Model Question Paper

Sir, Could you please upload a Model Question paper for Post Colonial Literature (similar to what you uploaded during last sem).

Thanking you,
Shruti Kedia

Ideas in Architecture Theory

Arbour: Research Initiatives in Architecture

 

will run the second cycle of its six-month seminar/teaching programme

 

Ideas in Architecture Theory

 

This programme aims at providing a set of ideas and methodological tools to approach a critical understanding of architecture. The field of architecture will be discussed not only within certain historical conditions, but also as perceived and discussed through the scope of its own practice, visual theory, cultural studies and philosophical locations. Architecture as it is constructed lives a material life, but by nature of its own existence is a field of experience, geography, identity, beauty, time, memory and certain other such concepts. At the same time architecture also struggles between object-hood and its anti-object nature. This introductory seminar will lay out the ground from which many questions could be generated, which could be tackled at various levels and with different intensities later on in the practice of an architectural professional, historian, thinker, critic, teacher or journalist, or for those who may be interested in the field of architecture through their own fields of interest and expertise.

The seminar is designed within 2 basic brackets – ‘Architecture History’ and ‘Approaches to Architecture’. ‘Architecture History’ does not deal with a chronology of architectural types, styles or samples, but basically discusses ideas related to architectural practice and thinking that have been closely related to particular historical conditions and/or events. On the other hand, ‘Approaches to Architecture’, as the name suggests, wishes to map a selection of methodologies that have been employed to understand, critique, analyze, and evaluate architecture. From looking at ideas in Visual Studies and the role of criticism, to questions of Colonialism and Modernism, to reading texts by the likes of Kracauer and Lefebvre, and dealing with topics like Body & Space, Memory & Dwelling, Representation & Voice to also hearing architects discuss architectural projects, the course will structure a range of issues and ideas in a cohesive format. The aim is to finally contextualize the debates and concerns in architectural practice in contemporary India, while being conscious of how international and global exchanges have always been a part of any field, and understanding that ideas in the world of theory often assume an all-pervading image.

‘Writing’ will be an important component of the seminar programme.

The seminar programme is conducted through modules (4 sessions) around particular conceptual frameworks.

Schedules: The programme runs every Monday and Wednesday from 6:30 to 8:30 pm, starting 16 January, through 20 June, 2012 (about 23 weeks)

Resource Scholars: Scholars and practitioners from the world of Architecture, Art History, Theory and Criticism, Visual Studies, Cultural Studies, etc. will be teaching at the course; those involved with the seminar include Sen Kapadia, Venkatesh Rao, Mustansir Dalvi, Shimul Jhaveri-Kadri, Ranjit Hoskote, Nancy Adajania,  George Jose, Shilpa Ranade, Rajiv Thakker, Abhay Sardesai, Sudhir Patwardhan, Shilpa & Pinkish Shah, Rahul Gore, Sonal Sancheti, Ainsley Lewis, Nuru Karim, Ashok Sukumaran, Suprio Bhatacharjee, Kaiwan Mehta and also some others.

Admission Eligibility: All graduates from Architecture or Art History can apply with their CV.

Graduates in subjects other than the two mentioned above can apply with their CV and a short interest-indication paper or a writing sample.

Students of 4th and 5th year Bachelor of Architecture course can apply with a CV and a writing sample.

An informal meeting with the director will take place before you enroll.

Number of student-participants: Maximum 15 nos.

Fees: INR 16,000/- (inclusive of basic reading material)

ICLLL 2011

ICLLL 2011

Thinkmap Visual Thesaurus - An online thesaurus and dictionary of over 145,000 words that you explore using an interactive map.

Thinkmap Visual Thesaurus - An online thesaurus and dictionary of over 145,000 words that you explore using an interactive map.

Philosophy and Literature notes- 30th sept 2011.

It was for the first time that any of us attended an M.Phil defense and to say the least, we thoroughly enjoyed ourselves. I think it would be an injustice not to mention that Sreyashi Dhar’s paper on “Representation of Female Body in Select Films of Alfred Hitchcock and Basic Instinct 1 & 2” won accolades from the external examiner who even mentioned that it was perhaps one of the best defenses that he had attended thus far.

Sreyasi explored the diegetic gaze in the movies of Hitchcock and in Basic Instinct 1 & 2. While in Hitchcock the woman is “voiceless” and always “victimized” and “objectified,” in Basic Instinct, parts one and two, Sharon Stone shatters all these patriarchal norms using her “body as a weapon” and an agent of empowerment. The graphic inputs and the visual aids enhanced the audiences’ understanding of the key elements of Sreyashi’s discussion—woman’s body in sexual terms, body element, male gaze and voyeurism, sadism and fetishism. The theories and frameworks that Sreyashi uses, and simultaneously refutes, while her argument progresses, include Michel Foucault’s “theory of repression,” the psychoanalytic framework used by Laura Mulvey, Lacan’s concept of the “mirror stage” and Freud’s psychoanalytic theory.

Laura Mulvey in her essay writes, the woman “stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his phantasies and obsessions through linguistic commands by imposing them in the silent image of woman still tied to her place as bearer of meaning, not marker of meaning” (834). In the section: Pleasure in Looking/Fascination with the Human Form, Mulvey explains that one of the pleasures that cinema offers is “scophophilia,” where both looking and being looked at become sources of pleasure, but later in the section on “Woman as Image, Man as Bearer of the Look,” Mulvey seems to be passing a judgment that Sreyashi contradicts through the portrayal of Sharon Stone in Basic Instinct. Mulvey says: “In a world ordered by sexual imbalance, pleasure in looking has been spilt between active/male and passive/female. The determining male gaze projects its phantasy on to female figure which is styled accordingly” (837). Sreyashi counter-argues that Mulvey completely overlooks the idea of a “female gaze,” an example of which is Sharon Stone’s seductive gaze in the movies in question. However, the external examiner raised a pertinent question, saying Stone was merely aping the male gaze, and arriving at a concept of “female gaze” was hurried, but at the same time he acknowledged that the counterargument to Mulvey was indeed a prospective contributory step in the realm of post-feminism, especially the concept of the manipulation of the male gaze for the empowerment of the objectified female on screen.

Sharon Stone’s explicit sexuality as contrasted to Hitchcock’s representation of the body as sexual, completely, in Sreyashi’s words, “shatters all norms of the repressive hypothesis” and the notion of “guilt” that Michel Foucault talks about. What is the repressive theory? “Stated broadly, the repressive hypothesis holds that through European history we have moved from a period of relative openness about our bodies and our speech to an ever increasing repression and hypocrisy” (Dreyfus and Rabinow 128). In the blog, Foucauldian Reflections, Ali Rizvi mentions that “the point of repressive hypothesis is to reject a simplistic conception of power as domination and repression and consequently simplistic conception of freedom as ‘exit’ and ‘way out.’” One of the insights that he gives, and which becomes all the more relevant in the context of Sreyashi’s argument is: “But these notions are dangerous in the context of the workings of modern power, which does not work by ‘starving’ desire but prospers on creating, inducing and multiplying and through ramification of desire” (Foucauldian Reflections).

The Defender’s Insights:

ü  Mulvey fails to talk about the female gaze

ü  Mulvey does not take into consideration the process empowerment of the one who is objectified, through manipulation of the male gaze

ü  There is a complete breakdown of Michel Foucault’s repressive theory in the context of Basic Instinct 1 and 2

ü  Sharon Stone’s representation is post-feminist

ü  Sharon Stone does not define or exemplify any gender stereotypes and archetypes

The Expert’s Insights:

While it is definitely a refined and progressive understanding of the male gaze, the inter and extra diegetic gazes have been overlooked. Comment.

[Defense: Limitations of the scope of the research]

We cannot yet theorize about a “female gaze” but the insights on “gaze” are a definite contribution towards post-feminist theories. Comment.

[Defense: Female informant reversing the male gaze]

Does the research contribute to new ways of looking at gender?

[Defense: She is neither the masculine stereotype nor the feminine stereotype. Also, in the film she claims to be a lesbian*]

*Sharon Stone is also a self declared bisexual, and whether casting her in the role of Catherine Tramell is deliberate or otherwise, is speculative, but this definitely strengthens the argument with regard to the contribution of the research towards redefining ways of looking at gender

Class-room Discussion:

The class-room discussion ensued with individual reactions and observations pertaining to Sreyashi’s defense. The contributions that the class made were:

ü  We cannot dismiss any cinema as being commercial or use it in the derogatory sense. There is an excellent analysis of the difference between art and commercial cinema in Art and Commercial cinema – The different shades by Sreesha Belakvaadi, and I quote:

“Today, the idea of an art movie is that – it is slow moving; but that is not genuinely true. This is a gross misconception about art movies. The pace of a movie whether it is slow-moving or fast-moving is fundamentally a subjective matter. When we say slow, the question is : what is slow? Is it the story or the acting or the script or the music or the camera movement; and if slow, it is slow relative to what? And only such questions can throw some light here.

There is certainly a difference between art and commercial movies; but is it not how the general audience tries to infer the meaning. It has more than mere branding and labeling movies. The idea to perceive a movie as art or commercial lies in the “observation” of the beholder” (OurKarnataka). 

Commercial to go by the Online Dictionary of Etymology is an adjective that came into being in the “1680s, ‘pertaining to trade,’ from commerce + -al”(Online Etymology Dictionary). So anything that is shown to a larger audience and reaches the theatre would then become commercial.

ü  In the context of discussing cinema we discussed Stuart Hall. Hall in his essay on ‘Encoding/Decoding’ proposed a model of mass communication which highlighted the importance of active interpretation within relevant codes. The following image explains the concepts of coding and encoding as understood by Hall (Semiotics for Beginners).

To understand Hall’s concept let us take an example: If X tells Y that the latter has to make a movie for the Nazi’s that show the Jews as traitors, Y (as director) would give it to Z (a script writer). So at the script writing level some form of coding will occur and when the script is filmed, the director will enforce his own set of codes, the actor his own, and finally the audience will read it through a different coding system all together. Thus Hall’s argument justifies that the audience also has an agency.

ü  From the idea of the audience as having agency, we moved to cinepolitics and discussed Madhav Prasad who makes an interesting observation regarding South Indian and North Indian stars; the former never presenting themselves as stars off-screen but the latter live their image even off-screen.

ü  This difference necessitated a mention of S.V. Srinivas’ concept of mass mobilization, especially through politics, where he shows that the South Indian stars significantly abstain from such political mass mobilization strategies.

We finally returned to Zima and began reading the 6^th chapter. The two questions raised were:

§  Why are we constantly returning to the question of meaning in literary texts, i.e. trying to reduce it to concepts?

§  Why does Zima use “remotely” in brackets when he says: “Eco’s idea for example, that the aesthetic object imposes limits on conceptual knowledge is (remotely) Kantian?”

We also discussed how Terry Eagleton in his essay does not delve into or trace the Prague structuralism, thereby eliminating the concepts of literariness and Greimas’ concept of identifying meaning in texts.

Citation

Belakavaadi, Sreesha. Art and Commercial Cinema—The Different Shades. OurKarnataka.Com, Inc. 1998. Web. 30 Sept. 2011.

Chandler, Daniel. Semiotics for Beginners. Aberystwyth University. 19 Sept. 2001. Web. 30 Sept. 2011.

Dreyfus, Hubert l., and Paul Rabinow. Beyond Structuralism and Hermeneutics. The University of Chicago: Britain, 1983: 128. PDF.

Harper, Douglas. Online Etymology Dictionary. 2001-2010. Web. 30 Sept. 2011.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. PDF

Pinto, Anil. Literature and Philosophy. Christ University. 30 Sept.2011. Lecture.

Rizvi, Ali. “The Repressive Hypothesis.” Foucauldian Reflections. Blogspot.com, 16 Dec. 2004. Web. 30 Sept. 2011.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Prepared by: Suchismita Das

Philosophy and literature notes- 29th sept 2011.

The class discussed the third chapter of Peter Zima’s Literature and Philosophy. The chapter mainly discusses about Czech Structuralism and their structuralist thinkers Jakobson, Mukorovscky and that of Vodicka.

Czech structuralism is mostly known as Prague structuralism. Prague criticism mainly emerged in Europe and that the New criticism from that of United States of America. Saussure the Swiss Linguist not only talks about sign but also talks about language having two levels that of langue and parole. Langue is nothing but what we hear in parole. It’s said that the manifestation of langue are endless that is idea is possible but not language. Langue is a basic structure and that Prague structuralists were not interested in content but structure. For them the whole work of art, novel per say depends upon the structure and not the content. Saussure died on 22 February 1913.

The Russian formalist showed hardly any interest in the idea that the literary text is a sign which permits communication between author and reader. The Prague structuralists on the contrary were particularly interested in that notion. They conceived of literature as a communication process as a continuation process, as a dialogue between author and public. Mukarovsky’s way of thinking is that of a semiotician. The textual sign maintains its independence with respect to the communication process. The text is neither a direct expression of the authors psyche nor can it be identified with its reflections in the readers psyche. Moreover in spite of its central and independent position in the communication process, the text loses its absolute character of a formal construction fixed for ever.   

In Linguistics and Poetics, a well-known article by Jakobson, he distinguishes six functions of language:

Ø   The emotive function which is linked to the sender or author of a message.

Ø  The connotative function that is the connotation which is related to the receiver or listener.

Ø  The metalingual function that discusses about the language is geared towards the code in question.

Ø  The phatic function which is oriented towards the contact medium.

Ø  The referential function which designates the context of communication

Ø  The poetic function which becomes an end in itself.

According to Mukarovsky and Jakobson, a verbal message, produced, transmitted and perceived in the process of communication, and embedded in its socio-cultural context, always carries a dominating function and that the other functions may be present as  accessory. The dynamic aspect of function, pointing to the historicity, or socio historical embededness of verbal messages, implies that one and the same text may acquire different, especially the dominant functions at different times and in different cultures.

The conception of semantic gesture expressed at once both the dynamic semantic unity and inner differentiation and the human significance of the concrete work of art. 

Philosophical angst is different from that of normal day to day life “angst” (acute but nonspecific sense of anxiety or remorse) that we discuss because philosophically this means the dread caused by man’s awareness that his future is not determined but must be freely chosen.

The class also discussed and was enlightened about:

·        Knowledge system always links to the political power. In 44 BCE that is Before Common Era, Romans became powerful and continued to be powerful for several years. It was during this period that they made roads to make trade easier. After this the scholarships from Rome goes to Prussia and Prussia becomes the knowledge keeper but with the emergence Renaissance this status of Prussia was moved to Europe.

·        Turkey, the then Istanbul (Constantinople) was known as the first Islamic centre which was later moved to Italy, this continued till the First World War. Islamic renaissance ends in the 9^th century and that the in first university was established in Paris in the 12^th century followed by the second one in Belgium which was known as the University of Nouvelle and finally it was in the 13^th century that University of Oxford and University of Cambridge was established.

·        First World War was mainly fought by the kings; this was mainly the culmination point. It was in the year 1912 that the people from different countries started getting passports which made trade and travel easier, due to this the ideas and knowledge started moving from country to country.

Prepared by

Dhanya G Nair

Works Cited:

Pinto, Anil. “Class on Anglo-American New Criticism and Russian Formalism.” Christ

          University. Bangalore. 26 Oct. 2011. Lecture.

Zima, Peter V. The Philosophy of Modern Literary Theory. New Jersey: The Athlone 

           Press, 1999. Print.

Literature and philosophy notes - 28th sept. 2011

Seminar on "Knowledge Dissemination Through Journal Publications"

The Seminar on "knowledge Dissemination Through Journal Publication" held on 28^th September 2011 mainly dealt with issues related to research and journal publication in various academic domains. Following are the some of the important insights shared by the paper presenters.

What are the main criteria to consider the internationality of a journal?

Ø  Publication language

Ø  Inclusion in international data base

Ø  Multilingual distribution of the editorial board members

Ø  Multinational distribution of articles

Ø  Online access:One of the ways to increase the visibility factor of a journal is to include foreign experts. In recent time there is a sharp increase in the visibility of research from the third world countries.

What are the some of the key issues in writing a research paper and publishing it?

Ø  To know the problem that is researched on

Ø  The role played by the university or the institution

Ø  Issues faced by the researchers in publishing their work

Ø  Too much work load in the college

Ø  Domestic responsibility (Female researchers)

Ø  Fees for the publication

Interdisciplinary research and challenges of publications

Ø  Finding an advisor

Ø  Mastery over both the disciplines

Ø  Reconciling conflicts

Ø  Finding an intellectual community

Ø  Purpose of interdisciplinary approach – complex nature of the society

Class room discussion

There were serious concerns raised regarding the quality of the papers presented.

Irrespective of the quality of the paper and the presentation skills exhibited by the scholars it is important to look at whether there is any insight given by each paper.  It is the insight presented that will determine the quality of the paper. In terms of the insight each paper had one or other insight to contribute to the audience. For example the paper on Research and Publication on Hotel management gave the valuable insight that there are no post graduate courses offered in this domain in India. It is really a valuable and interesting insight. In such a situation researching in such field is really a challenge.  In fact there is no academic research happening in this field.

Prepared by Vipin George

Citations

"Knowledge Dissemnation Through JournalPublications." Christ University. 28 Sept. 2011. Conference

Pinto, Anil. Literature and Philosophy. Christ University. 28 Sept.2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Literature and philosophy notes- 26th Monday -2011

Literature and Philosophy

The class discussed the second chapter of Peter Zima’s The Philosophy of Modern Literary Theory. The particular chapter deals with the Kantian components in Anglo-American New Criticism and Russian Formalism.

The historical conditions which caused the birth of New Criticism and Formalism are traced out.  ‘Text-only’ methodology of New Criticism proposed by I.A. Richards was seen as an impact of the historical conditions of the then contemporary society. Poetic analysis was the only possible way for I.A Richards to establish the methodology of New Criticism in the overcrowded classrooms. In fact this insight explains the argument that the socio-political conditions of the society are ingrained in philosophy.

Although the two literary theories belong to different countries, both primarily placed ‘expression plane’ as more important than ‘content plane.’ It is the Kantian philosophy which asserts the autonomy of art through ‘expression plane’ and hence it cannot be reduced to socio-historical content.

The section titled “Abortive dialogue between Marxists and Formalists” is discussed in detail. Marxists were interested in the ‘ideological contexts of literary texts.’ On the other hand, Formalists primarily looked at the question of how literary texts are made and completely neglected the social set up and political aims it articulates. Paul Medvedev        relates the formalist ‘how’ with the Marxist ‘why’ and ‘what’ (as qtd. in The Philosophy of Modern Literary Theory). But the Formalists were prevented from a further dialogue with Marxists for political reasons in 1920s and 1930s and the ‘aborted dialogue’ turned to a dialogue in the 1970s.

An introduction to the third chapter is given in the class. Like the Formalists, Structuralists were also Kantian and followers of avant garde. They looked primarily at the ‘expression plane’ and defied conceptual definition. Here the class got into the discussion of ‘monosemy’ and ‘polysemy.’ Polysemy of the expression plane (signifier) and monosemy of the conceptual plane (signified) are thus introduced into the class. Different ways to evoke the same concept explain the monosemy of the ‘conceptual plane.’

The Hegelian elements in Mukarovsky are discussed in the class. The historical conception of art and the sociological idea that art can have an impact on a society’s system of values and norms are incompatible with Kantian stance. This also raises a challenge to Kantian stance of ‘disinterested pleasure.’ In the class ‘Semantic gesture’ of Mukarovsky is explained with European music which works purely through sound.  

The six functions of language which were identified by Roman Jakobson are discussed in detail. Any literary text can thus be read on an ‘emotive’, ‘conative’ or any other functions of language. This reveals the fact that literary text contains other functions which cannot be reduced to the poetic component. This is yet again incompatible with the Kantian stance.

The class left with the insight that much of the issues around translation studies owe its origin from Kantian philosophical stance.

        

Works Cited:

Pinto, Anil. “Class on Anglo-American New Criticism and Russian Formalism.” Christ

          University. Bangalore. 26 Oct. 2011. Lecture.

Zima, Peter V. The Philosophy of Modern Literary Theory. New Jersey: The Athlone 

           Press, 1999. Print.

Prepared by sharon Abraham

UbuWeb: Papers

UbuWeb: Papers

Literature and Philosophy class notes: 24th sept. 2011

Terry Eagleton’s ‘What is Literature?’ provides us with various definitions of literature which have been made. Eagleton considers the different ways in which literature has been defined previously and describes them in detail, after which he demonstrates where and how these definition are lacking. The essay ends with Eagleton providing his own definition of literature, which after reflecting on what has been stated before, appears all encompassing.

After a critical reading of the essay in class, it is concluded that the essay is a critique of the historical definitions of literature by Eagleton who refutes all previous definitions before introducing his own.

The second essay dealt with was by Peter Burger’s ‘On the Problem of the Autonomy of Art in Bourgeois Society’. Burger defines the autonomy of art and explains how art and the artist is affected by social changes- from the early 16^th century to the 18^th century where art is redefined by Kant and Schiller. Burger describes the autonomy of art as a category of bourgeois society which is detached from the context of practical life. The status of art in bourgeois society is attacked by the Avant-Garde who did not like that art as an institution was disassociated with the praxis of life and believed that it must be integrated into the praxis of life.

The discussion of the essay centered on- the Avant-Garde trying to abolish the autonomy of art; that they wanted the pleasure of everyday life to be integrated; and that art was not about the object but about the social function.

In the course fo  discussion, three key aspects of research were described: the concepts, the framework and how one must write research.

Prepared by Naomi Eapen.

Ankita Khanna: Call for Research Papers

Ankita Khanna: Call for Research Papers: Biographies and Autobiographies occupy an important place in Literature for various reasons. Authors used this genre to communicate their w...

Philosophy and Literature class notes- 23rd friday 2011.

Ø  The discussion of the class centred around the essay “The Philosophical and Aesthetic Foundations of Literary Theories” by Peter V. Zima which revolve around the conceptualisation of the art and literature which Zima tries to explain through the content and expression plane. 

Ø  According to Saussure the signifier is the phonetic sound which for Louis Hjelmslev is the expression plane, and the signified which Saussure explains as the realm of ideas and concepts or the phonetic image, is the content plain for Hjelmslev.

Ø  Kant in discussing aesthetic and concepts argues that it is the concept which people give to the world. But aesthetic is opposite. It suggests that the object is what is giving pleasure to the people. In other words by aesthetic he means that the world is effecting an individual. Keeping this in mind, Zima through his essay is saying that Saussure’s understanding of the relationship between signifier and the signified is comparable to Kant’s dualist theory of knowledge and in particular to his dualist view of the relationship between conceptual and aesthetic cognition. Therefore Kant’s idea of concept and aesthetic is based on Saussure’s understanding of the signifier and the signified which is expression and content plane for Hjelmslev.

Ø  Most discussion on art centres around Kant and Hegel. Kant argues that the aesthetic cannot be conceptualised. He emphasises that aesthetic object should be autonomous. The autonomy of art are strongly opposed to the idea of reducing literature to heteronomous factors such as the author’s biography, the social context or the reactions of the readers or the historical context, etc. To understand Kant, Zima gives example of Saussure- that how he (Saussure) considers the relationship between the signifier and the signified arbitrary. The essayist leaves out an important theorist in this realm, Roland Barthes. If for Saussure the relation between signifier and signified is arbitrary, the same signifier and the signified for Barthes meets in the realm of the myth which he explicitly explains in the essay “Myth Today.” 

Ø  In opposition to Kant’s division of the aesthetic and conceptual, Hegel says that every work of art is conceptual. Hegel uses the word ‘Zeitgeist’ which means the spirit of time. This is also the idea of history. It is very interesting to note that history is born with Hegel. He says that every time has a spirit i.e. the spirit of its own time. It is this spirit of the time which makes history and it is the same spirit of time which is expressed in the literary text. It is because it expresses the spirit of time, art for that matter can be conceptualised. For Hegel any work of art cannot be located beyond the conceptual domain because it expresses a historical consciousness.

Pinto, Anil. Literature and Philosophy. Christ University. 23 Sept. 2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Prepared by: Ipshita Sarkar

Journals on English Literature and Linguistics outside India

This particular post lists journals in  literature and Linguistics  outside India. This separate category is necessitated by the recent practice by UGC and higher education institutions in India to give more weight for publications in Journals outside India. Readers of the this blog are requested to suggest titles of journals in these domains for this post. You may put the names and details of the journals in the comment section below this post. Please provide the ISSN number, website, if any, and mention if you are aware, if it is a peer reviewed/refereed journal or not.

1. Click here for journals on Commonwealth Literature recommended by ACLLS

2. Journal of NELTA:  peer-reviewed
    Website:  http://neltajournal.
pbworks.com/w/page/7793388/Call%20for%20Papers%2C%20Journal%20of%20NELTA%202011

3. Click here for Journals on Postcolonial Literatrues

For the list on Journals in literature in linguistics published from India, click here

TJELLS: Call for Papers

TJELLS is a peer-reviewed, international, quarterly journal,published in March, June, September and December. 

Each issue features a collection of scholarly interpretive criticism on literary works in English, ELT, and Translation Studies. Creative poems, short Stories, essays, excerpts from thesis, and book reviews also can be published here. TJELLS provides free on-line open access to all those involved in research or teaching. It intends to provide a platform for publication of articles from academics, teachers, and scholars.

Submissions are accepted throughout the year. All articles will be peer-reviewed by international scholars and will be published only on acceptance.
For more details, please visit http://www.tjells.com

B.Beneson Thilagar Christadoss
Assistant Professor of English, St.John's College, Palayankottai, Tamil Nadu
Email: me At tjells.com

Journal of NELTA: Call for Papers

Nepal English Language Teachers' Association (NELTA) announces call for papers for its peer-review journal, the Journal of NELTA. We encourage contributors to make their work relevant to classroom teaching as well as to serve the larger purpose of creating or promoting ELT discourses at local, national, and regional contexts. Contributions that deal with ELT theories and methods will serve the professional community only to the extent that they are situated in the authors' own practices and/or in the contemporary educational and social contexts.

The objective of this volume is to gather the voices of teachers, scholars, and educationists who are best able to define and advance the conversation and practice of ELT.  

Deadline for Submission: October 1, 2011
Manuscripts submission: neltajournal AT gmail.com

Please visit http://neltajournal.pbworks.com/w/page/7793388/Call%20for%20Papers%2C%20Journal%20of%20NELTA%202011 for submission details.