Signature and Name of Invigilator
(To be filled by the Candidate)
1. (Signature)
(Name)
2. (Signature)
(Name)
J—7 2 0 5 PAPER—II
Time : 1¼ hours] COMPARATIVE LITERATURE
Number of Pages in this Booklet : 24
Instructions for the Candidates
1. Write your roll number in the space provided on the top of
this page.
2. This paper consists of fifty multiple-choice type of questions.
3. At the commencement of examination, the question booklet
will be given to you. In the first 5 minutes, you are
requested to open the booklet and compulsorily examine it
as below :
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period of 5 minutes. Afterwards, neither the question
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given.
(iii) After this verification is over, the Serial No. of the
booklet should be entered in the Answer-sheets and
the Serial No. of Answer Sheet should be entered on
this Booklet.
4. Each item has four alternative responses marked (A), (B),
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Example : A B C D
where (C) is the correct response.
5. Your responses to the items are to be indicated in the Answer
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will not be evaluated.
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7. Rough Work is to be done in the end of this booklet.
8. If you write your name or put any mark on any part of the
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yourself liable to disqualification.
9. You have to return the test question booklet to the
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and must not carry it with you outside the Examination
Hall.
10. Use only Blue/Black Ball point pen.
11. Use of any calculator or log table etc., is prohibited.
12. There is NO negative marking.
J—7205
Answer Sheet No. : ......................................................
Roll No.
(In figures as per admission card)
Roll No.
(In words)
Test Booklet No.
[Maximum Marks : 100
Number of Questions in this Booklet : 50
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1 P.T.O.
 COMPARATIVE LITERATURE
PAPER—II

Note : This paper contains fifty (50) multiple-choice questions, each question carrying
two (2) marks. Attempt all of them.

1. The French Comparatist who stressed the need for a study of General literature is :
(A) Paul Van Tieghem
(B) Jean Marie Carre
(C) Rere Etiemble
(D) Marius Francois Guyard

2. Of the following who proposed interdisciplinary Comparison of literature with other

spheres of human expression ?
(A) Philarete Chasle
(B) Henry Remak
(C) Van Tiegham
(D) Jean Marie Carre

3. The essay, ‘Literary Indebtedness and Comparative Literary Studies’ was written by :
(A) Horst Frenz
(B) N.P. Stallknecht
(C) J.T. Shaw
(D) Rene Wellek

4. Pastoral elegy had its beginning is :

(A) Milton
(B) Theoeritus
(C) Shelley
(D) Arnold

5. One of the first writers to discuss the separation of literary genres from other aspects of
literature is :
(A) Cicero
(B) Quintillian
(C) Horace
(D) Dante

J—7205 2
 ÌéÜÙæˆ×·¤ âæçãˆØ
ÂýàÙ˜æ—II
ÙôÅU Ñ §â ÂýàÙ˜æ ×𢠿æâ (50) Õãé-çß·¤ËÂUèØ ÂýàÙ ãñ¢Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ¢Ð âÖè ÂýàÙô¢ ·ð¤ ©žæÚU
ÎèçÁ°Ð

1. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙâæ Èý𴤿 ÌéÜÙæˆ×·¤ â×èÿæ·¤ ãñ çÁâÙð âæ×æ‹Ø âæçãˆØ ·ð¤ ¥ŠØØÙ ÂÚ ÕÜ çÎØæ ?
(A) ÂæòÜ ßæÙ Åè»×
(B) ÁèÙ-×ðÚè ·ñ¤Úð
(C) ÚðÙð °çÌ°ÕÜ
(D) ×çÚØâ Èýñ¤·é¤¥æ »§ØæÚÇ

2. çِÙçÜç¹Ì ×ð´ âð ç·¤âÙð ÌéÜÙæˆ×·¤ âæçãˆØ ·¤æð ×æÙßèØ ¥çÖÃØçQ¤ ·ð¤ ¥‹Ø ¥‹ÌÑ ¥ÙéàææâÙè ÿæð˜ææ´ð âð ÌéÜÙæ
·¤ÚÙð ·¤æ âéÛææß çÎØæ ?
(A) ȤÜðçÌ ¿æâÜ
(B) ãðÙÚè Úè×æ·¤
(C) ßæÙ Åè»×
(D) ’ØæÙ ×ðÚè ·ð¤ØÚð

3. çÙÕ‹Ï ÒçÜÅÚðÚè §ÙÇñçŽÅÇÙðâ °‡Ç ·¤ÂñçÚçÅß çÜÅÚðÚè SÅÇèÁÓ ·ð¤ Üð¹·¤ ·¤æñÙ ãñ´?
(A) ãâüÅ Èýð´¤Á
(B) °Ù.Âè. SÅÜÙð·¤Å
(C) Áð.Åè. àææã
(D) ÚðÙð ßð„·¤

4. çِÙçÜç¹â ×ð´ âð ÒÂñSÅæðÚÜ °çÜÁèÓ ·¤æ ÂýæÚÖ ç·¤â ·¤çß Ùð ç·¤Øæ ?

(A) ç×ÜÅÙ
(B) çÍØæðR¤§Åâ
(C) àæñÜð
(D) ¥æÙæðüËÇ

5. çِÙçÜç¹Ì ×ð´ Ùð ç·¤â Üð¹·¤ Ùð âæçãˆØ çßÏæ¥æð´ ·¤è âçãˆØ ·ð¤ ¥‹Ø ÂãÜé¥æð´ âð ¥Ü» ·¤ÚÙð ·¤è ¿¿æü ·¤è
ãñ ?
(A) çââÚæð
(B) €ØéÙÅèçÜØÙ
(C) ãæðÚâ
(D) Îæ´Ìð

J—7205 3 P.T.O.
6. French classicism is written by :
(A) Alexander Gillies
(B) Henri Peyre
(C) Terence Alebert
(D) Paul Van Tieghem

7. Genre is a __________ edited by the English department of the University of Illinois.

(A) Journal
(B) Volume of poems
(C) Compilation of prose pieces
(D) Collection of critical essays

8. Who is the author of the Tamil epic Cilappatikaram ?

(A) Sekkizhar
(B) Ilango Adigal
(C) Kamban
(D) Thiruvalluvar

9. Who is the compiler of the dictionary Themes of World Literature ?

(A) Stith Thompson
(B) Ulrich Weisstein
(C) Raymond Trousson
(D) Elisabeth Frenzel

10. “....... we are defined only by comparing ourselves to others; and we do not know
Aourselves when we know only ourselves.” is stated by :
(A) Max Koch
(B) Van Tiegham
(C) Ulrich Weisstein
(D) Ferdinad Brunetiere

J—7205 4
6. Èý𴤿 €Üæçâçâ’× ·ð¤ Üð¹·¤ ãñ´ Ñ

(A) °Üñ·¤Áð‡ÇÚ ç»„èâ

(B) ãðÙÚè çÂØÚð

(C) ÅñÚ´â ¥ÜÕÅü

(D) ÂæòÜ ßæÙ Åè»×

7. ÁñÙÚð §çÜÙæØâ çßàßçßgæÜØ ·ð¤ ¥´»ýðÁè çßÖæ» ·¤è ¥æñÚ âð âÂæçÎÌ--------- ãñ?

(A) Âç˜æ·¤æ (ÁÙüÜ)

(B) ·¤æÃØ â´»ýã

(C) »l Üð¹Ù ·¤æ â´·¤ÜÙ

(D) ¥æÜæð¿Ùæˆ×·¤ çÙÕ‹Ï â´»ýã

8. Ìç×Ü ×ãæ ·¤æÃØ ÒçàæÜÂçÌ ·¤æÚ×÷ ·¤æ Ú¿çØÌæ ·¤æñÙ ãñ Ñ

(A) âð·¤èÜæÚ

(B) §üÜæ´»æð ¥æçÇ»Ü

(C) ·´¤ÕÙ

(D) çÌM¤ß„éßÚ

9. ·¤æðàæ (çǀàæÙÚè) Ò Íè×$Á ¥æòȤ Õ˧ü çÜÎþð¿ÚÓ ·ð¤ â´·¤ÜÙ·¤žææü ·¤æñÙ ãñ´ ?

(A) çSÅÍ ÍæÂâÙ

(B) ©çÜÚ·¤ ßè§âÅèÙ

(C) Úð×æð´Ç Åþæ©SâÙ

(D) °çÜÁæÕðÍ Èðý´¤$ÁðÜ

10. ÒÒ....... ã×ð´ ÎêâÚæð´ ·¤è ÌéÜÙæ ×ð´ ÂçÚÖæçáÌ ç·¤Øæ ÁæÌæ ãñ, ¥æñÚ ã×ð´ ¥ÂÙè Âã¿æÙ Ùãè ãæðÌè ÁÕç·¤ ã× ¥ÂÙð ·¤æð
ãè ÁæÙÌð ãñÐÓÓ çِÙçÜç¹ ×ð´ âð Øã ·¤Í٠緤⠷¤æ ãñ Ð

(A) ×ñ€â ·¤æð¿

(B) ßðÙ Å槻×

(C) ©ÜçÚ·¤ ßèSÌæ§Ù

(D) ȤÎèüÙæ´Î ÕýéÌðØÚ

J—7205 5 P.T.O.
11. In his lecture delivered at Athenence in 1835 Comparee’ Philatete Chasle emphasized
on :
(A) Influence
(B) Thematics
(C) Family resemblences
(D) Placing

12. According to Beedetlo Croce, the proper object of study, instead of something’s called
comparative literature, should be :
(A) Literature
(B) History
(C) Literary History
(D) Sociological study of literature

13. “Literature is one; as art and humanity are one”. is stated by :

(A) Brandt Corstius
(B) Schultz Rhein
(C) David Courns & Richards
(D) Wellek and Warren

14. Motif - Index of Folk literature is written by :

(A) C.L.Lewis
(B) Robert Spiller
(C) Stith Thompson
(D) H.P.H. Teesing

15. What is “New Literary History” ?

(A) a volume of essays
(B) a periodical
(C) a critical text
(D) a research article

J—7205 6
11. çȤÜðÚÌ ¿æâÜ Ùð ¥æÂÙð Öæá‡æ çÜÅþð¿Ú °SÅþðÁÚ ·¤æÂðØÚð, Áæ𠩋ãæð´Ùð °ÍèÙ ×ð´ 1835 ×ð´ çÎØæ ©â ×ð´ ©‹ãæð´Ùð
çِÙçÜç¹Ì ×ð´ âð ç·¤â ÂÚ ¥ˆØçÏ·¤ ÕÜ çÏØæÐ

(A) Âý×æß

(B) çßáØ ßSÌé

(C) ÂæÚèßæÚè·¤ âãàØÌæ

(D) ŒÜðçâ»´

12. çِÙçÜç¹Ì ×ð´ âð, ÕðÙèÇð^æð R¤æð⠷𤠥ÙéâæÚ ÌÍæ·¤çÍÌ ÌéÜÙæˆ×·¤ âæçãˆØ ·ð¤ SÍæÙ ÂÚ ¥ŠØØÙ ·¤æ
©ŠÎðàØ €Øæ ãæðÙæ ¿æçã° :

(A) âæçãˆØ

(B) §çÌãæâ

(C) âæçãçˆØ·¤ §çÌãæâ

(D) âæçãˆØ ·¤æ â×æÁ àææS˜æèØ ¥ŠØØÙ

13. ÒÒâçãˆØ °·¤ ãñ. Áñâæ ç·¤ ·¤Üæ °ß´ ×æÙßæÌ °·¤ ãñÐÓÓ Øã ß¿Ù çِ٠çÜç¹Ì ×ð´ âð 緤⠷ð¤ ãñ.Ñ

(A) Õýæ‹Ç÷Å-R¤ðçSÅØâ

(B) àæéËÁ °‡Ç Úæ§Ù

(C) ÇðçßÇ ·ð¤‹â °‡Ç çÚ¿Çüâ

(D) ßñÜð·¤ °‡Ç ßæÚðÙ

14. ÒÒ×æðçÅȤ - §´Çð€â ¥æòȤ Ȥæð·¤ çÜÅþð¿ÚÓÓ ·ð¤ Ú¿çØÌæ ·¤æñÙ ãñ ?

(A) âè. °Ü. Üðçßâ

(B) ÚæÕÅü çS„Ú

(C) çSÅÍ ÍæÂâÙ

(D) °¿. Âè. °¿ ÅèçÁ´»

15. ҋØê çÜÅÚðÚè çãSÅÚè Ó €Ø ãñ ?

(A) çÙՋÏæð´ ·¤æ °·¤ »ý´Í

(B) °·¤ Âç˜æ·¤æ

(C) °·¤ ¥æÜæð¿Ùæˆ×·¤ ×êÜ ÂæÆ

(D) °·¤ »ßðá‡ææˆ×·¤ Üð¹

J—7205 7 P.T.O.
16. The word “ Thematology’ was coined by :
(A) Ramond Trousson
(B) Harry Levin
(C) Elisabeth Frenzel
(D) Stith Thompson

17. Raymond Trousson takes up for his analysis the theme of :

(A) Don Jhan
(B) Prometheus
(C) Ulysses
(D) Don Quixote

18. The Journal of Aesthetics and Art Criticisiom was founded in :

(A) 1965
(B) 1952
(C) 1941
(D) 1947

19. The founder-editor of Revue was :

(A) Baldensperger
(B) Rene Wellek
(C) Paul Hagard
(D) Eric Jakobson

20. “The period, as a mode of classification, corresponds to the concept in philosophy and
to the class in natural science”. Name the author of this statement.
(A) H.H.Remak
(B) Rene’ Wellek
(C) Ulrich Weisstein
(D) R.M.Meyer

J—7205 8
16. ÒçÍ×ñÅæðÜæðÁèÓ àæŽÎ ·¤æð ç·¤â Üð¹·¤ Ùð »Éæ Ñ

(A) Úð×æ´Ç Åþæ©SâÙ

(B) ãðÚè ÜðçßÙ

(C) °çÜÁæÕðÍ Èýð´¤ÁðÜ

(D) çSÅÍ ÍæÂâÙ

17. çِÙçÜç¹Ì ×ð´ âð ç·¤â Ú¿Ùæ ·ð¤ Íè× ·¤æð Úð×æ´Ç ÅþæãSâÙ Ùð çßàÜðá‡æ ·ð¤ çÜ° ¥ÂÙæØæ?

(A) ÇæòÙ $Áé¥æÙ

(B) Âýæðç×çÍØâ

(C) ØéçÜçââ

(D) ÇæÙ €Ø÷€âæðÅ

18. ÁÙüÜ ¥æòȤ °SÍðçÅ·¤â °‡Ç ¥Åü çR¤çÅçâ’×ÓÓ SÍæÂÙæ ç·¤â ßßü ×ð´ ãé§ü Íè?

(A) 1965
(B) 1952
(C) 1941
(D) 1947

19. çِÙçÜç¹Ì ×ð´ ·¤æñÙ ÚðÃØê ·¤æ â´SÍæ·¤-âÂæη¤ Íæ?

(A) ÕæÜÇðÙ SÂñÚÁÚ

(B) ÚðÙð ßðÜð·¤

(C) ÂæòÜ ã滧ü

(D) °çÚ·¤ Áæ·¤ÕâÙ

20. ÒÒß»èü·¤Ú‡æ ·¤è çßçÏ ·ð¤ M¤Â ×ð´ ·¤æÜ ÎàæüÙâæ ·¤è çßÖæßÙæ (·ð¤‹âðŒÅ) ÌÍæ ÂýßëçÌ·¤ çߙææÙæð´ ·ð¤ ß»ü
(·¤Üæâ) ·¤è çßÖæßÙæ âð ×ðܹæÌæ ãñÐÓÓ §â ßQ¤ÃØ ·ð¤ Üð¹·¤ ·¤æ Ùæ× çܹð Ñ

(A) °¿.°¿.çÚ×æ·¤

(B) ÚðÙð ßðÜð·¤

(C) ©ÜçÚ¿ ßèSÅæ§Ù

(D) ¥æÚ. °×. ×ðØÚ

J—7205 9 P.T.O.
21. Therukkoothu is a peculiar folk art of :

(A) Kerala

(B) Tamilnadu

(C) Goa

(D) Andra Pardesh

22. The author of “India : What can it teach us ? is :

(A) A.L.Basham

(B) William Jones

(C) F.Max Muller

(D) William Bentick

23. ‘Kathakali’ is a unique folk art form of :

(A) Orissa

(B) Andhra Pradesh

(C) Tamilnadu

(D) Kerala

24. “In the end all poetry’s translation” was stated by Navalis in a litter to :

(A) Voltaire

(B) Harder

(C) Goethe

(D) A.W.Shlegel

25. Which of the following novels is not made into a film ?

(A) In Custody

(B) English August : An Indian Story

(C) Train to Pakistan

(D) The Golden Gate

J—7205 10
21. çِÙçÜç¹Ì ×ð´ âð ‘çÍL¤ç·¤žæê’ ç·¤â Úæ’Ø ·¤è çßàæðá Üæð·¤ ·¤Üæ ãñ ?

(A) ·ð¤ÚÜ

(B) Ìç×ÜÙæÇé

(C) »æð¥æ

(D) ¥æ´Ïý ÂýÎðàæ

22. çِÙçÜç¹Ì ×ð´ â𠑧´çÇØæ Ñ ßã÷Å ·ñ¤Ù §Å Åè¿ ¥â’ ·¤æ Üð¹·¤ ·¤æñÙ ãñ ?

(A) °.°Ü. Öæá×

(B) çßçÜØ× ÁæðÙâ

(C) °È¤. ×ñ€â×êÜÚ

(D) çßçÜØ× Õñ´çÅ·¤

23. çِÙçÜç¹Ì ×ð´ â𠑷¤ˆÍ·¤ ·¤Üè’ ·¤ãæ¡ ·¤æ çßçàæC Üæð·¤ ·¤Üæ SßM¤Â ãñ ?

(A) ©Ç¸èâæ

(B) ¥æ´Ïý ÂýÎðàæ

(C) Ìç×ÜÙæÇé

(D) ·ð¤ÚÜ

24. “¥‹ÌÌÑ â×ê¿æ ·¤æÃØ ¥ÙéßæÎ ãñ” °ðâæ ÙæðßçÜâ Ùð ¥ÂÙð °·¤ ˜æ ×ð´ 緤ⷤæð çܹæ Íæ ?

(A) ßæðÜÌðØÚ

(B) ãÇüÚ

(C) »æðØÅð

(D) °.ǎËØê. àæðçÜ»Ü

25. çِÙçÜç¹Ì ©Â‹Øæâæð´ ×ð´ âð 緤⠩‹Øæâ ÂÚ çȤË× ·¤æ çÙ×æü‡æ Ùãè´ ãé¥æ ?

(A) §Ù ·¤SÅÇè

(B) §´»çÜàæ ¥æò»SÅ Ñ °Ù §ç‡ÇØÙ SÅæðçÚ

(C) ÅþðÙ Åê Âæç·¤SÌæÙ

(D) çÎ »æðËÇÙ »ðÅ

J—7205 11 P.T.O.
26. The earliest feminist text in Tamil is :
(A) Bharati’s Kanthamani
(B) Akilan’s Chithrapavai
(C) Va. Ra’s Kothai Theevu
(D) Kalki’s Thiyaga Bhoomi

27. Which one of the following is NOT correctly matched ?

(A) .... hence the vanity of translation-Shelley
(B) Influence studies are the bread and wine of comparatists - Anna Balakian
(C) Comparative Literature is the study of literature beyond the confines of one
particular country - Harry Levia
(D) Mythological and legendary themes are ‘the indices of humanity’ - Raymond
Trousson

28. James Joyces uses in his Portrait of the Artist as a young Man the myth of :
(A) Ulysses
(B) Daedalus
(C) Oedipus
(D) Tiresius

29. Who are the translators of Bhagavath Gita ?

(A) P. Sambandan Mudaliar and Ghanandeshikan
(B) A.K. Ramanujan and D.Ludden
(C) Justice Maharajan and Arumuga Navalar
(D) Christoper Isherwood and Swami Prabhavanandha

30. Rabindranath Tagore proposed the concepts of :

(A) Videshi Sahitya
(B) Deshi Sahitya
(C) Vishwa Sahitya
(D) Rashtravadi Sahitya

J—7205 12
26. çِÙçÜç¹Ì ×ð´ âð Ìç×Ü Öæáæ ×ð´ âßüÂýÍ× S˜æèßæÎè Ú¿Ùæ ·¤æñÙâè ãñ ?

(A) ÖæÚÌè ·¤è ‘·¤æ´Ìæ×ç‡æ’

(B) ¥ç·¤ÜæÙ ·ë¤Ì ‘翘æÂæߧü’

(C) ßæ.Úæ. ·ë¤Ì ‘·¤æðΧü Ìèߒ

(D) ·¤Ü·¤è ·ë¤Ì ‘ˆØæ» Öêçג

27. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙâæ âé×ðçÜÌ Ùãè´ ãñ ?

(A) ȤÜÌÑ ¥ÙéßæÎ ·¤è çÙÑâæÚÌæ — àæñÜð

(B) ÌéÜÙæˆ×·¤ ¥æÜæð¿·¤æð´ ·ð¤ çÜ° ÂýÖæßæð´ ·¤æ ¥ŠØØÙ ÅæðSŠ׀¹Ù ãñ — °Ùæ ÕæÜç·¤ØÙ

(C) ç·¤âè Îðàæ çßàæðá ·¤è âè×æ¥æð´ â𠪤ÂÚ ©Æ ·¤Ú âæçãˆØ ·¤æ ¥ŠØØÙ ·¤ÚÙæ ÌéÜÙæˆ×·¤ âæçãˆØ ãñ — ãðÚè
ÜðçßÙ

(D) ç×çÍ·¤ °ß´ ÂæñÚæç‡æ·¤ çßáØ ×æÙßÌæ ·ð¤ læðÌ·¤ ãñ´ — Úð×æ´Ç ÍL¤¤$ÁÙ

28. Áð×÷⠒Øæâ Ùð ¥ÂÙè Ú¿Ùæ ‘ÂæðÅüÚðÅ ¥æòȤ çÎ ¥æçÅüSÅ °$Á ° Ø´» ×ñْ ×ð´ ÂýØéQ¤ ç×çÍ·¤ ·¤æð ç·¤â Ú¿Ùæ âð çÜØæ
ãñ ?

(A) ØêçÜçââ

(B) ÇñÇæÜæâ

(C) ©çÇÂÙ

(D) ÅæØÚçâØâ

29. Ö»ßæÎ »èÌæ ·ð¤ ¥Ùéßæη¤ ·¤æñÙ ãñ´ ?

(A) Âè. âÕ‹ÏÙ ×éÎçÜØæÚ ¥æñÚ ™ææÙÎðàæè·¤Ù

(B) °.·ð¤. Úæ×æÙéÁÙ ¥æñÚ Çè. ÜéÇÙ

(C) ÁçSÅâ ×ãæÚæÁÙ ¥æñÚ ¥æÚ×é»ÙæßÜÚ

(D) çR¤SÅæðÈ¤Ú §üàæÚßéÇ °ß´ Sßæ×è ÂýÖæßÙ´Îæ

30. Úßè‹Îý ÙæÍ Åñ»æðÚ Ùð çِÙçÜç¹Ì ×ð´ âð 緤⠥ßÏæڇææ ·¤æ âéÛææß çÎØæ ?

(A) çßÎðàæè âæçãˆØ

(B) ÎðàæèØ âæçãˆØ

(C) çßàß âæçãˆØ

(D) ÚæCþßæÎè âæçãˆØ

J—7205 13 P.T.O.
31. Which of the following is NOT the Jnanpith award winner ?
(A) Rajendra Shah
(B) Jayakantan
(C) Indra Goswamy
(D) Chandrasekara Khambar

32. To which particular season does Northrop Frye relate tragedy ?

(A) Summer
(B) Autumn
(C) Winter
(D) Spring

33. We have the titles of four works. Identify the order in which they can be chronologically
sequenced.
(A) The Art of Translation, The Odyssey of Homer, The Idea of History, Theory of
Literature.
(B) Theory of Literature, the Idea of History, The Art of Translation, The Odyssey of
Homer
(C) The Idea of History, Theory of Literature, The Odyssey of Homer, The Art of
Translation.
(D) The Odyssey of Homer, The Idea of History, Theory of Literature, The Art of
Translation

34. Who is of the view that translations are translations of translations ?

(A) Octavio Paz
(B) F.O.Matthiesson
(C) Susan Bassnett
(D) Eugene Nida

35. The translator of Omar Khayyam’s Rubaiyat is :

(A) Charles Wilkins
(B) Edward Fitzgerald
(C) Scott Fitzgerald
(D) A.C. Swinburne

J—7205 14
31. çِÙçÜç¹Ì ×ð´ âð ç·¤âð ™ææÙÂèÆ ÂéÚS·¤æÚ Âýæ# Ùãè´ ãé¥æ ?

(A) ÚæÁð‹Îý àææã

(B) ÁØ·¤æ‹ÌÙ

(C) §‹Îýæ »æðSßæ×è

(D) ¿‹Îýàæð¹Ú ¹ÕæÚ

32. ÙæÍü Íýæ ·¤æ Îé¹æ‹Ì 緤⠫¤Ìé çßàæðá âð âÕç‹ÏÌ ãñ ?

(A) »ýèc×

(B) ÂÌÛæǸ

(C) àæèÌ « Ìé

(D) ßâ‹Ì

33. Ùè¿ð ¿æÚ ÂéSÌ·¤æð´ ·ð¤ àæèáü·¤ çÎØð Áæ Úãð ãñ´Ð §Ù×ð´ âð ©Ù·ð¤ Üð¹Ù-·¤ÜR¤×æÙéâæÚ Ÿæð‡æèÕh ÂéSÌ·¤æð´ ×ð´ âð âãè
¹‡Ç ·¤è Âã¿æÙ ·¤èçÁ°Ð

(A) çÎ ¥æÅü ¥æòȤ Åþæ´âÜðàæÙ, çÎ ¥æðÇðâè ¥æòȤ ãæð×Ú, çÎ ¥æ§çÇØæ ¥æòȤ çãSÅÚè, ‰ØêÚè ¥æòȤ çÜÅþð¿Ú

(B) ‰ØêÚè ¥æòȤ çÜÅþð¿Ú, çÎ ¥æ§çÇØæ ¥æòȤ çãSÅÚè, çÎ ¥æÅü ¥æòȤ Åþæ´âÜðàæÙ, çÎ ¥æðÇðâè ¥æòȤ ãæð×Ú

(C) çÎ ¥æ§çÇØæ ¥æòȤ çãSÅÚè, ‰ØêÚè ¥æòȤ çÜÅþð¿Ú, Î ¥æðÇðâè ¥æòȤ ãæð×Ú, çÎ ¥æÅü ¥æòȤ Åþæ´âÜðàæÙ

(D) çÎ ¥æðÇðâè ¥æòȤ ãæð×Ú, çÎ ¥æ§çÇØæ ¥æòȤ çãSÅÚè, ‰ØêÚè ¥æòȤ çÜÅþð¿Ú, çÎ ¥æÅü ¥æòȤ Åþæ´âÜðàæÙ

34. çِÙçÜç¹Ì ×ð´ âð Øã 緤ⷤæ çß¿æÚ ãñ ç·¤ ¥ÙéßæÎ ¥ÙéßæÎæ𴠷𤠥ÙéßæÎ ãñ´ ?

(A) ¥æò·¤ÅæçßØæð Âæ$Á

(B) °È¤.¥æð. ×æÍèSâÙ

(C) âêâÙ ÕæâÙð^

(D) ØêÁèÙ Ùæ§Ç¸æ

35. ©×æÚ ¹ÄØæ× ·¤è L¤Õæ§ØæÌ ·ð¤ ¥Ùéßæη¤ ·¤æ Ùæ× ãñ Ñ

(A) ¿æËâü çßçË·¤Ù

(B) °ÇßÇü çȤÅÁðÚæËÇ

(C) °.âè. çSßÙÕÙü

(D) S·¤æÅ çȤÅÁðÚæËÇ

J—7205 15 P.T.O.
 Read the passage below and answer this question that follow, based on your
understanding of the passage.
Valuable observations can be made by literary men who have come to appreciate,
through many detailed stylistic sutdies, what particular effects different languages allow
writers who work within them. Such obsevations occur frequently, for instance, in
Damaso Alonso’s book on Spanish poetry. Poesia Espanola. Through constant
comparison of Spanish poems with poem in other languages, Alonso details effect that
are possible in Spanish but not in French poetry, because word-order may be varied
much more redically in Spanish than in French. While true of Spanish, this observation
applies even more strongly to the Latin poetry of ancient Rome as compared with that
in any modern Eurpean language. It is much more difficult, on the other hand, to
obtain in Spainsh the stark rhythmic effects possible in English (effects such as those
achieved by Gerard Manley Hopkins in his experiments with ‘sprung rhythm’) because
Spanish has fewer monosyllabic words, and fewer words with masculine endings. In
this respect, Alonso maintains, Italian versification has an advantage over Spanish
because of the greater possibilities of apocope - the very opening line of the Divine
Comedy exhibits this characteristic by its shortening of cammino to cammin: ‘Nel mezzo
del cammin de nostra vita’.

36. A study on the different effects different languages allow writers to make is done in
(A) Stylishic approach
(B) Semantic approach
(C) Textual approach
(D) Cause - effect approach

37. Damaso Alonso’s book, Poesia Espanola is :

(A) a collection of Spanish poems
(B) a critical text
(C) a book on stylistics
(D) a work on different writers

38. While true of Spanish, this observation applies even more strongly to the Latin poetry
of ancient Rome as compared with that in many modern European languages”. What
does this observation refer to ?
(A) Effects different languages allow writers to make
(B) Effects that are more difficult to make
(C) Effects that are possible in Spanish but not in French poetry
(D) Effects created in stylistic Studies in literature

J—7205 16
 çÙ¿ð çÎØð »Øð ÂçڑÀðÎ ·¤æð ŠØæÙ âð ÂçɸØð ÌÍæ ¥æ·¤è â×Ûæ âð ÂçڑÀðÎ ÂÚ ¥æÏæçÚÌ ÂýàÙæð´ ·¤æ ©žæÚ ÎèçÁØð Ñ
çßçÖóæ çßSÌëÌ àæñÜè ßñ™ææçÙ·¤ ¥ŠØØÙæð´ âð âæçãçˆØ·¤ ÃØçQ¤Øæð´ mæÚæ ×êËØßæÙ ¥ßÜæð·¤Ù ç·¤Øð Áæ
â·¤Ìð ãñ´, çßàæðáÌÚ ©Ù ÂýÖæßæð´ ·¤æð çÁ‹ãð´ çßçÖóæ Öæáæ°´ ©Ù×ð´ ·¤æ× ·¤Ú Úãð Üð¹·¤æð´ ·¤æð ©ÂÜŽÏ ·¤ÚßæÌè ãñ´Ð
©ÎæãÚ‡æ ·ð¤ çÜ° °ðâð ¥ßÜæð·¤Ù Ç×æâæð ¥æðÜ´âæð ·¤è SÂðÙè ·¤çßÌæ ·ð¤ ÕæÚð ×ð´ çܹè ÂéSÌ·¤ Âæð§çÁØæ °âÂæðÙæðÜæ
×ð´ ÂæØð Áæ â·¤Ìð ãñ´Ð SÂðÙè (SÂðçÙàæ) ·¤çßÌæ¥æð´ ·ð¤ âæÍ çÙڋÌÚ ÌéÜÙæ mæÚæ ¥æðÜ´âæð Ùð çιÜæØæ ãñ ç·¤ Áæð
ÂýÖæß SÂðÙè ·¤çßÌæ ×ð´ â´Öß ãñ, ßð Èý¤æ´çââè ·¤çßÌæ ×ð´ â´Öß Ùãè´ €Øæð´ç·¤ Èý¤æ´çââè ·¤è ÌéÜÙæ ×ð´ SÂðÙè ·¤çßÌæ
×ð´ àæŽÎR¤× ¥çÏ·¤ ¥æ×êÜÌÑ ÕÎÜÌæ ãñ ÁÕç·¤ Øã ·¤ÍÙ SÂðÙè ·ð¤ ÕæÚð ×ð´ â¿ ãñ, âæÍ ãè ÕãéÌ âè ¥æÏéçÙ·¤
ØêÚæðÂèØ Öæáæ¥æð´ ·¤è ÌéÜÙæ ×ð´ Âýæ¿èÙ Úæð× ·¤è ÜæçÌÙè Öæáæ ·ð¤ ÕæÚð ×ð´ ¥æñÚ ¥çÏ·¤ â¿ âæçÕÌ ãæðÌæ ãñÐ ¥´»ýðÁè
·¤è ÌéÜÙæ ×ð´ (©ÎæãÚ‡æ ·ð¤ çÜ° ÁæðÚæËÇ ×ðÙÜð ãæÂç·¤‹â mæÚæ ‘SÂý´» çÚÎג ·ð¤ ÂýØæð»æð´ mæÚæ ©ˆÂóæ ÂýÖæß) SÂðÙè
Öæáæ ×ð´ ÜØ»Ì ÂýÖæß Âýæ# ·¤ÚÙæ ·¤çÆÙ ãñ €Øæð´ç·¤ SÂðÙè Öæáæ ×ð´ ÕãéÌ ·¤× °·¤-߇æèüØ àæŽÎ ãñ ¥æñÚ ©â×ð´ Öè
·¤× àæŽÎ ÂécÅ-¥‹Ì (×ñS·é¤çÜÙ °´çÇ») ßæÜð ãñÐ §â â‹ÎÖü ×ð´ ¥Üæð´âæð ·¤æ ×æÙÙæ ãñ ç·¤ §ÌæÜßè À‹ÎçߋØæâ
SÂðÙè À‹ÎçߋØæâ âð ŸæðDÌÚ ãñ €Øæð´ç·¤ ©â×𴠑°Âæð·¤æð’ (Üé#æ‹Ì) ·¤è ¥çÏ·¤ â´ÖæßÙæ°ð ãñ Áñâæ ç·¤ ‘çÇßæ§Ù
·¤æ×ðÇè’ ·¤è ÂýæÚ´çÖ·¤ ´çQ¤ ×ð´ ãè §â Üÿæ‡æ ·¤æð Îð¹æ Áæ â·¤Ìæ ãñ Áãæ´ ÙðÜ ×ðÁæð ÇðÜ ·ñ¤çÙÙ Îæ ÙæðS˜ææ ßèÅæ’ ×ð´
‘·ñ¤ç×Ùæ𒠷¤æ𠑷ð¤ç×ْ ·ð¤ M¤Â ×ð´ ÀæðÅæ ·¤Ú çÎØæ ãñÐ

36. çßçÖóæ Üð¹·¤æð´ ÂÚ çßçÖóæ Öæáæ¥æð´ ·ð¤ ÂýÖæß ·¤æ ¥ŠØØÙ ç·¤â×ð´ ç·¤Øæ ÁæÌæ ãñ ?

(A) àæñÜè ßñ™ææçÙ·¤ ¥çÖ»×

(B) â´·ð¤Ì çߙææÙ ¥çÖ»×

(C) ·ë¤çÌçÙD ¥çÖ»×

(D) ·¤æØü·¤æÚ‡æ ¥çÖ»×

37. Ç×æâæð ¥Üæð‹âæð ·¤è ÂéSÌ·¤ ÂæðçâØæ °SÂÙæðÜæ ãñ Ñ

(A) SÂðÙè ·¤çßÌæ¥æð´ ·¤æ â´»ýã

(B) °·¤ ¥æÜæð¿Ùæˆ×·¤ ·ë¤çÌ

(C) àæñÜè çߙææÙ ·¤è ·ë¤çÌ

(D) çßçÖóæ Üð¹·¤æð´ ÂÚ °·¤ ÂéSÌ·¤

38. çِÙçÜç¹Ì ·¤ÍÙ ·¤æ â‹ÎÖü €Øæ ãñ ?

ÁÕç·¤ Øã SÂðçÙàæ ·ð¤ ÕæÚð ×ð´ â¿ ãñ, Øã ·¤ÍÙ ÕãéÌ âæÚè ¥æÏéçÙ·¤ ØêÚæðÂèØ Öæáæ¥æð´ ·¤è ÌéÜÙæ ×ð´ Âýæ¿èÙ Úæð×
·¤è ·¤çßÌæ ·ð¤ ÕæÚð ×ð´ ¥æñÚ ’ØæÎæ âãè âæçÕÌ ãæðÌæ ãñÐ

(A) ßð Öæáæ§ü ÂýÖæß çÁ‹ãð´ çßçÖóæ Üð¹·¤ ãæðÙð ÎðÌð ãñ

(B) ßð ÂýÖæß çÁ‹ãð´ ÂñÎæ ·¤ÚÙæ ¥çÏ·¤ ·¤çÆÙ ãæðÌæ ãñÐ

(C) ßð ÂýÖæß Áæð SÂðçÙàæ Öæáæ ×ð´ â´Öß ãñ ÂÚ Èý¤æ´âèâè ·¤çßÌæ ×ð´ Ùãè´Ð

(D) ßð ÂýÖæß Áæð âæçãˆØ ×ð´ àæñÜè çߙææÙ ¥çÖ»× mæÚæ ©ˆÂóæ ç·¤° ÁæÌð ãñÐ

J—7205 17 P.T.O.
39. It is difficult to obtain stark rhythmic effect in Spanish than in English because :

(A) Spanish is more musical

(B) English has many polysyllabic words

(C) Spanish has fever monosyllabic words

(D) English is less rhythmical

40. Italian versification has an advantage over Spanish because of :

(A) Its possiblities for shortening phrases

(B) Its maseuline endings

(C) Its harmoniousness and musicality

(D) Its variety of vowels

41. The school of Russian Formolism is associated with :

(A) Ambiguity

(B) Defamiliarization

(C) Dialogism

(D) Socialist realism

42. “I think that a poet may gain much from the study of music” is stated by :

(A) Mand Bodkin

(B) T.S. Eliot

(C) F.R. Leavis

(D) Cleanth Brooks

43. Who is the author of the essay, “Periods and Movements in Literary History” ?

(A) Robert Spiller

(B) Rene’ Wellek

(C) Mary Gaither

(D) Leon Edel

J—7205 18
39. ¥´»ýðÁè ·¤è ÌéÜÙæ ×ð´ SÂðçÙàæ Öæáæ ×ð´ ÜØ»Ì ÂýÖæß ©ˆÂóæ ·¤ÚÙæ ·¤çÆÙ ãñ €Øæð´ç·¤ Ñ

(A) SÂðçÙàæ (SÂðÙè) Öæáæ ¥çÏ·¤ â´»èÌ×Ø ãñÐ

(B) ¥´»ýðÁè ×ð´ Ù§ü Õãé ߇æèüØ àæŽÎ ãñÐ

(C) SÂðçÙàæ (SÂðÙè) Öæáæ ×ð´ ÕãéÌ ·¤× °·¤ ߇æèüØ àæŽÎ ãñÐ

(D) ¥´»ýðÁè ·¤× ÜØæˆ×·¤ Öæáæ ãñÐ

40. SÂðÙè Öæáæ ·¤è ÌéÜÙæ ×ð´ §ÌæÜßè À‹Î çߋØæ⠟æðD §âçÜ° ãñ €Øæð´ç·¤ Ñ

(A) ÂÎæð´ ·¤æð ÀæðÅæ ·¤ÚÙð ·¤è â´ÖæßÙæ¥æ𴠷𤠷¤æڇæ

(B) ©â·¤è ÂéC ¥‹Ì (×ðS€ØêçÜÙ ¥‹Ì) ·ð¤ ·¤æڇæ

(C) ©â·¤è ×ÏéÚÌæ ÌÍæ â´»èÌæˆ×·¤Ìæ ·ð¤ ·¤æڇæ

(D) SßÚæð´ ·¤è çÖóæÌæ ·ð¤ ·¤æڇæ

41. °çàæØ٠Ȥæ×üçÜ’× S·ê¤Ü ·¤æ â´Õ´Ï ç·¤ââð ãñ ?

(A) °çÕ»é§Åè

(B) ÇèÈð¤×çÜØÚæ§ÁðàæÙ

(C) Çæ§ÜæðçÁS×

(D) âæðSØçÜSÅ ÚèØçܒ×

42. çِÙçÜç¹Ì ×ð´ âð Øã 緤⠷¤æ ·¤ÍÙ ãñ ç·¤ “×ðÚæ çß¿æÚ ãñ ç·¤ ÂýˆØð·¤ ·¤çß ·¤æð â´»èÌ ·ð¤ ¥ŠØØÙ âð ÖæÚè
ÜæÖ ãæð»æ” ?

(A) ×æòÇ ÕæðÇç·¤Ù

(B) Åè.°â. §çÜØÅ

(C) °È¤.¥æÚ. Üèßâ

(D) €Üè´Í Õýê€â

43. çِÙçÜç¹Ì ×ð´ âð çÙÕ‹Ï ‘ÂçÚØÇâ °´Ç ×êß×ð‡Åâ §Ù çÜÅÚðÚè çãSÅÚè’ ·¤æ Üð¹·¤ ·¤æñÙ ãñ ?

(A) ÚæÕÅü çS„Ú

(B) ÚðÙð ßðÜð·¤

(C) ×ñÚè

(D) çÜ¥æðÙ

J—7205 19 P.T.O.
44. Which of the following is true in Jacques Lacan’s theory of psychonalysis ?
(A) Unconscious is not structiured like language
(B) Unconscious is a bottomless pit.
(C) I am where I think not
(D) I am where I think

45. The author of Grammatology is :

(A) Roland Barthes
(B) Jacques Derrida
(C) Michel Fouecanlt
(D) Imal Ricour

46. Match the following List-I with List-II and choose the right code:
List - I List - II
(a) Kuntaka (i) Riti
(b) Kshemendra (ii) Auchitya
(c) Abhin and gupta (iii) Vakrokti
(d) Dandi (iv) Dhwoni
Code :
a b c d
(A) i iii ii iv
(B) iii ii iv i
(C) ii i iii iv
(D) iii ii iv i

47. The oldest Tamil work on grammer is :

(A) Veera Coliyam
(B) Dandi Alankaram
(C) Nikandu
(D) Tolkappiyam

J—7205 20
44. Áæ·¤ Ü·¤æÙ ·ð¤ ×ÙæðçßàÜðá‡æ çâhæ‹Ì ·ð¤ ÕæÚð ×ð´ çِÙçÜç¹Ì ×ð´ ·¤æñÙâæ ßQ¤ÃØ âãè ãñ ?

(A) ¥¿ðÌÙ Öæáæ ·¤è ÌÚã â´Úç¿Ì Ùãè´ ãñ

(B) ¥¿ðÌÙ ÌÜèãèÙ »Ç÷Çð ·¤è ÌÚã ãñ

(C) ×ñ ßãæ´ ãê¡ Áãæ¡ âæð¿Ìæ Ùãè´ ãê¡

(D) ×ñ´ ßãæ´ ãê¡ Áãæ¡ âæð¿Ìæ ãê¡

45. çِÙçÜç¹Ì ×ð´ â𠑻ýñ×æÅæðÜæðÁè’ ç·¤â Üð¹·¤ ·¤è Ú¿Ùæ ãñ ?

(A) ÚæðÜæ´Ç ÕæÍüâ

(B) Áæ·¤ ÎðçÚÎæ

(C) ç×àæðÜ Èꤷ¤æð

(D) ÂæÜ çÚ·ê¤Ú

46. âê¿è-I ·¤æð âê¿è-II âð âé×ðçÜÌ ·¤èçÁ° ¥æñÚ âãè ·¤æðǸ ·¤æ ¿ØÙ ·¤èçÁ°Ð

âê¿è-I âê¿è-II
(a) ·é¤‹Ì·¤ (i) ÚèçÌ

(b) ÿæ×ð‹Îý (ii) ¥æñ翈Ø

(c) ¥çÖÙß»é# (iii) ßR¤æðçQ¤

(d) ·Çè (iv) ŠßçÙ

·¤æðǸ Ñ
a b c d
(A) i iii ii iv
(B) iii ii iv i
(C) ii i iii iv
(D) iii ii iv i

47. çِÙçÜç¹Ì ×ð´ âð Ìæç×Ü Öæáæ ×ð´ ÂéÚæÌÙÌØ ÃØæ·¤Ú‡æ ·¤æñÙâæ ãñ ?

(A) ßèÚ ¿æðçÜØ×

(B) ·Çè ¥Ü´·¤æÚ×÷

(C) çٷ餇Çé

(D) ÌæðÜ·¤çŒÂØ

J—7205 21 P.T.O.
48. Kavyalenkara is written by :

(A) Bhamaha

(B) Kuntaka

(C) Kshemendra

(D) Jagannatha

49. Nannaya is the forerunner in the field of classical :

(A) Telugu Prose

(B) Tamil Prose

(C) Hindi Prose

(D) Sanskrit Prose

50. Identify the odd group :

(A) Kamala Das, Dilip Chitre, U.R.Anandamurthy, Nirmal Verma

(B) R.K.Narayan, G.V. Desani, Salmon Rushdie, Upamanya Chatterji

(C) Toru Dutt, V.S.Naipaul, Amitav Ghosh, Eunice D’souza

(D) Anurag Mathur, Anita Desai, Ruth Pramer Jabawalla, M.G.Vassanji.

** *** **

J—7205 22
48. çِÙçÜç¹Ì ×ð´ âð ·¤æÃØæÜ´·¤æÚ ç·¤â·ð¤ mæÚæ çÜ¹æ »Øæ ãñ ?

(A) Öæ×ã

(B) ·é¤‹Ì·¤

(C) ÿæ×ð‹Îý

(D) Á»óææÍ

49. Ù‹Ø àææS˜æèØ Üð¹Ù ·ð¤ ç·¤â ÿæð˜æ ×ð´ ¥»ý×æ×è Üð¹·¤ ãñ´ ?

(A) ÌðÜ»é »l

(B) Ìæç×Ü »l

(C) çã‹Îè »l

(D) â´S·ë¤Ì »l

50. çِÙçÜç¹Ì ×ð´ âð çßáØ Øé‚× Âã¿æÙð´ Ñ

(A) ·¤×Üæ Îæâ, çÎÜè 翘æð, Øê.¥æÚ. ¥æÙ´Ì ×êçÌü, çÙ×üÜ ß×æü

(B) ¥æÚ.·ð¤. ÙæÚæØÙ, Áè.ßè. Îðâæ§ü, âÜ×æÙ ÚàÎè

(C) ÅæðL¤ Ξæ, ßè.°â. ÙæØÂæÜ, ¥ç×ÌæÖ ƒææðá, ØêçÙâ ǒ âêÁæ

(D) ¥ÙéÚæ» ×æÍéÚ, ¥ÙèÌæ Îðâæ§ü, L¤Í ÂýßÚ, ÛææßßæÜæ, °×.Áè. ßæâÙÁè

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 Space For Rough Work

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