Epics of South Indian Literature

Epics of South Indian Literature 1001 044 Fall 2015 Tuesdays 9:00 am – 12:00 pm Lakeview Building, 116 S Michigan Ave, Room 202 Julie A. Hanlon [email protected] COURSE DESCRIPTION South India, with its rich history and stunning landscapes, has provided the setting for some of the greatest epics in the ancient world. In this class we will explore two of the ‘Five Great Jewels’ of Tamil literature: The Lay of the Anklet (Cilappatikāram) and The Dancer with the Magic Bowl (Maṇimēkalai). These epics were composed sometime between the 1st and 8th centuries CE and present a view of the societies, religions, and cultures of ancient South India. The central narratives of both epics follow the adventures of female protagonists: Kaṇṇaki, a devoted wife turned goddess, and Maṇimēkalai, a dancer-courtesan turned renunciant. These two epics are also connected through their female characters, as Maṇimēkalai is the daughter of Kaṇṇaki’s husband Kōvalaṉ and his mistress Mātavi. In conjunction with reading these fascinating tales, we will also explore their literary and historical contexts and their significance within the Jain and Buddhist religious traditions. 8 Julie A. Hanlon OBJECTIVES The goal of the First Year Seminars is to develop and advance students’ integrated skills in critical reading, thinking, and writing. Critical reading is reading with a purpose. It is concentrated, active, engaged reading that involves annotating a text. For example, you should look for patterns in the writing, recurrent themes, and motifs. Underline and write key ideas, main points, and/or questions in the margins. Critical reading requires writing in your books. Critical Thinking begins by asking questions. As you read, stop often and ask questions. Engage in a dialogue with the author as you read. The author is talking to you; talk back with questions. You should be able to develop arguments or particular points of view about the texts and you should be able to defend these positions by making specific references to the texts. Critical thinking requires you to question, think, and decide, rather than to merely accept or reject. It also requires you to think broadly and to acknowledge the complexity and ambiguity of the written word. Critical Writing is the culmination of critical reading and critical thinking. It is how you demonstrate and communicate your analysis of the texts in writing. The essays you write in this course will be analytical, that is, you will not simply summarize the content of the texts, but present your own analysis of the texts. The essential elements of an analytical essay include: the development of thesis statements/central claims, defending the thesis/presenting evidence, addressing objections to the thesis, conclusions, and citations. LEARNING GOALS By the end of this course students will be able to: • Analyze a literary text by identify patterns and themes and reflecting on its historical context and community of readers. • Construct an argument about a text that goes beyond a superficial reading to identify something puzzling or interesting. • Write an academic essay that includes an introduction containing an identifiable thesis statement, paragraphs that clearly articulate arguments that support that thesis, and analysis of evidence from the text that support those arguments. • Describe and summarize the plots and key themes of two classical Tamil texts. • Identify Jain and Buddhist principles in these texts and reflect on the role of literature in reconstructing the ancient past. 9 Julie A. Hanlon REQUIRED TEXTS • Parthasarathy, R. 1992. The Tale of an Anklet: An Epic of South India. The Cilappatikāram of Iḷaṅko Aṭikaḷ. New York: Columbia University Press. (ISBN 9780231078498) • Daniélou, A. 1989. Manimekhalaï (The Dancer with the Magic Bowl) By Merchant-Prince Shattan. New York: New Directions. (ISBN 9780811210980) • Ramanujan, A.K. 2014. The Interior Landscape: Love Poems from a Classical Tamil Anthology. New York: New York Review Books. (ISBN 9781590176788) These books are available at the DePaul University / Loop Barnes & Noble (corner of Jackson and State). If you choose to purchase them elsewhere, make sure that you get the correct edition by searching by the ISBN. All other required texts will be available on Canvas. COURSE REQUIREMENTS PARTICIPATION The format of this seminar is a mix of lecture and collaborative discussion. Group discussion helps us to learn more about the arguments of the texts and pushes us to improve and build the skills necessary for civil discourse. In order to participate well, you must come to class prepared, having read the assigned texts and spent time thinking about their content. Bring questions, passages, and ideas that you find difficult or important to share with the class. Together we will work through and explore these challenging texts. Electronics Policy As noted above, it is very important that we are all mentally present and engaged. To that end, please silence all cell phones before entering the classroom and refrain from texting and using any form of social media during class. The use of laptops, tablets, or other digital devices for the purpose of accessing the readings for the day’s class is permitted. However, the use of digital devices in class for any non-class-related work is not permitted. Attendance SAIC policy states that students are expected to attend all classes regularly and on time. Students are allowed a maximum of 3 absences. You should reserve the use of these absences for cases of illness or major life disruption. Any further absences will result in issuing a NCR (No Credit) for the course, unless the student has withdrawn from the class prior to the deadline for withdrawal. Withdrawal in the Fall 2015 semester is permitted after the end of the add/drop period (Tuesday, September 15) through Tuesday, November 3, 2015. ASSIGNMENTS 1. Passage Analysis As noted above, you are expected to participate in each class session by bringing questions, passages, and ideas that you find difficult or important to share with the class. However, to facilitate a well-rounded dialogue and make sure that everyone has an opportunity to present their ideas, 1-2 students will be selected to start off the class by presenting passages for discussion. 10 Julie A. Hanlon 2. Essays You will write 3 essays over the course of the semester. The first two will focus on the Cilappatikāram and the final essay will involve a joint analysis of the Cilappatikāram and Maṇimēkalai. For each essay you will be given a set of prompts to help formulate your topic. Because writing is such an important part of this class, you will also write drafts of all your essays. These drafts will then be workshopped during our Paper Workshop days. In order to receive credit for the essay, you must submit both a first draft and a final draft. • Paper #1 3-5 pages (20%) • Paper #2 5-7 pages (25%) • Paper #3 6-8 pages (25%) 3. Response Papers You will write 2 response papers (2-3 full pages each). The first response paper will address the Cilappatikāram and The Interior Landscape and the second will address the Maṇimēkalai. Response paper #1 is due Tuesday, September 22. Response paper #2 is due Tuesday, December 8. GRADING WEIGHTING OF ASSIGNMENTS • Participation and Passage Analysis: 10% • Response Papers: 20% • Essays: 70% LATE POLICY Please be respectful of the assignment due dates. If you anticipate difficulty completing an assignment on time, please contact me as soon as possible. Work turned in late without notice (except in the case of an emergency) will be given a grade of NCR (No Credit). GRADING AND THE STANDARD OF CREDIT SAIC’s credit/no credit policy stipulates that a grade of “C” or higher is necessary to earn credit. Moreover, because critical writing is one of the main goals of the First Year Seminar, you must earn a grade of “C” or higher on all three of the essays in order to earn CR (Credit) for the course. The Department of Liberal Arts defines a “C” paper as follows: “A grade of ‘C’ says that a paper is successful. In the case of a thesis/evidence essay, a ‘C’ is given if a paper makes a clear, significant, coherent claim about the material under study, if it consistently, in a well-organized way, amasses and sets out evidence in support of that claim, if it makes good use of appropriately cited quotations, and if it shows balance and thoughtfulness about the complexities of its subject. In addition, such a paper should be well written, which simply means that it is free of serious, repeated grammatical errors. A ‘C’ paper need not be witty, or daring, or brilliant; it need not carry its thought beyond the modest center of its subject. Its writing need not have style. But it must actually succeed. It must set out to do something worthwhile and significant, and it must accomplish that in standard English.” 11 Julie A. Hanlon You cannot earn CR (Credit) for the course without completing all of the writing assignments – this includes drafts and any assignments associated with the Paper Workshops. Failure to complete writing assignments will result in a grade of NCR (No Credit) for the course. ACADEMIC INTEGRITY From the SAIC Student Handbook: “Academic misconduct includes both plagiarism and cheating, and may consist of: the submission of the work of another as one’s own; unauthorized assistance on a test or assignment; submission of the same work for more than one class without the knowledge and consent of all instructors; or the failure to properly cite texts or ideas from other sources. …Academic integrity is expected in all coursework, including online learning. It is assumed that the person receiving the credit for the course is the person completing the work. SAIC has processes in place that protect student privacy and uses LDAP authentication to verify student identity.” Specific procedures for faculty to follow in the case of academic misconduct are detailed in the Student Handbook. SAIC also recommends reading: • “Plagiarism: How to Recognize It and Avoid It,” a short guide prepared by the Faculty Senate Student Life Subcommittee in 2004. • The Flaxman Library’s quick guide titled “Avoid Plagiarism.” ADDITIONAL RESOURCES OFFICE HOURS While I do not have an office on campus, I am available to meet to discuss the course and assignments. Please email me ([email protected]) to schedule a time to meet in person. In addition, you are always welcome to email me with any questions or concerns you may have about the course. WRITING CENTER SAIC offers free, hour-long writing tutorials at the Writing Center. Tutors are available to assist all currently enrolled students with any stage of the writing process. The Writing Center can assist students with: beginning the writing process, improving writing style, clarifying language, improving English writing fluency, addressing APA and MLA style questions, citing references, and correcting basic grammar and punctuation. For more information, please see: http://www.saic.edu/temp-saic/academicadvising/writingcenter/ The Writing Center is located in the Lakeview Building, 116 S. Michigan Ave., 10th Floor and may be reached via email at [email protected] or 312.499.4138 Appointments Schedule in advance: https://www.supersaas.com/schedule/saic/WritingCenter Short-notice: Call 312.499.4138 to see if there are any openings Hours Monday – Thursday: 9:00 AM - 7:15 PM Friday: 9:00 AM - 5:15 PM Walk-in hours: Monday – Thursday: 4:15–7:15 PM 12 Julie A. Hanlon ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES SAIC is committed to full compliance with all laws regarding equal opportunities for students with disabilities. Students with known or suspected disabilities, such as a Reading/Writing Disorder, ADD/ADHD, and/or a mental health or chronic physical condition who think they would benefit from assistance or accommodations should first contact the Disability and Learning Resource Center (DLRC). DLRC staff will review your disability documentation and work with you to determine reasonable accommodations. They will then provide you with a letter outlining the approved accommodations for you to deliver to all of your instructors. This letter must be presented before any accommodations will be implemented. You should contact the DLRC as early in the semester as possible. The DLRC is located on the 13th floor of 116 S Michigan Ave. and can be reached by phone at 312.499.4278 or email at [email protected]. Disability and Learning Resource Center Specialists at the DLRC provide eligible students with individual academic support and assistance. Eligible students must have a documented disability, suspect they may have a disability, are currently enrolled in the Academic Access Program, or have been specifically referred by a member of SAIC’s faculty or professional staff. Academic support and assistance sessions are tailored to each student’s unique learning preferences and needs and typically focus on improving basic study skills including, reading comprehension strategies, written language skills, note-taking, and organizational and time management skills. For more information please see: http://www.saic.edu/lifeatsaic/wellnesscenter/disabilityandlearningresourcecenter/ HOW TO SUCCEED IN THIS CLASS 1. Carefully and critically read the assigned texts before coming to class. 2. Participate in class discussion by contributing your thoughts, reflections, and doubts regarding the texts and actively listening to those of other students. 3. Combine the information gained from steps 1 and 2 and continue to cogitate on the key arguments, themes, and concepts from class. This is a cumulative process that continues throughout the semester and manifests itself materially in writing, i.e. your response papers and essays. 13 Julie A. Hanlon COURSE SCHEDULE September 8 - Class 1: Introduction I. CILAPPATIKĀRAM September 15 - Class 2: Form and Structure of Tamil Epics and Poetry - Cilappatikāram: Pronunciation of Tamil xiii-xv, Map xx, Prologue p. 19-22, Book of Pukār, Cantos 1-6, p. 25-64. - The Interior Landscape: Afterword p. 79-102 September 22 - Class 3: Songs and Landscape Imagery - Cilappatikāram: Book of Pukār, Cantos 7-10, p. 65-106. - The Interior Landscape: p. 1-76 Response Paper #1 Due Paper #1 Assigned Outline of Paper #1 Due Monday, September 28 September 29 - Class 4: Imagining the Urban - Cilappatikāram: Book of Maturai, Cantos 11-16, p. 107-169. - Canvas: Maduraikanci In Pattupattu: Ten Tamil Idylls, p. 219-279. October 6 - Class 5: Religion in Ancient South India - Cilappatikāram: Book of Maturai, Cantos 17-24, p. 170-207. - Canvas: The Jain Tradition In World Religions: Eastern Traditions, p. 160-190. Paper #1 Drafts Due Friday, October 9 Paper #1 Peer-Reviews Due Monday, October 12 October 13 - Class 6: Paper Workshop Paper #1 Due Monday, October 19 October 20 - Class 7: Kingship in Ancient South India - Cilappatikāram: Book of Vañci, Cantos 24-27, p. 211-248. - Canvas: Fifth Decad In The Ten Decads (Patirruppattu) p. 37-46; Selected poems from The Four Hundred Songs of War and Wisdom Paper #2 Assigned October 27 - Class 8: Panegyrics and Puram Poetry - Cilappatikāram: Book of Vañci, Cantos 28-30, Epilogue Paper #2 Drafts Due Friday, October 30 Paper #2 Peer-Reviews Due Monday, November 2 November 3 - Class 9: Paper Workshop Paper #2 Due Monday, November 9 14 Julie A. Hanlon II. MAṆIMĒKALAI November 10 - Class 10: Structure of Maṇimēkalai - Maṇimēkalai: Prologue xix-xx, Summary of the Chapters xxi-xxiv, Cantos 1-7, p. 1-35 - Canvas: Women, Branch Stories, and Religious Rhetoric in a Tamil Buddhist Text (excerpt) November 17 – Class 11: Maṇimēkalai as a Buddhist Epic - Maṇimēkalai: Cantos 8-16 p. 35-67 - Canvas: Introduction (excerpt) p. 1-7 In Imagining a Place for Buddhism, The Maṇimēkalai in its Historical Setting p. 35-52 In A Buddhist woman’s path to enlightenment; Theravada Buddhism p. 227-243 in World Religions: Eastern Traditions. Paper #3 Assigned November 24 – Class 12: Branch Stories and Maṇimēkalai as Didactic Literature - Maṇimēkalai: Cantos 17-25, p. 67-122 - Canvas: Women, Branch Stories, and Religious Rhetoric in a Tamil Buddhist Text (excerpts) Paper #3 Drafts Due Monday, November 30 December 1 - Class 13: Paper Workshop Paper #3 Due Monday, December 7 December 8 - Class 14: Religious Diversity and Debate in Ancient India - Maṇimēkalai: Canto 26-30, p. 122-172 - Canvas: A Negative Evaluation of Non-Buddhist Indian Religions in the Maṇimēkalai p. 223239 In A Buddhist woman’s path to enlightenment Response Paper #2 Due December 15 – Class 15: Final Discussion 15 Julie A. Hanlon DUE DATES FOR ASSIGNED WORK * Reading should be finished by the day we discuss them. The reading for each day is listed below the date in the course schedule above. * Response Papers Response Paper #1: Tuesday, September 22 Response Paper #2: Tuesday, December 8 Essays Essay #1 Outline: Monday, September 28 Draft: Friday, October 9 Peer Review: Monday, October 12 Paper Workshop: Tuesday, October 13 Final Draft: Monday, October 19 Essay #2 Draft: Friday, October 30 Peer-Review: Monday, November 2 Paper Workshop: Tuesday, November 3 Final Draft: Monday, November 9 Essay #3 Draft: Monday, November 30 Paper Workshop: Tuesday, December 1 Final Draft: Monday, December 7 A Note on the Frontispiece: Cilappatikāram and Maṇimēkalai are two of the Five Great Epics of Tamil Literature also called the ‘Five Great Jewels’ of Tamil literature. The frontispiece is an image of Tamiḻttay (Mother Tamil), the female goddess who is the personification of Tamil language. She is adorned with the jewels of the Tamil epics. Cīvakacintāmaṇi (lit. ‘the wishing gem of Cīvaka’, the main character) is the a jeweled (maṇi) diadem. Kuṇṭalakēci (named after the main character) is the earring (kunṇṭalam). Maṇimēkalai (named after the main character) is the jeweled (maṇi) belt or waist chain (mēkalai). Vaḷayāpathi (named after the main character) is the bracelet (vaḷaiyam). Cilappatikāram (lit. ‘the claim of the anklet’) is the anklet (cilampu). All these jewels (the crown, earrings, bangles, belt, and anklets) adorn the goddess, and at her feet are five palm leaf manuscripts representing the epics as texts. 16