyw ˛ \m´p-I-Y-Iƒ ˛ sFXnly-߃ ˛
sNdp-IY ae-bm-f-Øn¬ ˛ BZy-Ime IYm-am-Xr-I-Iƒ
_n. ae-bm-fØ - nse BZy-Ime sNdp-IY - I
- ƒ ˛ s]mXp-{]-hW- X
- I
- ƒ ˛ BJym-\k - -
hn-ti-j-X-Iƒ ˛ ck-\o-bXbnse Du∂¬ ˛ A]-k¿∏I kz`mhw ˛
kmlknIX
37
hni-Z]
- T
- \w
1. hmk-\m-hn-IrXn ˛ thß-bn¬ Ip™n-cm-a≥ \mb-\m¿
2. Hcp apX-e-\m-bm´v ˛ kn.-F-kv.-tKm-]m-e-∏-Wn-°¿

samUyqƒ : c≠v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn :
1. sNdp-I-Y-Ifnse kmaq-lym-h-ÿ-I-fpsS kzm[o\w ]cn-tim-[n-°p-∂p.
2. \thm-∞m-\-Im-e-I-Y-I-fpsS s]mXpkhn-ti-j-X-Iƒ ]´n-I-s∏-Sp-Øp-∂p, {]N-c-W-
]-cX hna¿i-hn-t[-b-am-°p-∂p.
3. IY-I-fpsS A]-{K-Y-\-Øn¬ A¥¿ssh-⁄m-\nI ]T-\-km-[y-X-Iƒ {]tbm-Kn-
°p∂p. (DZm: a\x-im-kv{Xw)
4. hy‡n-a\-  v kaq-lh - p-ambn Ie-ln-°p-∂X
- n-te°v \bn-°p∂ kml-Nc
- y-߃ At\z-
jn-°p-∂p.
F. \thm-∞m-\-Imew ˛ kaq-l-tI-{μo-Ir-X-amb {]ta-b-߃ ˛ ]m›mXy sNdp-
I-Ym-am-Xr-I-tbm-Sp≈ LS-\m-]-c-amb ASp∏w ˛ Pohn-X-_-‘w.
_n. kaq-l-Øn¬\n∂pw hy‡n-bn-te°v ˛ k¶o¿Æ-amb a\p-jy-_-‘-߃ ˛
hy‡n-a-t\m-L-S\ ˛ {]iv\-h-ev°-cn-°-s∏-Sp∂ aqey-߃ ˛ kaq-l-hp-ambn
Ie-ln-°p∂ hy‡n ˛ Imev]-\nI {]h-W-X-Iƒ ˛ {]apJ IYm-Ir-Øp-°ƒ
hni-Z]
- T
- \w
1. ac-∏m-h-Iƒ ˛ Imcq¿ \oe-I-WvT-∏n≈
2. ssSK¿ ˛ ssh°w apl-ΩZv _jo¿
3. aJ≥kn-ßns‚ acWw ˛ Sn.-]fl
- \
- m-`≥
4. ]£n-bpsS aWw ˛ am[-hn-°p´n

samUyqƒ : aq∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. Z¿i-\]- ≤- Xn-Iƒ IY-bn¬ sNep-Øp∂ kzm[o-\sØ°pdn®v hni-Zo-Ic - n-°m≥ km[n-
°p-∂p.
2. ae-bm-f-sN-dp-I-Y-bn¬ B[p-\n-I-Xm-hmZw sNep-Ønb kzm[o\w hna¿i-\m-fl-I-
ambn hne-bn-cp-Øp-∂p.
3. ]m›m-Xyhpw tIc-fo-b-hp-amb B[p-\n-I-X-bpsS kmay hyXym-k-߃ At\z-jn-
°p-∂p.
4. sNdp-I-Y-bnse `mhp-I-Xz-]-cn-Wm-a-sØ-°p-dn®v DZm-l-c-W-k-lnXw Fgp-Xm≥ Ign-
hp-t\-Sp-∂p.
5. IY-Iƒ A]-{K-Yn®v B[p-\n-IX B[p-\n-tIm-Ø-cX F∂nh hyXym-k-s∏-Sp∂
aWvUe - ß- ƒ Is≠-Øp-∂p.

38
 F. B[p-\n-IX ˛ ]m›m-Xy-X-Øz-Nn-¥-bp-am-bp≈ _‘w ˛ AkvXn-Xz-hmZw ˛
Zm¿i-\n-IX ˛ {]ta-b-˛-B-Jym-\-L-S-\-I-fnse am‰w ˛ tNmZyw sNø-s∏-Sp∂
kZm-Nmcw ˛ kmaq-ly-]-cm-Mvap-JX ˛ k¶o¿ÆX ˛ Cd-°p-aXn F∂ Bt£-
]w.
_n. B[p-\n-I-X-bn¬ \n∂pw amdp∂ `mhp-IXzw ˛ ]pXnb {]h-W-X-Iƒ ˛ _rl-
Zm-Jym-\-ß-tfm-Sp≈ Ahn-izmkw ˛ Ccp≠ ^enXw ˛ {]mtZ-in-I-X.
hni-Z]
- T
- \w
1. apcp-I≥ F∂ ]mºm´n ˛ Fw.-]n.-\m-cm-bW - ]- n≈
2. {]`mXw apX¬ {]`mXw hsc ˛ Fw.-ap-Ip-μ≥
3. akm-e-tZmi AYhm Hcp kulrZw ˛ hn.-]n.-in-h-Ip-am¿
4. t{]X-`m-jWw ˛ kn.-Aø - ∏
- ≥

samUyqƒ : \mev (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. tIc-fØ- nse DØ-cm-[p-\nI sNdp-IY- m-km-ln-Xy-Ønse {]ta-bß- f- p-sSbpw BJym-
\-Øn-s‚bpw khn-ti-j-X-Iƒ hni-I-e\w sNøp-∂p. DZm-l-c-W-k-lnXw Ah-X-cn-
∏n-°m≥ Ignhp t\Sp-∂p.
2. DØ-cm-[p-\n-I-X-bpsS Bcw-`-Im-esØ {]h-W-X-Iƒ ]nev°m-eØpw \ne-\n¬°p-
∂p-t≠m-sb∂v hna¿i-\m-fl-I-ambn hne-bn-cp-Øp-∂p.
3. ka-Im-en-I-c-N-\-Iƒ Is≠-Øm\pw cN-\m-]-co-£-W-ß-fn¬ G¿s∏-Sm\pw Bfl-
hn-izmkw t\Sp-∂p.
F. DØ-cm-[p-\n-IX ˛ hyXn-cn-‡-amb `mhp-IXzw ˛ kq£va-cm-{„ob LS-I-߃
˛ ]mcUn ˛ am[y-a-]-cX ˛ BtKm-fo-I-cWw ˛ ]m¿iz-h-evIr-X-cpsS PohnXw ˛
]cn-ÿnXn ˛ kv{Xohm-Zw.
_n. ka-Im-enI kmln-Xy-{]-h-W-X-Iƒ ˛ ]pXp-°-s∏-Sp-Itbm \ncm-I-cn-°-s∏-Sp-
Itbm sNøp∂ DØ-cm-[p-\n-IX ˛ kXym-\-¥-c-Imew .
hni-Z]
- T
- \w
1. \memw temIw ˛ F≥.-Fk- v.a
- m-[h
- ≥
2. A`n-\b- a - p-lq¿Ø-߃ ˛ kt¥mjv G®n-°m\w
3. ssZh-hnfn ˛ knXmc.F-kv.
4. sI.-]n.-DΩ
- ¿ ˛ inlm-_p-±o≥ s]mbvØpw-IS- hv
klm-bI
- {- K-Ÿß
- ƒ
1. IY, BJym-\hpw A\p-`-h-k-Øbpw ˛ sI.-]n.-A∏≥
2. IY-bpsS IY ˛ tUm.-sI.-F-kv.-c-hn-Ip-am¿
3. IYm-]-√-h-߃ ˛ tIma-te-gØv sI.-Pn.-am-[-h≥
4. 100 h¿jw 100 IY, (F-Un.) ˛ sI.-F-kv.-c-hn-Ip-am¿
5. sNdp-IY hm°pw hgnbpw ˛ sI.-F-kv.-c-hn-Ip-am¿

39
6. IYbpw `mhp-IXz ]cn-Wm-ahpw ˛ sI.-F-kv.-c-hn-Ip-am¿
7. IY tXSp∂ IY ˛ F≥. {]`m-I-c≥
8. IY-bpsS \yq¢n-bkv ˛ h¬k-e≥ hmXp-t»cn
9. IYm-]-T-\-߃ ˛ ]n.-sI.-]-c-ta-iz-c≥\mb¿ kvamcI {KŸm-hen, (F-Un.) ]∑\
cma-N{- μ≥\m-b¿
10. sNdp-IY ˛ C∂se C∂v ˛ Fw.-A-Nyp-X≥
11. sNdp-I-Ym-km-lnXyw ˛ Fw.-]n.-t]mƒ
12. sNdp-I-Y-bpsS Oμ v ˛ tUm.-hn.-cm-P-Ir-jvW≥
13. ZanXw ˛ kp\n¬ ]n.-C-f-bnSw
14. \h-I-Ym-Ir-Øp-°ƒ ˛ ]T-\hpw ]mThpw ˛ tUm.-Sn.-sI.-k-t¥m-jvIp-am¿
15. \ne-]m-Sp-d-∏n-°p∂ BJym-\-߃ ˛ tUm.-kn.-B¿.-{]-kmZv
16. hm°ns‚ hgn-®¥w ˛ tUm.-A-P-b-]pcw tPymXn-jvIp-am¿
17. ae-bmf sNdp-IYm kmln-Xy-N-cn{Xw ˛ tUm.-Fw.-Fw.-_-jo¿
18. \n»-_vZ-Xbpw \n¿Ωm-Whpw ˛ C.-]n.-cm-P-tKm-]m-e≥

40
 ska-ÿ : V
tImgvkv tImUv : EML 1551.1
Hm∏¨ tImgvkv : I
ka-b-{Iaw : BgvN-bn¬ 2 aWn-°q¿
(18 BgvN-bn¬ 36 aWn-°q¿)
s{IUn‰v : 2

ae-bm-fN
- e
- ®
- n-{X-]T
- \w

]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-N-e-®n-{X-Øns‚ Ncn-{XsØ kmam-\y-ambn \ncq-]n-°m≥ Ign-hp-t\-Sp-∂p.
2. Ne-®n-{X-cw-KØv {]h¿Øn® hy‡n-I-sfbpw Ah-cpsS kw`m-h-\-I-sfbpw hna¿i-
\m-fl-I-ambn hne-bn-cp-Øp-∂p.
3. Ne-®n-{X-Øns‚ Bkzm-Z-\-Øn¬ A¥¿hn-Zym-]-T-\-km-[y-X-Iƒ (DZm: Ncn-{Xw,
kmln-Xyw, kmt¶-Xn-I-hn-Zy) {]tbm-P-\-s∏-Sp-Øp-∂p.
4. Ne-®n-{X-ßsf Ncn-{X-]-c-ambpw LS-\m-]-c-ambpw Xmc-Xayw sNøp-∂p.
5. Bkzm-Z-\-]-c-amb cN-\-Iƒ \n¿h-ln-°p-∂p.
6. Ne-®n-{X-\n¿ΩmW ]co-£-W-߃°v {]m]vXn t\Sp-∂p.

samUyqƒ : H∂v (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-N-e-®n-{X-Øns‚ Bcw-`hpw hf¿®bpw hni-Zo-I-cn-°m≥ km-[n-°p-∂p.
2. Ne-®n-{X-{]-h¿Ø-I-scbpw Ah-cpsS kw`m-h-\-I-sfbpw hne-bn-cp-Øp-∂p. {][m\
Ne-®n-{X-߃ At\z-jn®v Is≠-Øp-∂p. {]Z¿i\w kwL-Sn-∏n-°p-∂p.
3. hnhn[ Ime-L-´-ß-fnse Ne-®n{X {]h-W-X-I-sfbpw {]ta-b-ß-sfbpw Ncn-{X-˛-cm-
{„ob kmwkvIm-cnI kw`-h-ß-fpsS shfn-®-Øn¬ hna¿i-\m-fl-I-ambn hne-bn-cp-
Øp-∂p.
ae-bm-f-N-e-®n{Xw ˛ Bcw-`w ˛ hf¿® ˛ \mgn-I-°-√p-Iƒ ˛ hy‡n-Iƒ ˛ {]ÿm-\-
߃ ˛ Xotb-‰d - p-Iƒ ˛ Ne-®n-{X-hy-hk
- mbw ˛ ^nenw s^Ãn-he
- p-Iƒ ˛ ^nenw skmssk-
‰n-Iƒ ˛ k¿°m¿ ˛ k¿°m¿ CXc kwcw-`-߃ ˛ ]pc-kvIm-c-߃.

samUyqƒ : c≠v (18 aWn-°q¿)

ae-bm-f-km-ln-Xyhpw Ne-®n-{Xhpw
]T-\^
- e
- {- ]m]vXn
1. ae-bmf Ne-®n-{X-ßfpw ae-bm-f- km-ln-Xy-hp-am-bp≈ _‘w hniZoI-cn-°m≥ km[n-
°p-∂p.

41
2. Ne-®n-{X-cw-K-Øn\v kw`m-h\ \¬Inb kmln-Xy-Im-c-∑msc Nq≠n-°m-´p-∂p.
3. A\p-h¿Ø\w am[y-am-¥chnh¿Ø\w apX-em-bh hni-Zo-Ic - n-°m≥ Ignhp t\Sp∂p.
4. aqe-Ir-Xnsb A\p-h¿Ø-\-hp-am-bn Xmc-Xayw sNøm≥ km[n-°p-∂p.
5. Xnc-°-Ysb Hcp kmln-Xy-cq-]-sa∂ \ne-bn¬ hne-bn-cp-Øp-∂p. \ncq-]W Bkzm-
Z-\-°p-dn-∏p-Iƒ Xøm-dm-°p-∂p.
ae-bm-f-km-ln-Xyhpw Ne-®n-{X-cw-Khpw XΩn-ep≈ _‘w ˛ Ne-®n-{X-cw-KØv
{]h¿Øn® kmln-Xy-Im-c-∑m¿ ˛ kwhn-[m\w ˛ Xnc-°-Ym-c-N\ ˛ Xnc-°Y F∂ kmln-
Xy-cq]w ˛ A\p-h¿Ø\w ae-bm-f-Øn¬ ˛ am[y-am-¥c hnh¿Ø-\-sa∂ \ne-bn¬ ˛
A\p-h¿Ø\ kn\n-aI - fpw aqe-Ir-Xn-bp-am-bp≈ _‘w ˛ Xmc-Xayw Ne-®n-{X-\n-cq-]Ww
˛ ssk≤m-¥n-Ihpw {]mtbmKnhpamb Xe-߃
hni-Z]
- T
- \w
1. aXn-ep-Iƒ (t\m-h¬) ˛ ssh°w apl-ΩZv _jo¿
2. aXn-ep-Iƒ (Xn-c-°-Y) ˛ ASq¿ tKm]m-e-Ir-jvW≥

samUyqƒ : aq∂v (9 aWn-°q¿)

ae-bm-f-N-e-®n{Xw ˛ Bkzm-Z\w, ]pXp-k-ao-]-\-߃

]T-\^
- e
- {- ]m]vXn
1. Ncn-{X-]c- a
- mbpw kuμ-cy-im-k{v X-]c - a
- mbpw Ne-®n-{X-ßsf ]cn-tim-[n-°p-∂p. hna¿i-
\-hn-t[-b-am-°p-∂p.
2. Ne-®n-{X-ßsf LS-\m-]-c-ambn h¿§o-I-cn-°p-∂p.
3. A¥¿ssh-⁄m-\nI ]T-\-km-[y-X-Iƒ {]tbm-Kn-°p-∂p. ]T-\-am-Xr-I-Iƒ At\z-
jn®v Is≠-Øp-∂p.
4. ssk≤m-¥nI ˛ {]mtbm-KnI ]T-\a - m-Xr-II- ƒ ap≥\n¿Øn Ne-®n-{X-]T - \
- ß
- ƒ \n¿Δ-
ln-°p∂p.
5. Ne-®n-{X-Øns‚ am[y-a-]-c-amb km[yX D]-tbm-Kn-°m≥ kmt¶-Xn-I-hnZy (DZm:
samss_¬ t^m¨) {]tbm-P-\-s∏-Sp-Øp-∂p.
6. DNn-Xa- mb LS\ Is≠Øn Xnc-°Ym cN\ kwhn-[m-\{- i-aß - ƒ F∂nh kwL-Sn-
∏n-°m≥ Bfl-hn-izmkw t\Sp-∂p.
D≈-S°w ˛ cq]w ˛ hn`m-K-߃ ˛ hn`-P-\-߃ ˛ ^o®¿ kn\na ˛ {lkzkn\na ˛
tUmIyp-sa‚-dn ˛ A\n-ta-j≥ ˛ Un‰-IvSohv ˛ slmd¿ ˛ ayqkn-°¬ ˛ tImaUn ˛ cm{„o-
b-kn-\na ˛ kv{Xo{]-tabw aqey-amb kn\na ˛ IpSpw-_k
- n-\n-a˛ ªmIv & ssh‰v ˛ \n»-_vZ-
kn-\na ˛ B¿´v ˛ sImta-gvky¬ ˛ a[y-h¿Øn
kn\n-am-{]-Z¿i\w
^o®¿ ^nenw 1. `m¿§-hn-\n-ebw
2. Fen-∏Ø- mbw
3. ]ndhn

42
 4. hS-°p-t\m-°n-b{¥w
5. 22 ^osa-bn¬ tIm´bw
6. atl-jns‚ {]Xn-Imcw
tjm¿´v ^nenw : ao¬kv sdUn ˛ \n[p\ Znt\iv
tUmIyp-sa‚dn : an\p°v ˛ Fw.-B¿.-cm-P≥
teJ\w : kwhn-[m-b-Is‚ Ie ˛ hn.cm-P-Ir-jvW≥ (Im-gvN-bpsS Aim-¥n)

klm-bI - {- K-Ÿß - ƒ, sh_vssk-‰p-Iƒ

1. kn\na ˛ hoUntbm sSIv\n-Iv, tUm.-ap-c-fo-Ir-jvW, Un.-kn.-_p-Ivkv, 2008
2. Nn{Xw Ne-®n-{Xw, a¶S chn-h¿Ω, tIcf `mjm C≥Ãn-‰yq-´v, Xncp-h-\-¥-]p-cw, 2000
3. tUmIyp-sa‚dn kn\n-a, Fw.-Fw.-h¿°n, F≥.-_n.-F-kv., 1993
4. IYbpw Xnc-°-Y-bpw, tUm.-tPm-kv. sI.-am-\p-h¬, Id‚ v _pIvkv, 2009
5. Xnc-°Ym cN\ Iebpw kn≤m-¥-hpw, tUm.-tPmkv sI.-am-\p-h¬, Id‚ v _pIvkv,
2003.
6. am[y-a-ßfpw ae-bm-f-km-ln-Xyhpw ˛ Fw.-hn.-tXm-a-kv, t{ijvTm _pIvkv, Xncp-h-\-
¥-]p-cw.
7. Ne-®n-{X-]-T-\-߃, (FUn.) ]∑-\-cm-a-N-{μ≥ \mb¿, Id‚ v _pIvkv, 2008
8. Ne-®n-{X-Øns‚ s]mcpƒ, hn-P-b-Ir-jvW≥, tIcf `mjm C≥Ãn-‰yq-´v, 1996
9. ImgvN-bpsS Aim-¥n, hn.-cm-P-Ir-jvW≥, tIcf `mjm C≥Ãn-‰yq-´v, 2001
10. temI-kn-\na, hn-P-b-Ir-jvW≥, Un.-kn.-_pIvkv
11. ae-bm-f-kn-\n-abpw kmln-Xyhpw, a[p Cd-h-¶-c, Un.-kn.-_pIvkv
12. kn\na IW°pw Ihn-X-bpw, {ioIp-am-c≥X-ºn,
13. kph¿Æ NtIm-c-Øns‚ IY, im¥≥, tIcf `mjm C≥Ãn-‰yq´v
14. kn\n-a-bpsS temIw, ASq¿ tKm]m-e-Ir-jvW≥, tIcf `mjm C≥Ãn-‰yq-´v,
15. B[p-\n-I-a-e-bmf kn\na, sI.-hn.-cm-a≥Ip-´n, tIcf `mjm C≥Ãn-‰yq-´v,
16. C¥y≥ kn\n-a, Fw.-F-^v. tXma-kv, Un.-kn.-_pIvkv
17. Xnc-°Y: kn\n-a-bpsS Zriy-{]-Im-cw, tUm.-sUm-an-\nIv sP.-Im-´q¿
18. kn\n-ab - psS hymI-cW
- w, tUm.-Sn.-Pn-tX-jv, Henhv ]ªn-t°-j≥kv, tImgn-t°m-Sv, 2009
19. Film Studies - The Basics, Amy Villa rejo, Routledge Taylor and Francis
20. How to read a Film, Oxford University Press, Newyork
21. Documentary, A History of the Non Fiction Film - Eric Bornoau

43
 ska-ÿ : V
tImgvkv tImUv : EML 1551.2
Hm∏¨ tImgvkv : I
ka-b-{Iaw : BgvN-bn¬ 2 aWn-°q¿
(18 BgvN-bn¬ 36 aWn-°q¿)
s{IUn‰v : 2

Xmc-XaykmlnXyw

]T\^-e{- ]m]vXn
1. tZio-b-hpw A¥¿t±-io-b-hp-amb kmln-XysØ hne-bn-cp-Øm≥ Ignbp-∂p.
2. hnhn[ cN\mk{º-Zm-b-ß-fn-se-gp-X-s∏´ kmln-Xy-Ir-Xn-Isf Xmc-Xayw sNøm≥
{]m]vXn t\Sp-∂p.
3. kmln-XyIr-Xn-Isf Xmc-Xayw sNøm-\p≈ ]T\ k{º-Zm-b-߃ Xncn-®-dnbp∂p.
4.- hn-hn[ tZi-ßf- nse kmln-Xy-Ir-Xn-If
- psS cN-\m-ssienbn¬ {]mhnWyw t\-Sp∂p.
5. c≠p `mj-bn¬ FgpX-s∏´ IrXn-Isf XmcXayw sNøm≥ Ign-hp≠mIp-∂p.

sam-Uyqƒ H∂v (9 aWn-°q¿)

]T-\^
- e
- {- ^m]vXn
1.- Xm-c-X-ay-km-lnXyw F∂ ]T\imJ-bpsS DZv`-hhpw hnIm-khpw Adn-bp-∂p.
2.- Xm-c-Xay kmln-Xy-sØ \n¿h-Nn-°m≥ hnZym¿∞n°v Ign-bp-∂p.
3.- hn-hn[ Xmc-Xay ]T-\-co-Xn-Iƒ hna¿i-\m-fl-I-ambn hne-bn-cpØp-∂p.
Xmc-Xay kmln-Xyw-˛\ - n¿h-N\
- w-˛`
- m-cX
- ob kao-]\
- w-˛c
- q-]]- T- \
- w-˛{- ]-ta-b]
- T
- \
- w-˛k
- zm-
[o-\X
- ˛- {- ]Xy-£k
- zm-[o-\w˛ ]tcm£ kzm[o-\w˛k-am-¥c - X
- ˛- I
- S- ∏mSv ˛ hnh¿Ø-\] - T
- \
- w.

samUyqƒ c≠v (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. hnhn[ `mj-bnse kmln-Xy-IrXnIsf ]cn-Nb-s∏-bm≥ km[n°p∂p.
2.- km-ln-Xy-Ir-Xn-Isf Ah-bpsS LS-\-bpsS ASn-ÿm-\-Øn¬ Xmc-Xayw sNøm≥
Ignbp∂p.
3. -hn-hn[ kmln-Xy-{]-ÿm-\-ßsf ASn-ÿm-\-am°n IrXn-Isf Xmc-Xayw sNøp∂p
tZiob kmln-Xyw-˛kmam\y kmln-Xyw-˛-hn-iz-km-ln-Xyw-˛-cq-]-\n-jvTw-˛ssieo
\njvTw˛-km-ln-Xy-cq-]-ßfpsS hn`-P-\w-˛-h¿§o-I-c-Ww-˛-A-\y-kzm-[o-\-߃-˛-{]ÿm\
\njvTw˛-{]ÿm-\ß- fpsS Xmc-Xayw.

44
 samUyqƒ aq∂v (18 aWn-°q¿
]T-\^
- e
- {]m]vXn
1.- hn-hn[ `mj-bn¬ Fgp-Xs∏´ IrXn-Isf kzX-{¥-ambn Xmc-ayw sNøm≥ Ign-bp-∂p.
2.- hn-hn[ tZißfnse kmln-Xy-Ir-Xn-Isf Xmc-Xayw sNøp∂p.
{]mtbmKnI ]T-\w
1. -tNmas‚ XpSn(-inh-cma Imc¥v)-˛tXm´n-bpsS aI≥ (-X-I-gn)
2. Porphyrias Lover (Robert Browning)- tamln-\n (-N-ß-ºpg IrjvW-]n-≈)
3. F lw-K¿ B¿´n-Ãv(-Im-^vI)-˛-P-∑-Zn-\w (-ssh°w apl-ΩZv _jo¿)
klm-bI
- {- K-Ÿß
- ƒ
1.- `m-cXob kmlnXy Ncn-{Xw-˛ -(F-Un)- tUm.-sI.-Fw.-tPm¿Pv
2. Xmc-X-ay-km-lnXy ]oTn-I-˛ -tI-c-f`mjm C≥Ãn-‰yq´v
3. Xmc-X-ay-km-lnXyw XØzhpw {]k-‡nbpw ˛ s{]m^.-]n.-H.-]p-cp-tjm-Ø-a≥
4.- Xm-c-Xay kmlnXy ]cn-N-bw-˛ (-F-Un) NmØ-\mØv ANyp-X-\pÆn
5.- Xm-c-X-ay-km-lnXyw ]pXnb ImgvN-∏m-Sn¬-˛ -tI-c-f-`mjm C≥Ãn-‰yq´v
6. -Xm-c-Xay kmlnXy {]am-W-߃-˛ ]n H ]pcp-tjm-Øa≥
7. - km-lnXy ]©m\-\s‚ IrXn-Iƒ(-hm-evaoIn-bpw tlma-dpw)-˛ -tI-c-f-km-lnXy
A°mZan
8.- km-lnXy \nIjw (-tjIvkv]n-bdpw Imfn-Zm-k-\pw)-˛- Fw.-B¿ \m-b¿,- am-Xr`qan
_pIvkv.
9.- Xm-cX
- a
- y-km-ln-Xyw-˛]
- n.H ]pcp-tjm-Øa
- ≥, Po ]Zvad
- m-hp-˛A
- a
- q-ey ]-_vfn-t°-j≥kv,
sIm®n
10. Xm-c-Xay kmlnXy kao£˛ tUm Fw F Icow,- tI-c-f`mjm C≥Ãn-‰yq´v.
11. Comparative Literature-Susan Bassnette
12. Studies in Comparative Literature-Ed.K Ayyappa Paniker,Bernard Femm.
13. Comparative Literary Studies- S S Parweer.
14. Comparative Literature& Literary Theory-UlrichWeisselim.

45
 ska-ÿ : V
tImgvkv tImUv : EML 1551.3
Hm∏¨ tImgvkv : I
ka-b-{Iaw : BgvN-bn¬ 2 aWn-°q¿
(18 BgvN-bn¬ 36 aWn-°q¿)
s{IUn‰v : 2

tZiokuμ-cy-imkv{Xw (Ethno -Aesthetics)

(hn-tam-N-\-kz-`m-h-ap-≈ ku-μ-cy-im-kv-{X-sa-∂v tZ-ioku-μ-cy-im-kv-{X-sØ \n¿-h-Nn-

°mw. ]m›mXyw, ]u-ck - X v- yw F-∂n-ßs
- \-bp-≈ X-cw-Xn-cn-hp-Is
- f A-{]-k‡- a- m-°p-Ibpw
ku-μ-cym-t\z-j-W-Øn-\v {]-Ir-Xn tI-{μo-Ir-X-am-b H-cp ku-μ-cy-t_m-[-sØ A-Xv sIm-
≠p-h-cn-I-bpw sN-øp-∂p. tKm-{X-kw-kv-Ir-Xn-I-fp-sS ]-c-º-cm-K-X A-dn-hp-Iƒ-°-I-Øv A-h-
bp-sS Nn-e Aw-iß - ƒ Z-a\ - w sNbvXp In-S∏
- p-≠v. sXm¬-°m-∏n-bØ - n-se s]m-cp-ƒh- ¿-Øa
- m-
\-߃ A-h-sb I-s≠-Sp-°p-∂-Xn-\v k-lm-bn-°p-∂p. \-Ωp-sS \m-S≥-]m-´p-I-fp-sS sI-´p-ap-
d-I-fpw \m-tSm-Sn-km-ln-Xy-t_m-[-hpw tZ-io-ku-μ-cy-im-kv-{X-sØ A-]-{K-Yn-°p-∂-Xn-\v k-
lm-bn-°p-∂p. C-Ø-cw Im-gv-N-∏m-Sp-I-fp-sS H-cp GItZ-i-k-am-l-c-W-am-Wv Cu tIm-gv-kv.-)
]T-\^
- e
- {- ]m]vXn
1. Iem-]-T-\-ßsf ASnÿm-\-am°n \mS≥ kaq-l-ß-fpsS kmwkvImcnI ss]Xr-
IsØ kq£vam-]-{K-Y\w \S-Øp-∂p.
2. tKm-{X-I-e-Iƒ cq-]w {]m-]n-°p-∂-Xn\p ]n-∂n-ep-≈ N-cn-{Xw a-\- n-em-°n I-e-bpw
kw-kv-Im-chpw X-Ωn-ep-≈ _-‘-sØ-∏-‰n s]m-Xp-\n-K-a-\-߃ cq-]o-I-cn-°p-∂p.-
3. kz-¥w \m-Sn-s‚ ]m-cº
- c
- y-sØ-bpw I-eI
- s
- fbpw Ip-dn-®p-≈ kmw-kIv- m-cn-Im-ht- _m[w
B¿-÷n-°p-∂p.-
4. tZiIem-kw-kvIr-Xn-Iƒ Ncn-{X-Øn¬ Xa-kvI-cn-°-s∏-Sp-∂-Xns\ hna¿i-\m-fl-I-
ambn hne-bn-cp-Øp-∂p.

samUyqƒ: H∂v (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. tZio--hn-⁄m-\obw Hcp ]T-\-ta-Je F∂ \ne-bn¬ a\- n-em-°p-∂p.
2. tZio-hn-⁄m-\o-b-Øns‚ hnhn[ `mK-߃, ]T-\-N-cn{Xw, km[y-X-Iƒ Ch-sb-
°p-dn®v Ah-t_m[w t\Sp-∂p.
3. \-Ωp-sS ku-μ-cy-im-kv-{X-sØ-bpw Im-hy-im-kv-{X-sØ-bpw kzm-[o-\n-®n-´p-≈ {]m-tZ-
in-I-hpw tKm-{X-]-c-hp-am-b ku-μ-cy-h-gn-Iƒ I-s≠-Øp-∂p.-
4. hy-Xy-kvX- kw-kvI- r-Xn-If- p-sS Im-hy-im-kv{- X-sØ Dƒ-s°m-≠v A-hb - n-se cm-jv{- So-b-
t_m-[yhpw em-hW - y-hn-Nm-ch - pw Xn-cn-®d
- n-bm-\pw hn-a¿-i\
- m-flI
- a
- m-bn hn-eb- n-cp-Øm\pw
I-gn-bp-∂p.-

46
 tZ-in F-∂ {]-tbm-Kw-˛ tZ-ioku-μ-cy-im-kv-{X-Øn-s‚ \n¿-h-N-\w-˛ ]m-›m-Xy-]u-c-
kvXy kmln-Xy-kn-≤m-¥ß - f- n¬-\n-∂p th-dn-´ ku-μc- y-im-kv{- Xw-˛t- Km-{X-ku-μc
- y-t_m-[w-
˛mother earth F-∂ B-i-b-hpw a-\p-jy-ku-μ-cy-t_m-[-hpw˛ Cu hn-⁄m-\-im-J cq-]-
s∏-Sm-\n-Sb
- m-b km-aq-ln-I kmw-kvI - m-cn-I ]-›m-Øe- w ˛ tZ-io-hn-⁄m-\o-bØ - n-s‚ e-£y-
hpw hym-]v-Xn-bpw ˛ tZ-io-hn-⁄m-\o-b-Øn-s‚ {]-k-‡n-bpw {]m-[m-\y-hpw ˛-C-t°m-s^-an-
\n-kw-˛-t\-‰o-hnkw (tZ-io-hm-Zw)
hn-iZ- ]
- T-\w:
1. samgn-a-e-bm-f-Øns‚ At\ym-\yw˛ (B{^n-°≥ Ihn-X-bpsS s]mcpƒ, \nc-£-c-{]-
⁄-bpsS Bhn-jvIm-cw, IWm-bhpw XpSp-h≥ sXßpw F∂o `mK-߃) ˛ kn.-
B¿. cmP-tKm-]m-e≥ ˛ \m´p-\mhv samgn-ae
- b
- m-fØ
- ns‚ ImtXmcw F∂ ]pkvXI
- w.
2. hr-£-Øn-s‚ cm-{„o-bw-˛ Fw. F≥. hn-P-b≥ (Fw.-F≥.-hn-P-bs‚ kºq¿Æ-Ir-Xn-
Iƒ hmeyw Bdv)

samUyqƒ : c≠v (18 aWn-°q¿)

]T-\^e-{]m]vXn
1. {]m-No-\-kw-L-km-ln-Xy-Øn-s‚ Im-hy-im-kv-{X-Øn¬ tZ-io-ku-μ-cy-t_m-[-Øn-s‚
thcp-Iƒ I-s≠-Øp-∂p.-
2. Im-hy-N-cn-{X-sØ-bpw I-em-t_m-[-sØ-bpw \-ho-\-am-b Im-gv-N-∏m-tSm-sS k-ao-]n-°p-
hm≥ I-gn-bp-∂p.-
3. {]-Ir-Xn-tI-{μo-Ir-X-Z¿-i-\w cq-]-s∏-Sp-∂p.
Xn-W-bp-sS ku-μ-cy-im-kv-{Xw-˛ `q-an-bpw I-hn-X-bpw-˛ A-Iw-]p-dw F-∂ hn-`-P-\w-˛ Xn-
W-k-¶-ev]-hpw a-e-bm-f-km-ln-Xy-N-cn-{X-hpw-˛ ]p-Xn-b km-ln-Xy-hpw Xn-W-bpw
hn-iZ- ]
- T-\w
1. A-I-s∏m-cp-fpw ]p-d-s∏m-cp-fpw (te-J-\w) -˛-tUm.-sI. A-ø-∏-∏-Wn-°¿ (C-¥y≥
kmlnXy-kn-≤m¥w {]k-‡nbpw km[y-Xbpw
2. \new ]qØp ae¿∂ \mƒ (t\m-h¬) ˛ at\mPv Ipdq¿

samUyqƒ : aq∂v (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. B-Zn-hm-kn\m-tSm-Sn `
- m-jb
- pw km-ln-Xy-hpw; {]-Xy-bi
- m-kv{- X-hpw h¿-Øa
- m-\h
- pw N¿-
® sNøp∂p.-
2. tI-c-f-Øn-s‚ B-Zn-hm-kn \m-tSm-Sn-I-e-I-fpw A-Xn-s‚ B-hn-jv-I-c-W-co-Xn-I-fpw A-
t\z-jn-®-dnbp-∂p.-
3. tI-c-f-Øn-se \m-S≥ I-e-I-fp-sS-bpw hm-Mv-a-b-ß-fp-sS-bpw D-≈-S-cp-I-fn¬ {]-h¿-Øn-
°p-∂ tZio-I-em-ku-μ-cy-X-Xz-߃ A-]-{K-Yn-®p-hn-e-bn-cp-Øm≥ {]m-]v-Xn-t\-Sp-∂p.-
tKm-{X-`m-j-bp-sS ku-μ-cyw-˛ tKm-{X-km-ln-Xy-]-cn-k-cw-˛˛ B-Zn-hm-kn kw-Ko-Xw-˛ B-
Zn-hm-kn I-Ym-Jym-\ß - ƒ-˛ B-Zn-hm-kn \r-Øß - ƒ-˛ Kp-lm-Nn-{X-߃-˛ B-Zn-hm-kn-Ie - I
- ƒ:
am-dp-∂ ap-Jß- ƒ-˛ \-mt- Sm-Sn-km-ln-Xy-im-k{v- X-hpw hn-Im-k]
- c
- n-Wm-aß
- f
- pw-˛t- Xm‰w]m-´p-Iƒ-

47
˛ I-fs
- a-gp-Øv˛- \
- m-tSm-Sn \m-SI
- ß
- ƒ-˛\
- m-S≥-]m-´p-Iƒ-˛A-\p-jvTm-\c
- w-KI
- e
- I
- ƒ-˛ \m-tSm-Sn-I-
e-I-fp-sS B-Jym-\-im-kv-{Xw.-
hn-iZ- ]
- T-\w:
1. \m-S≥-]m-´p-I-fp-sS cN\m-X-{¥w h-S-°≥-]m-´p-I-sf B-[m-c-am-°n H-cp ]T-\w ˛ Fw.-
B¿. cm-L-h-hm-cn-b¿ (N-cn{Xw : coXn-im-kv{X-]-T-\-߃, F≥.-_n.-F-kv.)
klm-bI-{K-Ÿ-߃
1. tIc-f-Ønse BZn-hmkn Iem-]m-c-ºcyw ˛ tUm. (kn-ÿ) ^oenb tXmakv Sn
(kmwkv-Im-cnI {]kn-≤o-I-c-h-Ip∏v, tIc-f-k¿°m¿ 2004)
2. tIc-f-Ønse \mtSm-Sn-\m-S-I-߃ ˛ tUm. Fkv.sI \mb¿
3. AΩ ssZhhpw kwkvIm-c-hpw ˛ tkma≥. ]n
4. tIc-f-N-cn-{X-Øns‚ \m´p-h-gn-Iƒ ˛ F≥.-Fw. \ºq-Xncn, ]n.sI inh-Zmkv, tIm´bw
Un.kn _pIvkv
5. tIc-fo-bX Ncn-{X-am-\-߃ ˛ Fw. B¿ cmL-h-hm-cy¿, h≈-tØmƒ hnZym-]oTw
6. anØpw kaq-lh - pw ˛ Fw.-B¿. cmLh-hmcy¿, cmP≥ Kpcp-°ƒ, tIm´bw \mj-W¬
_pIvÃmƒ, tI-c-f-Ncn{Xw (1-˛2), h≈-tØmƒ hnZym-]oTw
7. \ΩpsS Zriy-I-e ˛ sI.-B¿ ]njm-cSn
8. tIc-f-Ønse \mS≥ kwKo-Xw ˛ tUm.-Fw.hn. hnjvWp-\-ºq-Xncn
9. tXm‰w-]m-´p-Iƒ Hcp ]T-\w ˛ tUm.-Fw.hn. hnjvWp-\-ºq-Xncn
10. ]p≈p-h≥]m´pw \mKm-cm-[-\-bpw ˛ tUm.-Fw.hn hnjvWp-\-ºq-Xncn
11. kwKo-X-Øns‚ \m´p-hgn ˛ s]cp-ºpg tKm]m-e-Ir-jvW≥
11. am∏n-f-I-e-Iƒ ˛ (F-Un.) H.-Fw.-I-cp-hm-c-°p≠v
12. ]tS-\n ˛ IS-Ω-\n´ hmkp-tZ-h≥]n≈
13. ae-_m-dnse Xnd-bm-´w ˛ kn. tKm]m-e≥\m-b¿
14. s]mdm-´p-\m-S-Ihpw a‰pw- ˛- Pn. `m¿§-h≥]n≈
15. tIc-f-Ønse Nph¿Nn-{X-I-e ˛ Fw.-Pn. iin-`q-j¨
16. A⁄m-X-tZ-i-ß-fpsS BJym-\-߃ ˛ F≥. kt¥m-jvIp-am¿
17. tImhn-e≥ FgpØv tZiw {]Xn-\n-[m\w ˛ tUm.-AP - b- ]
- pcw tPymXn-jvIp-am¿, tIcf
`mjm C≥Ãn-‰yq´v
17. C¥y≥ kmln-Xy-kn-≤m¥w {]k‡nbpw km[y-X-bpw -˛ -tUm. sI Aø-∏-∏-Wn-
°¿, tIc-f-`mjm C≥-Ãn-‰yq´v
18. hS-°≥]m-´p-If - psS ]Wn-bme ˛ Fw.-B¿.cmL-hh - m-cy¿, `mjm C≥Ãn-‰yq´v (1974)
19. \m´p-\mhv: samgn-a-e-bm-f-Øns‚ ImtXmcw ˛ tUm.-kn.-B¿. cmP-tKm-]m-e≥,- Nn¥
]_vfn-tj-gvkv. 2017
20. \new ]qØp- a-e¿∂-\mƒ (t\m-h¬) at\mPv Ipdq¿, Un.-kn.-_pIvkv
21. Cultural Symbiosis in Kerala - M.G.S Narayanan, Kerala Historical Society, Trivandrum
(1972)
22. Heritage and Cultural Routes: An Anthology - Chaudhary, Poonam(Edi), New Delhi: Shuthi
Publication
23. Current Trends in Folk lore - Jawaharlal Handoo
24. Nativism: Essays in Criticism - Sahitya Akademi 2017

48
 ska-ÿ : Bdv

ska-ÿ : VI
tImgvkv tImUv : EML 1641
tIm¿ tImgvkv : XI
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

ae-bm-f-hym-I-cWw
]T-\^
- e
- {- ]m]vXn
1. ae-bm-f`- mj-bpsS al-Ømb hymI-cW - ] - m-cº
- c
- y-sØ-°p-dn®v Ah-t_m-[a- p-≠m-Ip∂p.
2. ae-bm-f-`m-j-bpsS ASn-ÿm-\-hym-I-c-W-X-Øz-ß-fn¬ th≠{X Ah-Km-l-ap-≠m-
Ip∂p.
3. `mjm-{]-tbm-K-Ønse icnbpw sX‰pw Xncn-®-dn-bp-∂p.
4. sX‰mb hymI-cW - {- ]-tbm-Kß
- ƒ Hgn-hm-°m\pw icn-bm-bh {]tbm-Kn-°m\pw {]m]vXn
t\Sp-∂p.
5. hymI-cW- Ø - ns‚ [¿Ωw \nb-a] - m-e\- a
- √- , \nb-at- _m-[\
- a
- mWv F∂v Xncn-®d- n-bp∂p.

samUyqƒ : H∂v (18 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. hymI-c-W-]-T-\-Øns‚ Bh-iy-IX t_m[y-s∏-Sp-∂p.
2. ae-bm-f-Ønse {][m-\-s∏´ sshbm-I-c-W-∑m-sc-°p-dn®pw Ah¿ cNn® hymI-c-W-
{K-Ÿ-ß-sf-°p-dn®pw kmam-\y-amb Adnhv t\Sp-∂p.
3. ae-bm-fØ
- nse A£-ca - m-es
- b-°p-dn®v ka-{Khpw Ahn-X¿°n-Xh
- p-amb Adn-hp-≠m-
Ip-∂p.
4. A£-c-ß-fpsS Imcy-Øn¬ ae-bm-f-Øn-t‚Xp am{X-sa∂p ]d-bm-hp∂ khn-ti-j-
X-Iƒ Xncn-®-dn-bp-∂p.
5. kzc-˛-hy-RvP-\-ß-fpsS h¿§o-I-c-W-sØ-°p-dn®v Ah-t_m-[-ap-≠m-Ip-∂p.
6. ]Z-߃ icn-bmb coXn-bn¬ Iq´n-t®¿sØ-gp-Xm\pw ]ncn-s®-gp-Xm\pw k‘n-Im-cy-
߃ hnh-cn-°m\pw ]cn-io-e\w t\Sp-∂p.
hymI-cWw ˛ \n¿h-N\w ˛ hymI-cW - ]
- T
- \
- Ø
- ns‚ Bh-iy-IX ˛ ae-bm-fh
- ym-Ic
- W
- -
N-cn{Xw ˛ kmam-\y-]cnNbw ˛ eoem-Xn-eIw c≠pw aq∂pw inev]-ß-fpsS D≈-S-°hpw
cN-\m-co-Xnbpw ˛ tIc-f-]m-Wn-\o-b-Øns‚ cq]-L-S-\bpw cN-\m-co-Xnbpw
A£-ca - me ˛ h¿Æw, A£-cw, en]n ˛ \n¿h-N\
- hpw Ch XΩn-ep≈ hyXym-khpw
˛ ae-bm-fØ
- nse A£-ca - me ˛ A£-ck
- wJy ˛ kwhr-tXm-Im-cØ
- ns‚ khn-ti-jX
- I
- ƒ

49
˛ Nn√p-Iƒ ˛ h¿’y-h¿§w ˛ h¿Æ-߃°v ]e-am-Xncn {ipXn D≠m-Ip-∂-Xns‚ Imc-W-
߃ ˛ A\p-{]-Zm-\w, Ic-Wh- n-{`-aw, kwk¿§w, am¿§-t`-Zw, ÿm\-t`-Zw, ]cn-amWw F∂nh
˛ eoem-Xn-e-I-Øn-sebpw tIc-f-]m-Wn-\o-b-Øn-sebpw A[n-Imc£c-\n-cq-]Ww ˛ Xmc-
Xayw ˛ h¿Æ-hn-Imcw ˛ Imc-W-ßfpw {][m-\-s∏´ h¿Æ-hn-Im-c-ßfpw
k‘n-{]-I-cWw ˛ k‘n ˛ \n¿h-N\w ˛ hnhn[ D]m-[n-I-fpsS ASn-ÿm-\-Øn-
ep≈ k‘n-hn-`P - \w ˛ tIc-f]
- m-Wn-\obØnse k‘n-Im-cy-ßf - psS hni-Z]
- T
- \w ˛ eoem-
Xn-eIw aq∂mw inev]-Øns‚ kmam-\y-]-cn-Nbw ˛ eoem-Xn-e-I-Øn-sebpw tIc-f-]m-Wn-
\o-bØ- n-sebpw k‘n-Im-cy-ßf - psS Xmc-Xayw ˛ kwkvIr-Xk
- ‘n ˛ kwkvIr-X] - Z- ß
- ƒ
k‘n-tN¿sØ-gp-Xm\pw ]ncn-s®-gp-Xm-\p-ap≈ kmam-\y-amb Adnhv (hn-i-Z-]-T\w Bh-
iy-an-√)

samUyqƒ c≠v (36 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. ae-bm-f-Ønse ]Z-hn-`m-K-ß-sf-°p-dn®v Adnhv t\Sp-∂p.
2.- hym-I-c-W-Ønse Nne kmt¶-XnI ]Z-ß-sf-°p-dn®v ]cn-⁄m-\-ap-≠m-Ip-∂p.
3. \ma-߃ GsX√mw hn`m-K-Øn-emWv Dƒs∏-Sp-∂Xv F∂v Xncn-®-dn-bp-∂p.
4. enwK-h-N-\-hn-`‡n {]Xy-b-ßfpw Ah-bpsS {]tbm-K-km-l-N-cy-ßfpw a\-kn-em-
Ip-∂p.
i_vZ-hn-`mKw ˛ i_vZw AYhm {]Ir-Xn, {]Xy-bw, ]Zw, [mXp, AwK-{]-Xy-bw,
F∂n-hb - psS \n¿h-N\w ˛ hmN-Iw, tZymXIw ˛ \maw, IrXn, t`ZIw ˛ \n]m-Xw, Ahybw
˛ KXn, LS-Iw, hymt£-]-Iw, tIhew ˛ t`Z-I-ß-fpsS Dƒ∏n-cn-hp-Iƒ ˛ ip≤w, km¿h-
\m-an-Iw, kmwJyw, hn`m-h-Iw, ]mcn-am-Wn-Iw, \mamw-K-Pw, {Inbmw-KPw F∂nh
\ma-hn-`mKw ˛ \maw ˛ \n¿h-N\w ˛ Ahm-¥-c-hn-`m-K-߃ ˛ {Zhy-\m-aw, KpW-\m-aw,
{Inbm-\maw ˛ kw⁄m-\m-aw, kmam-\y-\m-aw, k¿h-\m-aw, tab-\maw ˛ enwK-{]-I-cWw ˛
enwK-{]-Xy-b-߃ ˛ hN\-{]-I-cWw ˛ hN\{]I-cWw ˛ hN-\-{]-Xy-b-߃ ˛ kenw-K-_-
lp-h-N-\hpw Aenw-K-_-lp-h-N-\hpw XΩn-ep≈ hyXymkw ˛ Nps´-gpØv ˛ hn`‡n ˛
\n¿h-N\w ˛ hn`-‡n-{]-Xy-b-ßfpw Ah-bpsS A¿∞-ßfpw (hn-`-‡n-{]-Xy-b-ß-fpsS
BK-a-N-cn{Xw th≠)˛ ae-bmf hn`-‡n-Iƒ°v ]pXnb t]cp-Iƒ Iev]n-°p-∂-Xn\v tIc-
f-]m-Wn\n Is≠-Ønb Imc-W-߃ ˛ an{i-hn-`‡n ˛ kam-k-hn-`‡n ˛ hn`-‡ym-`mkw
˛ \n¿h-N-\hpw Ahm-¥-c-hn-`m-K-ßfpw
ImcIw ˛ \n¿h-N\w ˛ Imc-I-hn-`m-K-߃ ˛ hn`-‡nbpw Imc-Ihpw XΩn-ep≈
_‘w ˛ hnin-„-{Inb ˛ \nKo¿Æ-I¿Ør-Iw.
X≤nXw ˛ \n¿h-N\w ˛ Ahm-¥-c-hn-`m-K-߃ ˛ {]Xy-b-߃ ˛ IrØv ˛ IrXn-
IrØpw Imc-II
- rØpw

samUyqƒ : aq∂v (27 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. hnhn[ D]m-[n-I-fpsS ASn-ÿm-\-Øn¬ {Inb-Isf Fß-s\-sb√mw h¿§o-I-cn-°m-
sa∂v a\- n-em-°p-∂p.

50
2. ae-bm-f-Ønse Ime-k-¶-ev]-sØ-°p-dn®pw Ime-{]-Xy-b-ß-sf-°p-dn®pw Adnhv
t\Sp∂p.
3. {Inb-I-fpsS A¿∞-]-cn-jvI-c-W-Øn\v A\p-{]-tbm-K-߃ hln-°p∂ ]¶n-s\-°p-
dn®v Ah-t_m-[-ap-≠m-Ip-∂p.
4. I¿Ø-cn, I¿Ω-Wn-{]-tbmKßfpsS cN-\m-¥c - Ww {]mtbm-Kn-Ia- mbn \n¿h-ln-°m≥
]Tn-°p-∂p.
5. ae-bm-f-Ønse \ntj-[-cq-]-\n¿Ωn-Xn-sb-°p-dn®v a\- n-em-°p-∂p.
{Inbm-hn-`mKw ˛ {Inb ˛ \n¿h-N\w ˛ A¿∞w, {]Ir-Xn, {]mamWyw F∂nh ASn-
ÿm-\-am-°n-bp≈ {Inbm-hn-`-P\w ˛ Imcn-XmIm-cn-X-t`Zw ˛ t]sc-®hpw hn\-sb-®hpw ˛
hn\-sb-®-hn-`m-K-߃ ˛ {]Xy-b-߃ ˛ BJym-X-\m-aw, Ime-{]-I-cWw ˛ Imew ˛ \n¿h-
N\w ˛ hn`m-K-߃ ˛ {]Xy-b-߃ ˛ ioe-`m-hn, Ah-[m-c-I-`mhn ˛ {Zmhn-U-`m-j-I-fnse
cq]-\n-jv]-Øn-\bw ˛ ae-bm-f-Øns‚ {]tXy-IX ˛ A\p-\m-kn-I-kw-k¿§hpw Jcm-tZ-i-
Zzn-Xz-\-bhpw ˛ \ma-[mXp ˛ Jne-[mXp (Im-e-{]-Xy-b-ß-fpsS BK-a-N-cn{Xw th≠)
{]Im-c-{]-I-cWw ˛ {]Imcw ˛ \n¿h-N\w ˛ Ahm-¥-c-hn-`m-K-߃ ˛ {]Xy-b-߃
{]tbm-K-{]-I-cWw ˛ I¿Ø-cn, I¿Ω-Wn-{]-tbm-K-߃ ˛ A\p-{]-tbmKw ˛ \n¿h-
N\w ˛ Ahm-¥-c-hn-`m-K-߃
\ntj-[-{]-I-cWw ˛ ae-bm-f-Ønse \ntj-[-cq-]-\n¿ΩnXn ˛ kwkvIr-X-Øn¬\n-
∂p≈ hyXymkw ˛ \ntj-[-{]-Xy-b-ßfpw \ntj-[-cq-]-ßfpw

samUyqƒ : \mev (9 aWn-°q¿)

]T-\^
- e
- {- ]m]vXn
1. hymI-c-W-]-T-\-Øn¬ hmIy-Øn-\p≈ {]m[m-\y-sØ-°p-dn®v a\- n-em-°p-∂p.
2. hnhn-[-Xcw hmIy-ßsf ]cn-N-b-s∏-Sp-∂p.
3. hmIy-c-N-\-bn¬ hyXy-kvXhpw ]pXp-a-bp-≈-Xp-amb coXn-Iƒ Ah-ew-_n-°m≥
{]m]vXn t\Sp-∂p.
4. ka-kvX] - Z- ß
- sf hn{K-ln-°p-hm\pw kamkw \n¿Æ-bn-°p-hm-\p-ap≈ {]mtbm-KnI
]cn-io-e\w t\Sp-∂p.
hmIy-{]-I-cWw ˛ hmIyw ˛ \n¿h-N\w ˛ BImw£ ˛ BJybpw BJym-Xhpw ˛
hmIy-Ønse ]Z-{Iaw ˛ s]mcpØw ˛ hmIy-hn-`-P\w ˛ Nq¿ÆnI AYhm tIh-e-hm-Iyw,
k¶o¿Æ-hm-Iyw, alm-hmIyw F∂n-h.
kamkw ˛ \n¿h-N\w ˛ kam-kh - n-`P
- \
- Ø
- ns‚ ASn-ÿm\w ˛ ae-bm-fØ - nse kam-
k-߃ ˛ X¬∏p-cp-jk - a- m-kØ
- ns‚ Ahm-¥c - h
- n-`m-Kß
- ƒ ˛ kwkvIr-XØ
- nse Ahy-bo-
`m-h-k-am-khpw ˛ ZznKp-k-am-khpw eLp-]-cn-Nbw ˛ hyh-ln-X-k-amkw
B[m-c{- K-Ÿß
- ƒ
1. tIc-f-]m-Wn-\obw ˛ G.-B¿.-cm-P-cm-P-h¿Ω (A-£-c-ame apX¬ i_vtZm-ev]Øn
hsc)
2. eoem-Xn-eIw (c≠pw aq∂pw inev]-߃ am{Xw)

51
klm-bI
- {- K-Ÿß
- ƒ
1. tIc-f-]m-Wn-\o-b-`mjyw ˛ kn.-F¬.-B‚Wn
2. ae-bmf hymI-c-W-k-ao£ ˛ tUm.-sI.-Fw.-{]-`m-I-c-hm-cy¿
3. {]mtbm-Kn-I-hym-I-cWw ˛ Ccn-©bw chn
4. ae-bm-fh
- ym-Ic
- W
- N
- c
- n{Xw ˛ tUm.-F≥.-cm-tP-{μ≥
5. ae-bm-f-`m-jm-hym-I-cWw Hcp ka-{K-]-T\w ˛ BZn-\mSv tKm]n
6. tIcf `mjm hymI-cWw ˛ tUm. C.-hn.-F≥. \ºq-Xncn
7. ae-bm-f-hym-I-cWw ˛ s{]m^.-tKm-]n-°p-´≥
8. ae-bm-f-Ønse \ma-h¿§w ˛ tUm.-sI.-{io-Ip-amcn
9. hymI-c-W-\n-L≠p ˛ Ccn-©bw chn
10. ssIc-fo-i-_vZm-\p-im-k\w ˛ tUm.-sI.-kp-Ip-am-c-]n≈

52
 ska-ÿ : VI
tImgvkv tImUv : EML 1642
tIm¿ tImgvkv : XII
ka-b-{Iaw : BgvN-bn¬ 5 aWn-°q¿
(18 BgvN-bn¬ 90 aWn-°q¿)
s{IUn‰v : 4

]uckvXy kmlnXyaoamwkbpw
aebmf\ncq]Whpw

]T\^e-{]m]vXn
1. `mcXob kmlnXyZ¿i\sØ At\zjn®dnbp∂p.
2. hna¿i\_p≤n hnIkn°pIbpw kmlnXy\ncq]W߃ FgpXpIbpw sNøp∂p.
3. A]{KY\]mShw kq£vaamhpIbpw ssk≤m¥nIamb Imgv®∏mSv cq]s∏SpIbpw
sNøp∂p.
4. aebmf\ncq]WsØ {]mtbmKnIamb Ncn{X_p≤ntbmsS \n¿≤mcWw sNøp∂p.
5. ]m›mXykmlnXykn≤m¥sØbpw ]uckvXykmlnXyaoamwksbbpw ]‰n
XmcXayhniIe\w \SØp∂p.
6. aebmfkmlnXy\ncq]Ww `mhpIXz\hoIcWßsf kzm[o\n® coXnIsf
A]{KYn°p∂p.
4. Ihn-X-bn¬ Ae-¶m-c-ß-fpsS {]tbm-Khpw kmwK-Xyhpw a\- n-em-°p-∂p.

samUyqƒ H∂v (36 aWn-°q¿)

]T\^e-{]m]vXn
1. `mcXobkmlnXy\ncq]WsØ ssk≤m¥nIambpw kmt¶XnIambpw
At\zjn°p∂p.
2. kmlnXy\ncq]WØn\p klmbIamb Xmt°m¬hm°pIƒ \n¿hNn°p∂p.
3. aebmfImhyaoamwk F∂ BibsØ hnIkn∏ns®Sp°p∂p.
Ihn, IhnX, kmlnXyw, klr-Zb - ≥, \ncq]Ww F∂o {]tbmKßfpsS \n¿hN\w
˛ Imcbn{Xn, `mhbn{Xn {]Xn`Iƒ ˛ aq∂v i–i‡nIƒ: A`n[, e£W, hyRvP\ ˛
`mcXobkmlnXy\ncq]Ww (Indian Literary Criticism) F∂ {]tbmKØns‚ kmwKXyw
˛ apJyamb F´v kn≤m¥ßƒ ˛ ckw, [z\n, ht{Im‡n F∂nhsb {]mYanIambn
a\ nem°pI ˛ {ZmhnUkuμcyimkv{Xhpw XnWk¶ev]hpw ˛ eoemXneIw
aebmfImhyaoamwkbpsS Bcw`IrXn ˛ Ae-¶mcw ˛ \n¿h-N\w ˛ A¿∞m-e¶ - m-cß
- fpw
i_vZm-e-¶m-c-ßfpw ˛ kmam-\y-]-cn-Nbw
hni-Z]
- T
- \w
(A-e-¶m-c-߃) D]-a, D¬t{]-£, cq]-Iw, A{]-kvXp-X-{]-iw-k, cq]-Im-Xn-i-tbm‡n,
A¿∞m-¥-c-\ym-kw, kam-tkm-‡n, ZznXo-bm-£-c-{]m-kw, baIw F∂nh.

53
B[m-c{- KŸw
`mjm-`q-jWw ˛ G.-B¿.-cm-P-cm-P-h¿Ω

samUyqƒ c≠v (9 aWn-°q¿)

hrØ-imkv{Xw
]T\^e-{]m]vXn
1. Ihn-Xbpw Xmfhpw XΩn-ep≈ _‘-sØ-°p-dn®v Ah-t_m-[-ap-≠m-Ip-∂p.
2. CuW-ß-fn¬\n∂v hrØ-ßsf th¿Xn-cn-®-dn-bm-\m-Ip-∂p.
3. hrØ-\n¿W-b-Øn-\p≈ ]cn-{i-a-Øn-te¿s∏-Sp-∂p.
4. hrØ-K-‘n-bmb IhnX kr„n-°m≥ {ian-°p-∂p.
hrØw ˛ Xmfw ˛ kwkvIr-X-hr-Øhpw `mjm-hr-Øhpw ˛ s]mXp-kz-`m-h-߃ ˛
hrØ-\n¿W-tbm-]m-[n-Iƒ.
hni-Z]
- T
- \w
C{μ-h{P, Dt]-{μ-h{- P, hk-¥X- n-eI
- w, aμm-{Im-¥, im¿±q-hn-{Io-Un-Xw, {km≤-c, hntbm-Kn-
\n, ]pjv]n-Xm-{K, ImI-fn, If-Im-©n, tII, Xcw-Kn-Wn, aRvP-cn, \tXm-∂X
B[m-c{- KŸw
hrØ-a-RvPcn ˛ G.-B¿. cmP-cm-P-h¿Ω

samUyqƒ aq∂v (9 aWn-°q¿)

hrØ-imkv{Xw
]T\^e-{]m]vXn
1. A`ncpNn\n¿ΩnXnbnep≠mb ]pXnb XcwKßsf BgØn¬ Adnbp∂p.
2. \ncq]Why‡nXzßsf Ncn{X]cambn At\zjn°p∂p.
3. \ncq]Isc PohNcn{X]cambpw ssk≤m¥nIambpw tcJs∏SpØp∂p.
aebmf\ncq]WØns‚ Bcw`w, tIcfh¿Ωbpw kn. ]n. ANypXtat\m\pw ˛
{]mkhmZØns‚ kZv ^ ew ˛ G. Bdpw ]pXnb A`ncpNnkwk- v I cWhpw ˛
KpfnIs®t∏¥nb injy∑m¿ ˛ \htemIhpw almhna¿iIcpw: tIkcn, F.-]n.t]mƒ,
ap≠t»cn, amcm¿.
{]mtbmKnI]T\w
1. almIhn∏´w ˛ tIkcn (tI-k-cn-bpsS kmln-Xy-hn-a¿i-\-߃)

sam-Uyqƒ \mev (36 aWn-°q¿)

]T\^e-{]m]vXn
1. aebmf\ncq]WØns‚ kmlnXyNcn{XaqeysØ \n¿≤mcWw sNøp∂p.
2. teJ\߃ hmbn°pIbpw \ncq]W°pdn∏pIƒ Xømdm°pIbpw sNøp∂p.
3. \ncq]IcpsS `mhpIXz]£]mXßsf hniIe\w sNøp∂p.
4. \thm∞m\hna¿i\Øns‚ Ncn{XsØ \n¿≤mcWw sNøp∂p.

54
5. B[p\nIX (Modernity), B[p\nIXm hmZw (Modernism) F∂nhsb th¿Xncn®p
a\ nem°p∂p.
6. LS\mhmZkn≤m¥Øns‚ hcthmsS kmlnXyhna¿i\Ønep≠mb hf¿®sb
hna¿i\mflIambn ]cntim[n°p∂p.
7. aebmfkmlnXy\ncq]WØns‚ kaImenIafieØn¬ {]mtbmKnIambn
CSs]Sp∂Xn\p k÷amIp∂p.
\ho\\ncq]WØns‚ c≠pXeapdIƒ: kpIpam¿ Agot°mSv, Fw. F≥ hnPb≥,
Fw. eoemhXn, Fw. sI km\p ˛ B[p\nIXbpw B[p\nIXmhmZhpw: sI. ]n A∏≥,
\tc{μ{]kmZv, Fw. tXmakv amXyp, hn. cmPIrjvW≥ ˛ DØcm[p\nIXbpw
kq£va`mhpIXzhpw: ]n. sI cmPtiJc≥, ]n. KoX, C. ]n cmPtKm]me≥, kp\n¬ ]n.
CfbnSw.
{]mtbmKnI]T\w
1. ImfnZmks‚ PohnXZ¿i\w ˛ kpIpam¿ Agot°mSv ( hmb\bpsS kz¿§Øn¬)
2. AΩssZh߃ ˛ Fw. eoemhXn (\hXcwKw)
3. acWØns‚ kuμcyw ˛ sI. ]n. A∏≥ (t£m`n°p∂hcpsS kphntijw)
4. b{¥tNX\tbm a\pjy`mh\tbm ˛ ]n. sI. cmPtiJc≥ (]nXrLSnImcw)
5. ]pkvXIØns‚ Bbp v ˛ Fkv. imcZ°p´n (F{Xsb{Xt{]cWIƒ)
klm-bI
- {- K-Ÿß
- ƒ
1. History of Sanskrit Poetics - S.K. De
2. History of Sanskrit Peotics - P.V.Kane
3. `mc-Xo-b-Im-hy-imkv{Xw ˛ tUm.-Sn.- `m-kvI-c≥
4. `mc-Xob Imhy-ao-amwk ˛ tUm.-sI.-kp-Ip-am-c-]n≈
5. \mSy-imkv{Xw (hnh:) ˛ sI.-]n.-\m-cm-b-W-]n-jm-cSn
6. kn.-]n. ANyp-X-ta-t\ms‚ kmln-Xy-hn-a¿i\w ˛ FUn. Sn.-]n. kpIp-am-c≥
7. tIk-cn-bpsS kmln-Xy-hn-a¿i-\ß - ƒ ˛ FUn. Fw.-F≥.-hn-Pb
- ≥
8. ap≠-t»cn IrXn-Iƒ 2 hmey-߃ ˛ ap≠t»cn
10. sXc-s™-SpØ {]_-‘-߃ ˛ Ip-´n-Ir-jvW-am-cm¿
11. ae-bm-f-hn-a¿i-\-Øns‚ ]q¿Δ-apJw ˛ tP°_v aÆp-aqSv
12. \ncq-]Ww C∂se ˛ FUn. Fkv. Kp]vX≥\m-b¿
13. t£m`n-°p-∂-h-cpsS kphn-tijw ˛ sI.-]n. A∏≥
14. \h-Xc - wKw ˛ Fw. eoem-hXn
15. hm°nse kaqlw ˛ C.-hn. cma-Ir-jvW≥
16. kmln-Xy-\n-cq-]W - Ø- nse Znim-t_m[w ˛ Fw. eoem-hXn
17. ae-bm-fk - m-ln-Xy-hn-a¿i\w ˛ kpIp-am¿ Agn-t°mSv
18. CS-s]-S-ep-Iƒ ˛ ]n.-]n. cho-{μ≥
19. ae-bm-f-hn-a¿i\w ˛ tUm. ]n.hn. them-bp-[≥ ]n≈
20. lcn-X-\n-cq-]Ww ˛ FUn: Pn. a[p-kq-Z-\≥

55