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Number of Pages in this Booklet : 16 Number of Questions in this Booklet : 75Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖμÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö

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(ii) Ûú¾Ö¸ü ¯Öéšü ¯Ö¸ü ”û¯Öê ×®Ö¤ìü¿ÖÖ®ÖãÃÖÖ¸ü ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ Ûêú ¯Öéšü ŸÖ£ÖÖ¯ÖÏ¿®ÖÖë Ûúß ÃÖÓÜμÖÖ ÛúÖê †“”ûß ŸÖ¸üÆü “ÖîÛú Ûú¸ü »Öë ×Ûú μÖê ¯Öæ¸êüÆïü … ¤üÖêÂÖ¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ ×•Ö®Ö´Öë ¯Öéšü/¯ÖÏ¿®Ö Ûú´Ö ÆüÖë μÖÖ ¤ãü²ÖÖ ü̧Ö †ÖÝÖμÖê ÆüÖë μÖÖ ÃÖß׸üμÖ»Ö ´Öë ®Ö ÆüÖë †£ÖÖÔŸÖË ×ÛúÃÖß ³Öß ¯ÖÏÛúÖ¸ü Ûúß¡Öã×™ü¯ÖæÞÖÔ ¯Öã×ßÖÛúÖ Ã¾ÖßÛúÖ¸ü ®Ö Ûú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖμÖ ˆÃÖê»ÖÖî™üÖÛú¸ü ˆÃÖÛêú ãÖÖ®Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ »Öê »Öë …‡ÃÖÛêú ×»Ö‹ †Ö¯ÖÛúÖê ¯ÖÖÑ“Ö ×´Ö®Ö™ü פüμÖê •ÖÖμÖëÝÖê … ˆÃÖÛêú ²ÖÖ¤ü ®ÖŸÖÖê †Ö¯ÖÛúß ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖμÖêÝÖß †Öî̧ ü ®Ö Æüß †Ö¯ÖÛúÖê†×ŸÖ׸üŒŸÖ ÃÖ´ÖμÖ ×¤üμÖÖ •ÖÖμÖêÝÖÖ …

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5. ¯ÖÏ¿®ÖÖë Ûêú ̂ ¢Ö¸ü Ûêú¾Ö»Ö ̄ ÖÏ¿®Ö ̄ Öã×ßÖÛúÖ Ûêú †®¤ü¸ü פüμÖê ÝÖμÖê OMR ̄ Ö¡ÖÛú ̄ Ö¸üÆüß †Ó×ÛúŸÖ Ûú¸ü®Öê Æïü … μÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü פüμÖê ÝÖμÖê ¾Öé¢Ö Ûêú †»ÖÖ¾ÖÖ×ÛúÃÖß †®μÖ Ã£ÖÖ®Ö ¯Ö¸ü ˆ¢Ö¸ü דÖÅ®ÖÖÓ×ÛúŸÖ Ûú¸üŸÖê Æïü, ŸÖÖê ˆÃÖÛúÖ ´Öæ»μÖÖÓÛú®Ö®ÖÆüà ÆüÖêÝÖÖ …

6. †®¤ü¸ü פüμÖê ÝÖμÖê ×®Ö¤ìü¿ÖÖë ÛúÖê ¬μÖÖ®Ö¯Öæ¾ÖÔÛú ¯ÖœÌëü …7. Ûú““ÖÖ ÛúÖ´Ö (Rough Work) ‡ÃÖ ¯Öã×ßÖÛúÖ Ûêú †×®ŸÖ´Ö ¯Öéšü ¯Ö¸ü Ûú¸ëü …8. μÖפü †Ö¯Ö OMR ¯Ö¡ÖÛú ¯Ö¸ü ×®ÖμÖŸÖ Ã£ÖÖ®Ö Ûêú †»ÖÖ¾ÖÖ †¯Ö®ÖÖ ®ÖÖ´Ö, ¸üÖê»Ö

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[Maximum Marks : 150Time : 2 1/2 hours]

PAPER-IIICOMPARATIVE LITERATURE

(To be filled by the Candidate)

Signature and Name of InvigilatorOMR Sheet No. : ...............................................

Roll No.

(In words)

1. (Signature) __________________________(Name) ____________________________

2. (Signature) __________________________(Name) ____________________________

Roll No.________________________________(In figures as per admission card)

J-72-13 1 P.T.O.

7 2J 1 3

Paper-III 2 J-72-13

1. The first systematic application of the theory of patriarchy to literary studies was made by

(A) Michel Foucalt (B) Shulamith Firestone (C) Nigel Leask (D) Kate Millet 2. Walter Benjamin’s “The Task of the

Translator” was initially written as an introduction to an anthology of translations of poems by

(A) Schiller (B) Rilke (C) Baudelaire (D) Paul Valery 3. ‘Rasa’ is an amalgamation of (A) Bibhava and Anubhava (B) Bibhava, Anubhava,

Vyabhicaribhava, Sthayibhava (C) Sthayibhava and Bibhava (D) Bibhava, Anubhava,

Vyabhicaribhava 4. With which genre would you

associate the poem “The apparition of these faces in the crowd; Petals on a wet, black bough” ?

(A) Noh (B) Haiku (C) Khandakavya (D) Ghazal 5. Kappanna and Appanna are

characters in which of these modern Indian plays ?

(A) Yayati (B) Nagamandala (C) Tughlaq (D) Sakharam Binder

6. Arrange the following books in order

in which they appeared. Use the code given below :

I. Anand Math II. Umrao Jan Ada III. Godan IV. Indulekha Code : (A) I, IV, II, III (B) IV, I, III, II (C) II, IV, I, III (D) III, II, I, IV 7. Name the author of the influential

essay, “From Comparative Literature to Translation Studies”.

(A) Susan Bassnett (B) Jacques Derrida (C) Tejaswini Niranjana (D) Itamar Even-Zohar

8. Which of the following is not a report on the scope, status and standards of Comparative Literature ?

(A) Bassnett Report (B) Bernheimer Report (C) Levin Report (D) Greene Report

9. The Howe Past Midnight is an English translation of Tamil writer Salma’s works done by

(A) Sundara Ramaswamy (B) Sujit Mukherjee (C) Lakshmi Holmstrom (D) A.K. Ramanujan

10. Which of these methods deal/(s) primarily with categories related to content ?

(A) Thematology (B) Genology and Historiography (C) Stylistics (D) Thematology and Stylistics

COMPARATIVE LITERATURE PAPER – III

Note : This paper contains seventy five (75) objective type questions of two (2) marks each. Allquestions are compulsory.

J-72-13 3 Paper-III

1. ÃÖÖ×ÆüןµÖÛú †¬µÖµÖ®Ö ´Öë ¯ÖîŸÖéÛúŸÖÖ ×ÃÖ¨üÖÓŸÖ ÛúÖê ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ×¾Ö×¬Ö¾ÖŸÖ »ÖÖÝÖæ Ûú¸ü®Öê ÛúÖ ÛúÖµÖÔ ¯ÖÏÖ¸ü´³Ö ×ÛúµÖÖ

(A) ×´Ö¿Öê»Ö ±æúÛúÖ»™ü (B) ¿Öæ»ÖÖ×´Ö£Ö ±úÖµÖ¸üÙüÖê®Ö (C) ®ÖÖ‡•Öê»Ö »ÖßÃÖÛú (D) ÛúÖ™êü ×´Ö»»Ö™ü

2. ¾ÖÖ»™ü¸ü ²Öê•ÖÖ×´Ö®Ö ÛúÖ ‘פü ™üÖÃÛú †Öò±ú פü ™ÒüÖÓÃÖ»Öê™ü¸ü’ ÛúÖê ¯ÖÏÖ¸ü´³Ö ´Öë ‹Ûú †®ÖãפüŸÖ ÛúÖ¾µÖ ÃÖÓÝÖÏÆü Ûêú ‘¯Ö׸ü“ÖµÖ’ Ûêú ×»Ö‹ ×»ÖÜÖÖ ÝÖµÖÖ £ÖÖ, µÖÆü ÛúÖ¾µÖ ÃÖÓÝÖÏÆü ×ÛúÃÖ »ÖêÜÖÛú ÛúÖ £ÖÖ ?

(A) ׿ָֻü (B) ׸ü»Ûêú (C) ²ÖÖ›êü»ÖêµÖ¸ü (D) ¯ÖÖò»Ö ¾Öê»Ö¸üüß 3. ‘¸üÃÖ’ ÃÖ×´´ÖÁÖÞÖ Æîü (A) ×¾Ö³ÖÖ¾Ö †Öî¸ü †®Öã³Ö¾Ö ÛúÖ (B) ×¾Ö³ÖÖ¾Ö, †®Öã³Ö¾Ö, ¾µÖ׳֓ÖÖ¸üß ³ÖÖ¾Ö,

ãÖÖµÖß³ÖÖ¾Ö (C) ãÖÖµÖß³ÖÖ¾Ö †Öî¸ü ×¾Ö³ÖÖ¾Ö (D) ×¾Ö³ÖÖ¾Ö, †®Öã³Ö¾Ö, ¾µÖ׳֓ÖÖ¸üß³ÖÖ¾Ö

4. “פü †¯¯ÖÖ׸ü¿Ö®Ö †Öò±ú ¤üß•ÖÌ ±êú×ÃÖÃÖ ‡®Ö פü ÛÎúÖˆ›ü Ûúß ¯Öß™ü»ÖÃÖ †Ö®Ö ‹ ¾Öê™ü, ²»ÖîÛú ²ÖÖê” ÛúÖê ÛúÖ¾µÖ Ûúß ×ÛúÃÖ ×¾Ö¬ÖÖ ÃÖê ÃÖ´²Ö×®¬ÖŸÖ Ûú¸ëüÝÖê ?

(A) ®ÖÖêÆü (B) ÆîüµÖÛæú (C) ÜÖÞ›üÛúÖ¾µÖ (D) ÝÖ•ÖÌ»Ö

5. ×®Ö´®Ö×»Ö×ÜÖŸÖ †Ö¬Öã×®ÖÛú ³ÖÖ¸üŸÖßµÖ ®ÖÖ™üÛúÖë ´Öë ÃÖê ×ÛúÃÖ ®ÖÖ™üÛú ´Öë Ûú¯¯Ö®®ÖÖ †Öî̧ ü †¯¯Ö®®ÖÖ ¯ÖÖ¡Ö †ÖŸÖê Æïü ?

(A) µÖµÖÖŸÖß (B) ®ÖÖÝÖ´ÖÞ›ü»Ö (C) ŸÖãÝ»ÖÛú (D) ÃÖÜÖÖ¸üÖ´Ö ²ÖÖ‡Ó›ü¸ü

6. ×®Ö´®Ö×»Ö×ÜÖŸÖ ¯ÖãßÖÛúÖë ÛúÖê ˆ®ÖÛêú ¯ÖÏÛúÖ¿Ö®Ö ÛúÖ»Ö Ûêú †®ÖãÃÖÖ¸ü ¾µÖ¾Ö×Ã£ÖŸÖ Ûúßו֋ †Öî¸ü ¯ÖϤü¢Ö Ûæú™ü ÃÖê ÃÖÆüß ˆ¢Ö¸ü ÛúÖ “ÖµÖ®Ö Ûúßו֋ :

I. †Ö®Ö®¤ü ´Öšü II. ˆ´Ö¸üÖˆ •ÖÖ®Ö †¤üÖ III. ÝÖÖê¤üÖ®Ö IV. ‡®¤ãü»ÖêÜÖÖ Ûæú™ü : (A) I, IV, II, III (B) IV, I, III, II (C) II, IV, I, III (D) III, II, I, IV 7. “±ÏúÖî´Ö ÛúÖò´¯Öî׸ü×™ü¾Ö ×»Ö™ü¸êü“Ö¸ü ™æü ™ÒüÖÓÃÖ»Öê¿Ö®Ö

Ùü›üß•ÖÌ” ¯ÖϳÖÖ¾Ö¿ÖÖ»Öß ×®Ö²Ö®¬Ö Ûêú »ÖêÜÖÛú ÛúÖ ®ÖÖ´Ö Æîü (A) ÃÖæÃÖ®Ö ²ÖÖÃÖ®Öê™ü (B) •ÖÖæÃÖ ›êü¸üß›ÌüÖ (C) ŸÖê•Ö×þ֮Öß ×®Ö¸Óü•Ö®ÖÖ (D) ‡™êü´Ö¸ü ‡¾Ö®Ö-•ÖÖêÆü¸ü 8. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ŸÖã»Ö®ÖÖŸ´ÖÛú ÃÖÖ×ÆüŸµÖ Ûêú õÖê¡Ö,

×ãÖ×ŸÖ †Öî¸ü ´ÖÖ®ÖÛúÖë Ûúß ×¸ü¯ÖÖê™Ôü ®ÖÆüà Æîü : (A) ²ÖÖÃÖ®Öê™ü ׸ü¯ÖÖê™Ôü (B) ²Öê¸ü®ÖÆüßµÖ¸ü ׸ü¯ÖÖê™Ôü (C) »Öê×¾Ö®Ö ×¸ü¯ÖÖê™Ôü (D) ÝÖÏß®Öê ׸ü¯ÖÖê™Ôü 9. ‘פü ÆüÖê¾Öß ¯ÖÖÙü ×´Ö›ü®ÖÖ‡™ü’ ÃÖ»Ö´ÖÖ Ûúß ŸÖ×´Ö»Ö

¸ü“Ö®ÖÖ ÛúÖ †ÓÝÖÏê•Öß †®Öã¾ÖÖ¤ü Æîü •ÖÖê ×ÛúµÖÖ Æîü (A) ÃÖ㮤ü¸ü ¸üÖ´ÖÖþÖÖ´Öß ®Öê (B) ÃÖã•ÖßŸÖ ´ÖãÜÖ•Öá ®Öê (C) »Öõ´Öß ÆüÖê´ÖÙÒüÖê´Ö (D) ‹.Ûêú. ¸üÖ´ÖÖ®Öã•Ö®Ö 10. ×®Ö´®Ö×»Ö×ÜÖŸÖ ×¾Ö׬ֵÖÖÑ ¯ÖÏÖ£Ö×´ÖÛú ºþ¯Ö ÃÖê ×¾ÖÂÖµÖ

ÃÖ´²Ö×®¬ÖŸÖ ¾ÖÝÖÖí ÃÖê ÃÖ´²Ö¨ü Æïü : (A) †®ÖãÛú»¯Ö (£Öß´ÖÖ™üÖê»ÖÖò•Öß) (B) ו֮ÖÖê»ÖÖò•Öß ‹¾ÖÓ ×ÆüÙÒüßµÖÖêÝÖÏÖ±úß (C) ¿Öî»Öß¿ÖÖÃ¡Ö (Ùüև׻Ö×ÙüŒÃÖ) (D) £Öß´ÖÖ™üÖê»ÖÖò•Öß ‹Þ›ü Ùüև׻Ö×ÙüŒÃÖ

ŸÖã»Ö®ÖÖŸ´ÖÛú ÃÖÖ×ÆüŸµÖ ¯ÖÏ¿®Ö¯Ö¡Ö – III

ÃÖæ“Ö®ÖÖ : ‡ÃÖ ¯ÖÏ¿®Ö¯Ö¡Ö ´Öë ¯Ö“ÖÆü¢Ö¸ü (75) ²ÖÆãü-×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … ¯ÖÏŸµÖêÛú ¯ÖÏ¿®Ö Ûêú ¤üÖê (2) †ÓÛú Æïü … ÃÖ³Öß ¯ÖÏ¿®Ö †×®Ö¾ÖÖµÖÔ Æïü …

Paper-III 4 J-72-13

11. A key theory in translation studies that challenges the hegemony of the source language and locates the translation firmly in the context of the target language space instead, is the

(A) Polyphony theory (B) Polyvalence theory (C) Multivalence theory (D) Polysystem theory 12. Homeric epithet is a combination of (A) Adjective and Noun (B) Two adjectives (C) Noun and Adverb (D) Adjective and Adverb 13. Vidyasagar’s Bhrantibilas is an

adaption of Shakespeare’s (A) Macbeth (B) Romeo and Juliet (C) The Tempest (D) Comedy of Errors 14. Gargantua and Pantagruel is (A) written by Montaigne during

the medieval period in France (B) written by Rabelais during

French Renaissance (C) written by Villon during early

Renaissance in France (D) written by Montaigne during

French Romanticism 15. The tripartite division of translation

into ‘metaphrase’, ‘paraphrase’ and ‘imitation’ was introduced by

(A) Alexander Pope (B) John Dryden (C) Walter Benjamin (D) Susan Bassnett

16. Which of the following languages was not covered by the original four volumes of the National Bibliography of Indian Literature 1901-1953 published by the Sahitya Akademi, but was part of the fifth volume, which was envisaged and added later to the series ?

(A) Kashmiri (B) Rajasthani (C) Sanskrit (D) Sindhi

17. Identify the author who is a double migrant :

(A) Rohinton Mistry (B) Shani Mootoo (C) Shyam Selvadurai (D) Anita Rau Badami

18. The philosopher whose deconstructionist critique of problems of origins, essence and presence caught the attention of critics who had grown disenchanted with New Criticism and structuralism, was

(A) Jacques Derrida (B) Michel Foucault (C) Mikhail Bakhtin (D) Roland Barthes

19. Bakhtin proposes the notion of (A) Heteroglossia (B) Zones of characters (C) (A) and (B) (D) None of them

20. Name the translator who infamously stated that the Persian poets he translated were not poets enough until he made them so

(A) William Jones (B) Charles Wilkins (C) Edward Fitzgerald (D) Rammohan Roy 21. Which of the following is one of the

definitive characteristics of the French School of Comparative Literature ?

(A) Stylistics (B) Polygenesis Studies (C) Influence Studies (D) Mythological Studies

J-72-13 5 Paper-III

11. †®Öã¾ÖÖ¤ü †¬µÖµÖ®Ö ÛúÖ ‹Ûú ¯ÖÏ´ÖãÜÖ ×ÃÖ¨üÖÓŸÖ •ÖÖê ÄÖÖêŸÖ ³ÖÖÂÖÖ Ûêú ¯ÖÏÖ¬ÖÖ®µÖ ÛúÖê “Öã®ÖÖîŸÖß ¤êüŸÖÖ Æîü †Öî¸ü ‡ÃÖÛêú ãÖÖ®Ö ¯Ö¸ü †®Öã¾ÖÖ¤ü ÛúÖê ÃÖ²Ö»ÖŸÖÖ ÃÖê »Ö×õÖŸÖ ³ÖÖÂÖÖ Ûêú ÃÖÓ¤ü³ÖÔ ´Öë ãÖÖ®Ö ¤êüŸÖÖ Æîü, µÖÆü ×ÃÖ¨üÖÓŸÖ Æîü

(A) ¯ÖÖê»Öß±úÖê®Öß £µÖÖê¸üß (B) ¯ÖÖê»Öß¾Öê»ÖëÃÖ £µÖÖê¸üß (C) ´Ö»™üß¾Öê»ÖëÃÖ £µÖÖê¸üß (D) ¯ÖÖê»Öß×ÃÖÙü´Ö £µÖÖê¸üß 12. ÆüÖê´Ö¸ü ÛúÖ ×¾Ö¿ÖêÂÖÛú (‹×¯Ö£Öê™ü) ÃÖ×´´ÖÁÖÞÖ Æîü (A) ×¾Ö¿ÖêÂÖÞÖ †Öî¸ü ÃÖÓ–ÖÖ ÛúÖ (B) ¤üÖê ×¾Ö¿ÖêÂÖÞÖÖë ÛúÖ (C) ÃÖÓ–ÖÖ †Öî¸ü ×ÛÎúµÖÖ ×¾Ö¿ÖêÂÖÞÖ ÛúÖ (D) ×¾Ö¿ÖêÂÖÞÖ †Öî¸ü ×ÛÎúµÖÖ ×¾Ö¿ÖêÂÖÞÖ ÛúÖ 13. ×¾ÖªÖÃÖÖÝÖ¸ü ÛúÖ ‘³ÖÏÖÓןÖײֻÖÖÃÖ’ ¿ÖêŒÃÖׯֵָü Ûêú

×ÛúÃÖ ®ÖÖ™üÛú ÛúÖ ºþ¯ÖÖ®ŸÖ¸üÞÖ Æîü ? (A) ´ÖÖê£Ö (B) ¸üÖê×´Ö†Öê ‹Þ›ü •Öæ×»ÖµÖ™ü (C) פü ™îü´¯ÖêÙü (D) ÛúÖò´Öê›üß †Öò±ú ‹¸Ôü¸ü•Ö 14. ÝÖÝÖÔ®Ö™ãü†Ö (Gargantua) ‹Þ›ü ¯Öë™üÖÝÖºþ†»Ö

(Pantagruel) Æîü (A) ´Ö¬µÖ µÖãÝÖß®Ö ±ÏúÖÓÃÖ ´Öë ´ÖÖë™êü®Ö «üÖ¸üÖ ×»Ö×ÜÖŸÖ

¸ü“Ö®ÖÖ (B) ±Ïëú“Ö ®Ö¾Ö •ÖÖÝÖ¸üÞÖ Ûêú ¤üÖî¸üÖ®Ö ¸üÖ²Öê»ÖîÃÖ «üÖ¸üÖ

×»Ö×ÜÖŸÖ ¸ü“Ö®ÖÖ (C) ±ÏúÖÓÃÖ Ûêú ¯ÖÏÖ¸ü×´³ÖÛú ®Ö¾Ö •ÖÖÝÖ¸üÞÖ Ûêú ¤üÖî¸üÖ®Ö

×¾Ö»ÖÖê®Ö «üÖ¸üÖ ¸ü×“ÖŸÖ ¯ÖãßÖÛú (D) ±Ïëú“Ö ¸üÖê´ÖÖÓÃÖ¾ÖÖ¤ü Ûêú ¤üÖî¸üÖ®Ö ´ÖÖë™êü®Ö «üÖ¸üÖ

×»ÖÜÖß ¸ü“Ö®ÖÖ 15. †®Öã¾ÖÖ¤ü Ûêú סÖ-¯ÖõÖßµÖ ×¾Ö³ÖÖ•Ö®Ö - ºþ¯ÖÖ®ŸÖ¸üÞÖ,

³ÖÖ¾ÖÖ®Öã¾ÖÖ¤ü †Öî¸ü †®ÖãÛéú×ŸÖ - ÛúÖ ¯ÖÏÖ¸ü´³Ö ×ÛúÃÖ®Öê ×ÛúµÖÖ ?

(A) †»ÖŒ•ÖêÞ›ü¸ü ¯ÖÖê¯Ö (B) •ÖÖÆü®Ö ›ÒüÖ‡›ü®Ö (C) ¾ÖÖ»™ü¸ü ²Öë•ÖÖ×´Ö®Ö (D) ÃÖæÃÖ®Ö ²ÖÖÃÖ®Öê™Ëü™

16. ×®Ö´®Ö×»Ö×ÜÖŸÖ ³ÖÖÂÖÖ†Öë ´Öë ÃÖê ®Öê¿Ö®Ö»Ö ײֲÖ×»ÖµÖÖêÝÖÏÖ±úß †Öò±ú ‡Ó×›üµÖ®Ö ×»Ö™ü¸êü“Ö¸ü (1901-1953) Ûêú “ÖÖ¸ü ÜÖÞ›üÖë ´Öë ×ÛúÃÖ ³ÖÖÂÖÖ ÛúÖê ”ûÖê›ÌüÖ ÝÖµÖÖ Æîü ?

(A) Ûú¿´Ö߸üß (B) ¸üÖ•ÖãÖÖ®Öß (C) ÃÖÓÃÛéúŸÖ (D) ØÃÖ¬Öß

17. ˆÃÖ »ÖêÜÖÛú Ûúß ¯ÖÆü“ÖÖ®Ö Ûúßו֋ •ÖÖê ¤üÖêÆü¸üÖ ¯ÖϾÖÖÃÖß Æîü

(A) ¸üÖê×Æü®Ö™ü®Ö ×´ÖáÖß (B) ¿Ö×®Ö ´Öã¼èü (C) ¿µÖÖ´Ö ÃÖ껾ÖÖ¤ãü¸üÖµÖ (D) †×®ÖŸÖÖ ¸üÖˆ ²ÖÖ¤üÖ´Öß

18. ¾ÖÆü ¤üÖ¿ÖÔ×®ÖÛú, וÖÃÖÛúß ´Öæ»Ö, ´ÖÆü¢¾Ö †Öî¸ü ˆ¯Ö×ãÖ×ŸÖ Ûúß ÃÖ´ÖõÖÖ†Öë Ûúß ×¾ÖÃÖÓ¸ü“Ö®ÖÖŸ´ÖÛú ÃÖ´ÖßõÖÖ ®Öê ˆ®Ö †Ö»ÖÖê“ÖÛúÖë ÛúÖ ¬µÖÖ®Ö †ÖÛúÙÂÖŸÖ ×ÛúµÖÖ •ÖÖê ®Ö¾Ö †Ö»ÖÖê“Ö®ÖÖ ‹¾ÖÓ ÃÖÓ̧ ü“Ö®ÖÖ¾ÖÖ¤ü ÃÖê ×¾ÖÛúÙÂÖŸÖ ÆüÖê “ÖãÛêú £Öê, £ÖÖ

(A) •ÖêÛúÃÖ ›êü¸üß›üÖ (B) ´ÖÖ‡Ûêú»Ö ±úÖîÛúÖ»™ü (C) ×´ÖÜÖî»Ö ²ÖÜÖ×ŸÖ®Ö (D) ¸üÖê»ÖÖÞ›ü ²ÖÖ£ÖìÃÖ

19. ²ÖÜÖ×ŸÖ®Ö ®Öê ×ÛúÃÖ ×ÃÖ¨üÖÓŸÖ ÛúÖ ¯ÖÏßÖÖ¾Ö ×ÛúµÖÖ Æîü ? (A) Æêü×™ü¸üÖêÝ»ÖÖê×ÃÃÖµÖÖ (B) ¯ÖÖ¡Ö ´ÖÞ›ü»Ö (C) (A) †Öî¸ü (B) (D) ˆ¯Ö¸üÖêŒŸÖ ´Öë ÃÖê ÛúÖê‡Ô ®ÖÆüà

20. µÖÆü ×ÛúÃÖ †®Öã¾ÖÖ¤üÛú ®Öê †¯ÖÛúßÙŸÖ¯ÖæÞÖÔ Ûú£Ö®Ö ×ÛúµÖÖ £ÖÖ ×Ûú ×•Ö®Ö ±úÖ¸üÃÖß Ûêú Ûú×¾ÖµÖÖë ÛúÖ ˆÃÖ®Öê †®Öã¾ÖÖ¤ü ×ÛúµÖÖ, ¾Öê ˆÃÖÃÖê ¯Öæ¾ÖÔ ¾Öê ¯ÖÏ×ÃÖ¨ü Ûú×¾Ö ®ÖÆüà £Öê, ו֮֟Öß ˆ®ÖÛúß ¯ÖÏ×ÃÖרü †®Öã¾ÖÖ¤ü Ûêú ¯Ö¿“ÖÖŸÖ Æãü‡Ô ?

(A) ×¾Ö×»ÖµÖ´Ö •ÖÖê®ÖÃÖ (B) “ÖÖ»ÃÖÔ ×¾Ö»Ö×Ûú®ÖÃÖ (C) ‹›ü¾Ö›Ôü ×±ú™Ëü•ÖÌÝÖî¸ü»Ö›ü (D) ¸üÖ´Ö´ÖÖêÆü®Ö ¸üÖµÖ

21. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ±Ïëú“Ö ÃÛæú»Ö †Öò±ú ÛúÖò´¯Öî׸ü×™ü¾Ö ×»Ö™ü¸êü“Ö¸ü ÛúÖ ×®Ö¿“ÖµÖÖŸ´ÖÛú »ÖõÖÞÖ Æîü :

(A) ¿Öî»Öß¿ÖÖÃ¡Ö (B) ²ÖÆãü ´Öæ»Ö•ÖŸÖÖ †¬µÖµÖ®Ö (C) ¯ÖϳÖÖ¾Ö †¬µÖµÖ®Ö (D) ×´Ö×£ÖÛú †¬µÖµÖ®Ö

Paper-III 6 J-72-13

22. The common element is early Bangla and Ahamiya literature is

(A) Namah texts (B) Charyapadas (C) Krittibas’ Ramayana (D) Sri Chaitanya Charitamrita 23. G.K. Chisterton’s “After Walt

Whitman” is _______ (A) a parody of Whitman’s themes (B) a caricature of Whitman’s

persona (C) a tribute to Whitman’s

clairvoyance (D) a parody of Whitman’s style 24. Which of the following is , in sum,

Paul de Man’s thesis in such books as Blindness & Insight and Allegories of Reading ?

(A) In all things that speech can express, these are two elements – the outward or instrumental and the real or spiritual.

(B) What literature “knows” is that knowledge is a paretic, that is, unavailable, because it is subject to a double bind. We cannot have access to the truth that we seek in literature; and this is literature’s truth.

(C) Canonical works take the measure of the reader by means of their authority; their capacity to rebuke, baffle, and thwart us, as well as surprise us with unexpected, astonishing power. Even at its most frustrating, the canonical work draws us on; in our fascination, we remain loyal to it.

(D) In the struggle for the allegiance of the reading public, the established poetics can point to prestigious finished products whereas the adherents of the new poetics cannot yet do so. Consequently, the challenges being to import their own ‘finished products’.

25. “From country to popular” is the subtitle of a volume of which series on Indian Literary history ?

(A) A History Of Indian Literature (B) The Oral Tradition in India (C) Literary History of India (D) India : Her Literature and

Culture 26. The Pleiade is (i) A cluster of stars (ii) a group of 18th century French

poets (iii) A group of seven Alexandrian

poets and tragedians. (A) only (i) is correct. (B) only (ii) is correct. (C) (i) and (iii) are correct. (D) (ii) and (iii) are correct. 27. Who is the author of Dhvanyaloka ? (A) Jagannatha (B) Bharata (C) Mammata (D) Anandavardhana 28. Novels that breach the template are

held by reception aesthetics to be (A) discursively constructed (B) extending the horizon of

expectation (C) creating estrangement (D) canonically correct 29. Miss Leela Benare is the protagonist

of which of these plays ? (A) Evam Indrajit (B) Ghasiram Kotwal (C) Adhe Adhure (D) Silence ! The Court is in Session 30. “The theorist who took it upon

himself to” distinguish between what is social from what is individual in language, and what is essential from what is ancillary was

(A) Eugene Nida (B) Ferdinand de Saussure (C) Roland Barthes (D) Roman Jacobson

J-72-13 7 Paper-III

22. ¯ÖÏÖ¸ü×´³ÖÛú ²ÖÓÝ»ÖÖ †Öî¸ü †Æü×´ÖµÖÖ ÃÖÖ×ÆüŸµÖÖë ´Öë ÃÖÖ´µÖÖ ŸÖ¢¾Ö Æîü

(A) ®ÖÖ´ÖÖÆü ¯ÖãßÖÛëú (™îüŒÃÖ™üÃÖ) (B) “ÖÖµÖÖÔ¯Ö¤ü (C) ÛéúןֲÖÖÃÖ ¸üÖ´ÖÖµÖÞÖ (D) ÁÖß “ÖîŸÖ®µÖ “Ö׸üŸÖÖ´ÖéŸÖ 23. •Öß.Ûêú. “ÖêÙü¸üÃÖ®Ö ÛéúŸÖ ‘†Ö±ú™ü¸ü ¾ÖÖ»™ü ×¾ÖÆü™ü´Öî®Ö’ Æîü (A) ×¾ÖÆü™ü´Öî®Ö Ûêú ×¾ÖÂÖµÖÖë ¯Ö¸ü ×¾Ö›ü´²Ö®Ö ÛúÖ¾µÖ (B) ×¾ÖÆü™ü´Öî®Ö Ûêú ¯ÖÖ¡ÖÖë ÛúÖ ×¾Öºþ¯Ö ×“Ö¡Ö (C) ×¾ÖÆü™ü´Öî®Ö Ûúß †ŸÖàצüµÖ-¥ü×™ü ÛúÖê ÁÖ¨üÖÓ•Ö×»Ö (D) ×¾ÖÆü™ü´Öî®Ö Ûúß ¿Öî»Öß ÛúÖ ×¾Ö›ü´²Ö®Ö ÛúÖ¾µÖ 24. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê, ‘²Ö»ÖÖ‡Ô›ü®ÖêÃÖ ‹Þ›ü ‡®ÖÃÖÖ‡™ü

‹Þ›ü ‹×»ÖÝÖÖê¸üßÃÖ †Ö±ú ׸üØ›üÝÖ’ Ûãú»Ö ×´Ö»ÖÖÛú¸ü, ¯ÖÖ»Ö ›üß ´ÖÖò®Ö ÛúÖ µÖÆü ¯ÖõÖ Æîü :

(A) ¾Öê ÃÖ³Öß ¾ÖßÖã‹Ñ •ÖÖê ¾ÖÖÛËú «üÖ¸üÖ †×³Ö¾µÖŒŸÖ ÆüÖê ÃÖÛúŸÖß Æïü, ˆÃÖÛêú ¤üÖê ŸÖ¢¾Ö Æïü - ²ÖÖÊ †£Ö¾ÖÖ ÃÖÖ¬Ö®ÖÖŸ´ÖÛú †Öî¸ü ¾ÖÖßÖ×¾ÖÛú †£Ö¾ÖÖ †Ö¬µÖÖן´ÖÛú

(B) ŒµÖÖ ÃÖÖ×ÆüŸµÖ ‘knows’ •ÖÖ®ÖŸÖÖ Æîü, µÖÆü ¾ÖÆü –ÖÖ®Ö Æîü •ÖÖê ÃÖÓ¿Ö¯ÖÖ»Öã Æîü, •ÖÖê †¯ÖÏÖ¯µÖ Æîü, ŒµÖÖë×Ûú ‡ÃÖ ¯Ö¸ü ‹Ûú ¤üÖê Æüß ²Ö®¬Ö®Ö Ûúß ¿ÖŸÖÔ Æîü … Æü´ÖÖ¸üß ˆÃÖ ÃÖŸµÖ ŸÖÛú ¯ÖÆãÑü“Ö ®ÖÆüà ÆüÖê ÃÖÛúŸÖß ×•ÖÃÖê Æü´Ö ÃÖÖ×ÆüŸµÖ ´Öë œæÑüœüŸÖê Æïü †Öî¸ü µÖÆü Æîü ÃÖÖ×ÆüŸµÖÛúÖ¸ü ÛúÖ ÃÖŸµÖ …

(C) ÃÖî¨üÖÓןÖÛú ¸ü“Ö®ÖÖ‹Ñ †¯Ö®Öê †×¬ÖÛúÖ¸üÖë «üÖ¸üÖ ¯ÖÖšüÛú Ûêú ÃÖÖ´Ö£µÖÔ ÛúÖê ´ÖÖ¯ÖŸÖß Æïü; ˆ®ÖÛêú ˆ¯ÖÖ»Ö´²Ö, ˆ»Ö—ÖÖ®Öê †Öî¸ü Æü´Öê ˆÜÖÖ›ü®Öê ÛúÖ ˆ®ÖÛúÖ ÃÖÖ´Ö£µÖÔ †Öî¸ü ‡ÃÖÛêú ÃÖÖ£Ö ÃÖÖ£Ö †®ÖÖ¯Öê×õÖŸÖ, †Ö¿“ÖµÖÔ“Ö×ÛúŸÖ ¿Ö׌ŸÖ ÃÖê Æü´Öë ×¾Ö×Ã´ÖŸÖ Ûú¸ü®ÖÖ, µÖª×¯Ö µÖÆü ×ÛúŸÖ®ÖÖ ³Öß ÆüŸÖÖêŸÃŸÖÖ×ÆüŸÖ Ûú¸ü®Öê ¾ÖÖ»ÖÖ ŒµÖÖë ®Ö ÆüÖê, Æü´Öê †Öî¸ü ÃÖî¨üÖÓןÖÛú ¸ü“Ö®ÖÖ †¯Ö®Öê †ÖÛúÂÖÔÞÖ ÃÖê Æü´Öê †ÖÝÖê ²ÖœüÖŸÖß ¸üÆüŸÖß Æîü … Æü´Ö ˆÃÖÛêú ¯ÖÏ×ŸÖ ¾Ö±úÖ¤üÖ¸ü ²Ö®Öê ¸üÆüŸÖê Æïü …

(D) ¯ÖÖšüÛú•Ö®ÖÖë Ûúß ×®ÖšüÖ Ûêú ÃÖÓ‘ÖÂÖÔ ´Öë ãÖÖ×¯ÖŸÖ ÛúÖ¾µÖ¿ÖÖÃ¡Ö ÝÖÖî¸ü¾Ö¯ÖæÞÖÔ ¯Ö׸üÃÛéúŸÖ ¸ü“Ö®ÖÖ†Öë Ûúß †Öê¸ü ÃÖÓÛêúŸÖ Ûú¸ü ÃÖÛúŸÖê Æïü •Ö²Ö×Ûú ®Ö¾Ö ÛúÖ¾µÖ¿ÖÖÃ¡Ö Ûêú ÃÖ´Ö£ÖÔÛú †³Öß ‹êÃÖÖ ®ÖÆüà Ûú¸ü ÃÖÛúŸÖê … ±ú»ÖŸÖ: “Öã®ÖÖîןֵÖÖë ÃÖê †¯Ö®Öß ¯Ö׸üÃÛéúŸÖ ¸ü“Ö®ÖÖ†Öë ÛúÖ †ÖµÖÖŸÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê •ÖÖŸÖÖ Æîü …

25. ‡Ó×›üµÖ®Ö ×»Ö™ü¸êü¸üß ×ÆüÙÒüß ÀÖéÓÜÖ»ÖÖ Ûêú ×ÛúÃÖ ÜÖÞ›ü ÛúÖ ‘±ÏúÖế Ö ÛÓú™ü̧ üß ™ãü ¯ÖÖ¯Öã»Ö ü̧’ ®ÖÖ´ÖÛú ˆ¯Ö¿ÖßÂÖÔÛú Æîü ?

(A) ‹ ×ÆüÙü¸üß †Öò±ú ‡Ó×›üµÖ®Ö ×»Ö™ü¸êü“Ö¸ü (B) פü †Öê¸ü»Ö ™ÒüÖ×›ü¿Ö®Ö ‡®Ö ‡Ó×›üµÖÖ (C) ×»Ö™ü¸êü¸üß ×ÆüÙü¸üß †Öò±ú ‡Ó×›üµÖÖ (D) ‡Ó×›üµÖÖ : Æü¸ü ×»Ö™ü¸êü“Ö¸ü ‹Þ›ü Ûú»Ö“Ö¸ü 26. ÛéúןÖÛú (¯»ÖÖ‡†›ü) Æîü (i) ×ÃÖŸÖÖ¸üÖë ÛúÖ ÃÖ´ÖæÆü (ii) 18¾Öà ¿ÖŸÖß ÛúÖ ±Ïëú“Ö Ûú×¾Ö-ÃÖ´ÖæÆü (iii) ÃÖÖŸÖ †»ÖîÝ•ÖîÞ›ü׸üµÖ®Ö Ûú×¾ÖµÖÖë †Öî¸ü

¡ÖÖÃÖ¤üß ®ÖÖ™üÛúÛúÖ¸üÖë ÛúÖ ‹Ûú ÃÖ´ÖæÆü (A) Ûêú¾Ö»Ö (i) ÃÖÆüß Æîü … (B) Ûêú¾Ö»Ö (ii) ÃÖÆüß Æîü … (C) (i) †Öî¸ü (iii) ÃÖÆüß Æïü … (D) (ii) †Öî¸ü (iii) ÃÖÆüß Æïü … 27. ‘¬¾Ö®µÖ»ÖÖêÛú’ ÛúÖ »ÖêÜÖÛú ÛúÖî®Ö Æïü ? (A) •ÖÝÖ®®ÖÖ£Ö (B) ³Ö¸üŸÖ (C) ´Ö´´Ö™ü (D) †Ö®Ö®¤ü¾Ö¬ÖÔ®Ö 28. •ÖÖê ˆ¯Ö®µÖÖÃÖ œüÖÑ“Öê ÛúÖê ŸÖÖê›ÌüŸÖê Æïü, ˆ®ÖÛúÖ Ã¾ÖÖÝÖŸÖ,

×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê, ×ÛúÃÖ ºþ¯Ö ´Öë ×ÛúµÖÖ •ÖÖŸÖÖ Æîü ?

(A) ŸÖÛÔú ´Öæ»ÖÛú ºþ¯Ö ´Öë ÃÖÓ¸ü×“ÖŸÖ (B) †Ö¿ÖÖ Ûêú ×õÖ×ŸÖ•Ö ÛúÖ ×¾ÖßÖÖ ü̧ Ûú ü̧®Öê ¾ÖÖ»ÖÖ (C) †•Ö®Ö²Öß¯Ö®Ö ÛúÖ †ÆüÃÖÖÃÖ ¯Öî¤üÖ Ûú¸ü®Öê ¾ÖÖ»ÖÖ (D) ×ÃÖ¨üÖÓŸÖÖë ¯Ö¸ü ÜÖ¸üÖ 29. ×´ÖÃÖ »Öß»ÖÖ ²Öê®ÖÖ¸êü, ×®Ö´®Ö×»Ö×ÜÖŸÖ ®ÖÖ™üÛúÖë ´Öë ÃÖê,

×ÛúÃÖ ®ÖÖ™üÛú Ûúß ¯ÖõÖ¯ÖÖêÂÖÛú Æîü ? (A) ‹¾Ö´ÖË ‡®¦ü×•ÖŸÖ (B) ‘ÖÖÃÖ߸üÖ´Ö ÛúÖêŸÖ¾ÖÖ»Ö (C) †Ö¬Öê †¬Öæ¸êü (D) ÃÖÖ‡»ÖëÃÖ ! פü ÛúÖê™Ôü ‡•Ö ‡®Ö ÃÖê¿Ö®Ö 30. ¾ÖÆü ×ÃÖ¨üÖÓŸÖ¾ÖÖ¤üß, וÖÃÖ®Öê µÖÆü †¯Ö®Öê וִ´Öê ×»ÖµÖÖ

£ÖÖ ×Ûú ³ÖÖÂÖÖ ´Öë ¾ÖîµÖ׌ŸÖÛú ÃÖê ÃÖÖ´ÖÖוÖÛú †Öî¸ü ÃÖÆüÖµÖÛú ÃÖê †×®Ö¾ÖÖµÖÔ Ûêú ²Öß“Ö ³Öê¤ü Ûú¸êüÝÖÖ, £ÖÖ

(A) ‡µÖæ•Öß®Ö ×®Ö›üÖ (B) ±ú›üá®ÖÖÓ›ü ›üß ÃÖÖÃÖ¾Ö¸êü (C) ¸üÖê»ÖÖÞ›ü ²ÖÖ£ÖìÃÖ (D) ¸üÖê´Ö®Ö •ÖêÛú²ÖÃÖ®Ö

Paper-III 8 J-72-13

31. Name the 1958 work that applied structuralist and semiological methods to a range of non-literary texts such as wrestling, food and fashion

(A) S/Z (B) The Pleasure of the Text (C) Mythologies (D) Writing Degree Zero

32. The European poet who compared his own poetic style with that of Pinder in the lines “Julus, whoever rivals Pindar……” was

(A) Roousard (B) Harace (C) Catullus (D) Villon

33. The Loeb Classical Library is known to provide comparative literary scholars with __________.

(A) original classics in unexpurgated format

(B) literary translations of classics (C) literal translations of classics (D) original classics, edited, with

notes and lists of sources

34. Identify the Booker Prize awardee from the list below, who was not born in India.

(A) Arundhati Ray (B) Salman Rushdie (C) V.S. Naipaul (D) Aravind Adiga

35. Babaji Nataka (i) is considered by many as the

first Oriya play. (ii) has been translated into English

as The Holy Man. (iii) is written in colloquial 19th

century Oriya. (iv) has several characters who

speak Bangla, Hindi and English.

(A) (i), (ii) and (iii) are correct. (B) (i), (ii) and (iv) are correct. (C) only (i) is correct. (D) (i), (ii), (iii) and (iv) are correct.

36. Uttararamacaritam was a famous play of

(A) Bhavabhuti (B) Kalidasa (C) Shudraka (D) Banabhatta 37. The name of Faulkner’s novel The

Sound and the Fury has been taken from

(A) Othello (B) King Lear (C) Hamlet (D) MacBeth 38. Ovid’s Metamorphoses contains (A) a collection of religious sayings (B) a collection of myths (C) a collection of parables (D) a collection of poems on

ancient European civilization 39. Identify the book which does not fall

under the category of diasporic literature

(A) Can you Hear the Nightbird call ?

(B) The Oath of the Vayuputras (C) Interpreter of Maladies (D) The Sorrow and the Terror 40. Identify the one which is not a

historical novel : (A) Ivanhoc (B) The Hunchback of Notre Dame (C) War and Peace (D) Moby Dick 41. The Order of Things is a book by (A) Roland Barthes (B) Michel Foucault (C) Jacques Derrida (D) Ngugi wa Thiongo

J-72-13 9 Paper-III

31. 1958 ´Öë ¯ÖÏÛúÖ×¿ÖŸÖ ¸ü“Ö®ÖÖ ×•ÖÃÖ´Öë ÝÖî¸ü ÃÖÖ×ÆüןµÖÛú ´Öæ»Ö-¯ÖÖšüÖë Ûúß ÀÖéÓÜÖ»ÖÖ µÖ£ÖÖ ´Ö»ÖµÖã¨ü, ÜÖÖª ‹¾ÖÓ ±îú¿Ö®Ö Ûêú ×»Ö‹ ÃÖÓ¸ü“Ö®ÖÖŸ´ÖÛú ‹¾ÖÓ ÃÖÓÛêúŸÖÖŸ´ÖÛúŸÖÖ Ûêú ¤ÓüÝÖÖê ÛúÖê †¯Ö®ÖÖµÖÖ ÝÖµÖÖ Æîü

(A) ‹ÃÖ/•Öê›ü (B) פü ¯»Öî•Ö¸ü †Ö±ú פü ™êüŒÃÖ™ü (C) ´Öî£ÖÖê»ÖÖê•ÖßÃÖ (D) ¸üÖ‡™üàÝÖ ×›üÝÖÏß •ÖÌ߸üÖê 32. ‹Ûú µÖæ¸üÖê×¯ÖµÖ®Ö Ûú×¾Ö ×•ÖÃÖ®Öê †¯Ö®Öß ÛúÖ¾µÖ ¿Öî»Öß

Ûúß ŸÖã»Ö®ÖÖ Ø¯Ö›ü¸ü ÃÖê ‡®Ö ¯ÖÓ׌ŸÖµÖÖë ´Öë Ûúß – “•Öæ×»ÖµÖÃÖ, •ÖÖê ׯÖÞ›üß ÃÖê †¯Ö®Öß ŸÖã»Ö®ÖÖ Ûú ȩ̂üÝÖÖ…..” ¾ÖÆü Ûú×¾Ö £ÖÖ

(A) ¸üÖîÃÖÖ›Ôü (B) ÆüÖê¸êüÃÖ (C) Ûêú™ãü»»ÖÃÖ (D) ×¾Ö»ÖÖê®Ö 33. »ÖÖê‹²Ö Œ»ÖÖ×ÃÖÛú»Ö »ÖÖ‡²ÖÎê¸üß ŸÖã»Ö®ÖÖŸ´ÖÛú

ÃÖÖ×ÆüןµÖÛú ×¾Ö«üÖ®ÖÖë ÛúÖê µÖÆü ¤êü®Öê Ûêú ×»Ö‹ •ÖÖ®Öß •ÖÖŸÖß Æîü

(A) ´Öæ»Ö Œ»ÖÖ×ÃÖÛú»Ö, ÃÖ´¯ÖæÞÖÔ ºþ¯Ö ´Öë (B) Œ»ÖÖ×ÃÖŒÃÖ Ûêú ÃÖÖ×ÆüןµÖÛú †®Öã¾ÖÖ¤ü (C) Œ»ÖÖ×ÃÖŒÃÖ Ûêú ¿ÖÖײ¤üÛú †®Öã¾ÖÖ¤ü (D) ´Öæ»Ö Œ»ÖÖ×ÃÖŒÃÖ, ÃÖ´¯ÖÖפüŸÖ, ×™ü¯¯Ö×ÞÖµÖÖë

ÃÖ×ÆüŸÖ †Öî¸ü ÄÖÖêŸÖ ÃÖæ“Öß 34. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ²ÖæÛú¸ü ¯Öã¸üÃÛúÖ¸ü ×¾Ö•ÖêŸÖÖ, •ÖÖê

³ÖÖ¸üŸÖ ´Öë ¯Öî¤üÖ ®ÖÆüà Æãü†Ö £ÖÖ, Ûúß ¯ÖÆü“ÖÖ®Ö Ûúßו֋ … (A) †ºþ®¬Ö×ŸÖ ¸êü (B) ÃÖ»Ö´ÖÖ®Ö ¸ü¿Ö¤üß (C) ¾Öß.‹ÃÖ. ®ÖîµÖ¯ÖÖò»Ö (D) †¸ü×¾Ö®¤ü †×›üÝÖÖ 35. ‘²ÖÖ²ÖÖ•Öß ®ÖÖ™üÛú’ ÛúÖê (i) ²ÖÆãüŸÖÖë ®Öê ‡ÃÖê ˆ×›ÌüµÖÖ ÛúÖ ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ®ÖÖ™üÛú

´ÖÖ®ÖÖ Æîü … (ii) ‡ÃÖê †ÓÝÖÏê•Öß ´Öë †®ÖãפüŸÖ ×ÛúµÖÖ Æîü †Öî¸ü

‡ÃÖÛúÖ ¿ÖßÂÖÔÛú Æîü ÆüÖê»Öß ´Öî®Ö (iii) ‡ÃÖê 19¾Öà ¿ÖŸÖß Ûúß ²ÖÖê»Ö“ÖÖ»Ö Ûúß ˆ×›ÌüµÖÖ

´Öë ×»ÖÜÖÖ ÝÖµÖÖ Æîü … (iv) ‡ÃÖ´Öë Ûú‡Ô ¯ÖÖ¡Ö Æïü •ÖÖê ²ÖÓÝ»ÖÖ, ØÆü¤üß †Öî¸ü

†ÓÝÖÏê•Öß ²ÖÖê»ÖŸÖê Æïü … (A) (i), (ii) †Öî¸ü (iii) ÃÖÆüß Æïü … (B) (i), (ii) †Öî¸ü (iv) ÃÖÆüß Æïü … (C) Ûêú¾Ö»Ö (i) ÃÖÆüß Æîü … (D) (i), (ii), (iii) †Öî¸ü (iv) ÃÖÆüß Æïü …

36. ‘ˆ¢Ö¸ü¸üÖ´Ö“Ö׸üŸÖ´ÖË’ ‹Ûú ÃÖã¯ÖÏ×ÃÖ¨ü ®ÖÖ™üÛú Æîü וÖÃÖÛêú ®ÖÖ™üÛúÛúÖ¸ü Æïü

(A) ³Ö¾Ö³Öæ×ŸÖ (B) ÛúÖ×»Ö¤üÖÃÖ (C) ¿Öã¦üÛúÖ (D) ²ÖÖÞÖ³Ö¼ü 37. ±úÖÛú®Ö¸ü Ûêú ˆ¯Ö®µÖÖÃÖ ‘פü ÃÖÖˆÓ›ü ‹Þ›ü פü °µÖæ¸üß’

ÛúÖ ®ÖÖ´Ö ×ÛúÃÖ ¸ü“Ö®ÖÖ ÃÖê ×»ÖµÖÖ ÝÖµÖÖ Æîü ? (A) †Öê£Öê»ÖÖê (B) ØÛúÝÖ ×»ÖµÖ¸ü (C) Æîü´Ö»Öê™ü (D) ´ÖÖê£Ö 38. †Öê×¾Ö›üÃÖ ´Öê™üÖ´ÖÖ¸ü±úÖêÃÖÃÖ ´Öë ÃÖ×´´Ö×»ÖŸÖ Æîü (A) ‹Ûú ¬ÖÖÙ´ÖÛú ÃÖæ׌ŸÖµÖÖë ÛúÖ ÃÖÓÝÖÏÆü (B) ‹Ûú ×´Ö×£ÖÛú ÃÖÓÝÖÏÆü (C) ®Öß×ŸÖ Ûú£ÖÖ†Öë (¯Öî™üÖ²Ö»ÖÃÖ) ÛúÖ ‹Ûú ÃÖÓÝÖÏÆü (D) ¯Öã¸üÖ¢Ö®Ö µÖÖê¸üÖê×¯ÖµÖ®Ö ÃÖ³µÖŸÖÖ ÃÖ´²Ö®¬Öß

Ûú×¾ÖŸÖÖ†Öë ÛúÖ ‹Ûú ÃÖÓÝÖÏÆü 39. ×®Ö´®Ö×»Ö×ÜÖŸÖ ¯ÖãßÖÛúÖë ´Öë ÃÖê ˆÃÖ ¯ÖãßÖÛú Ûúß

¯ÖÆü“ÖÖ®Ö Ûúßו֋ •ÖÖê ‘›üÖµÖÃÖ¯ÖÖê׸üÛú ÃÖÖ×ÆüŸµÖ’ Ûúß ÛúÖê×™ü ´Öë ®ÖÆüà †ÖŸÖß ?

(A) Ûîú®Ö µÖæ ×ÆüµÖ¸ü פü ®ÖÖ‡™ü²Ö›Ôü ÛúÖ»Ö ? (B) פü †Öê£Ö †Ö±ú פü ¾ÖÖµÖã¯Öã¡ÖÖÃÖ (C) ‡Þ™ü¸ü¯ÖÏê™ü¸ü †Ö±ú ´Öî×»Ö›üßÃÖ (D) פü ÃÖÖò¸üÖê ‹Þ›ü פü ™îü¸Ôü¸ü 40. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ ‹êןÖÆüÖ×ÃÖÛú ˆ¯Ö®µÖÖÃÖ

®ÖÆüà Æîü ? (A) †Ö‡¾ÖÖ®ÖÆüÖê (B) פü ÆÓü“Ö²ÖîÛú †Ö±ú ®ÖÖ™Òêü ›êü´Ö (C) ¾ÖÖ¸ü ‹Þ›ü ¯ÖßÃÖ (D) ´ÖÖê²Öß ×›üÛú 41. ¤üß †Ö›Ôü¸ü †Öò±ú Ø£ÖÝÖ•ÖÌ ÛúÖ »ÖêÜÖÛú Æîü (A) ¸üÖê»ÖÖÞ›ü ²ÖÖ£ÖìÃÖ (B) ×´Ö¿Öê»Ö ±æúÛúÖê (C) •ÖêÛúÃÖ ›êü¸üß›ÌüÖ (D) ®ÝÖæÝÖß ¾ÖÖ ×£ÖµÖÖëÝÖÖê

Paper-III 10 J-72-13

42. Aayatollah Khomeini had declared a ‘fatwa’ on

(A) Arundhati Ray for “God of Small Things”

(B) Salman Rushdie for Midnight’s Children

(C) Salman Rushdie for The Satanic Verses

(D) Amitav Ghosh for River of Smoke

43. The Cherry Orchard was written by (A) Moliere in French (B) Chekhov in Russian (C) Heine in German (D) Chekhov in Polish 44. Who declared that the “unconscious

is structured like a language” ? (A) Jacques Lacan (B) Ferdinand de Saussure (C) Roman Jacobson (D) Sigmund Freud 45. The greatest theorist of tragicomedy

was (A) Giovani de Bernardo (B) Battista Guarini (C) John Dryden (D) Joseph Addison 46. “Translation as Perjury” is an essay by (A) Rammohan Roy (B) N. Kamala (C) Anisur Rahman (D) Sujit Mukherjee 47. Counterpoints is written by (A) Ipshita Chanda (B) Nabaneeta Dev Sen (C) Chandra Mohan (D) Ajeet Kaur 48. Jean-Paul Sartre’s The Flies borrows

its theme from (A) Sophocles (B) Aristophanes (C) Homer (D) Aeschylus

49. The first department of comparative literature was started at

(A) Jadavpur University (B) Calcutta University (C) Delhi University (D) University of Kerala 50. Which of the following writers is not

a Nobel Laureate ? (A) John Steinbeck (B) Jean-Paul Sartre (C) Leo Tolstoy (D) Harold Pinter 51. “Why Comparative Indian Literature ?”

is an essay by (A) R.K. Dasgupta (B) Amiya Dev (C) Swapan Majumdar (D) Sisir Kumar Das 52. Who among the following cannot be

subsumed under the category, American Transcendentalists ?

(A) Walt Whitman (B) Ralph Waldo Emerson (C) Emily Dickinson (D) Henry David Thoreau 53. Friedrich Schlegel was a major figure

of (A) Early German classicism (B) Medieval German Literature (C) The Storm and Drang

Movement (D) German Romanticism 54. The English Novel Rajmohan’s wife

was written by (A) Michael Madhusudan Dutt (B) Raja Rammohan Roy (C) Bankimchandra Chattopadhyay (D) Rabindranath Tagore

J-72-13 11 Paper-III

42. †µÖÖŸÖÖê»»ÖÖÆü ÜÖÖê´ÖêÞÖß ®Öê, ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖÛêú ×¾Öºþ¨ü, ±úŸÖ¾ÖÖ ×¤üµÖÖ £ÖÖ ?

(A) †¹Óý¬Ö×ŸÖ ¸êü ÛúÖê ˆ®ÖÛúß ¸ü“Ö®ÖÖ ‘ÝÖÖò›ü †Ö±ú ôÖÖ»Ö Ø£ÖÝ•ÖÌ’

(B) ÃÖ»Ö´ÖÖ®Ö ¸ü¿Ö¤üß ÛúÖê ‘×´Ö›ü®ÖÖ‡™ü דֻ›ü®ÖÔ’ Ûêú ×»Ö‹

(C) ÃÖ»Ö´ÖÖ®Ö ¸ü¿Ö¤üß ÛúÖê ‘×¤ü ÃÖî™ü×®ÖÛú ¾Ö×ÃÖÃÖ’ Ûêú ×»Ö‹

(D) †×´ÖŸÖÖ¾Ö ‘ÖÖêÂÖ ÛúÖê ‘×¸ü¾Ö¸ü †Ö±ú ôÖÖêÛú’ Ûêú ×»Ö‹

43. ‘פü “Öê¸üß †Ö“ÖÔ¸ü›üü’ü ÛúÖ Ûú¢ÖÖÔ Æîü (A) ´ÖÖê×»Ö‹¸ü ®Öê ‡ÃÖê ±Ïêú“Ö ´Öë ×»ÖÜÖÖ (B) “ÖêÜÖ¾Ö ®Öê ‡ÃÖê ºþÃÖß ³ÖÖÂÖÖ ´Öë ×»ÖÜÖÖ (C) Æêü®Ö ®Öê ‡ÃÖê •Ö´ÖÔ®Ö ³ÖÖÂÖÖ ´Öë ×»ÖÜÖÖ (D) “ÖêÜÖ¾Ö®Öê ‡ÃÖê ¯ÖÖê×»Ö¿Ö ³ÖÖÂÖÖ ´Öë ×»ÖÜÖÖ 44. µÖÆü ‘ÖÖêÂÖÞÖÖ ×ÛúÃÖ®Öê Ûúß £Öß ×Ûú “†“ÖêŸÖ®Ö ´Ö®Ö Ûúß

ÃÖÓ¸ü“Ö®ÖÖ ³ÖÖÂÖÖ Ûêú ÃÖ´ÖÖ®Ö Æîü” ? (A) •ÖêŒÃÖ »ÖÖÛú®Ö (B) ±úÙ›ü®ÖÖÓ›ü ›üß ÃÖÖÃÖ¾Ö¸êü (C) ¸üÖê´Ö®Ö •ÖêÛúÖê²ÖÃÖ®Ö (D) ×ÃÖÝ´ÖÓ›ü ±ÏúÖµÖ›ü 45. ¤ãüÜÖ-ÃÖãÜÖÖ×®ŸÖÛúß ÛúÖ ´ÖÆüÖ®ÖŸÖ´Ö ×ÃÖ¨üÖÓŸÖÛúÖ¸ü £ÖÖ (A) וֵÖÖê¾ÖÖÞÖß ›üß ²Öê¸ü®ÖÖ¸ü›üÖê (B) ²Ö™üßÙüÖ ÝÖã†Ö׸ü®Öß (C) •ÖÖÆü®Ö ›ÒüÖ‡›ü®Ö (D) •ÖÖêÃÖ±ú ‹›üßÃÖ®Ö 46. ‘™ÒüÖÓÃÖ»Öê¿Ö®Ö ‹•Ö ¯Ö•ÖÔ¸üß’ ×®Ö²Ö®¬Ö ÛúÖ »ÖêÜÖÛú Æîü (A) ¸üÖ´Ö ´ÖÖêÆü®Ö ¸üÖµÖ (B) ‹®Ö. Ûú´Ö»ÖÖ (C) †×®ÖÃÖã¸ü ¸üÆü´ÖÖ®Ö (D) ÃÖã•ÖßŸÖ ´ÖãÜÖ•Öá 47. ÛúÖˆÓ™ü¸ü ¯¾ÖÖ‡Ó™üÃÖ ÛúÖ »ÖêÜÖÛú Æîü (A) ‡¯¿ÖŸÖÖ “ÖÓ¤üÖ (B) ®Ö²Ö®ÖߟÖÖ ¤êü¾Ö ÃÖê®Ö (C) “Ö®¦ü ´ÖÖêÆü®Ö (D) †•ÖßŸÖ ÛúÖî¸ü 48. •Öß®Ö-¯ÖÖò»Ö ÃÖÖ¡Öê ®Öê ‘×¤ü °»ÖÖ‡•ÖÌ’ ÛúÖ ×¾ÖÂÖµÖ

×ÛúÃÖÃÖê ×»ÖµÖÖ Æîü ? (A) ÃÖÖê±úÖꌻÖßÃÖ ÃÖê (B) †×¸üÙüÖê±êú®ÖÃÖ ÃÖê (C) ÆüÖê´Ö¸ü ÃÖê (D) ‹ÃÖÛúÖ‡»ÖÃÖ ÃÖê

49. ŸÖã»Ö®ÖÖŸ´ÖÛú ÃÖÖ×ÆüŸµÖ ×¾Ö³ÖÖÝÖ ÃÖ¾ÖÔ¯ÖÏ£Ö´Ö ×ÛúÃÖ ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ ´Öë ¯ÖÏÖ¸ü´³Ö Æãü†Ö ?

(A) •ÖÖ¤ü¾Ö¯Öã¸ü ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (B) Ûú»ÖÛú¢ÖÖ ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (C) פü»»Öß ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ (D) Ûêú¸ü»Ö ×¾Ö¿¾Ö×¾ÖªÖ»ÖµÖ 50. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖÖ »ÖêÜÖÛú ®ÖÖê²Ö»Ö

¯Öã¸üÃÛúÖ¸ü ×¾Ö•ÖêŸÖÖ ®ÖÆüà Æîü ? (A) •ÖÖÆü®Ö Ùüֲ߮ÖîÛú (B) •ÖÌß®Ö ¯ÖÖò»Ö ÃÖÖ¡Öê (C) ×»ÖµÖÖê ™üÖ»ÖÙüÖµÖ (D) Æü»ÖÖì›ü د֙ü¸ü 51. “¾ÆüÖ‡Ô ÛúÖò´¯Öî׸ü×™ü¾Ö ‡Ó×›üµÖ®Ö ×»Ö™ü¸êü“Ö¸ü ?” ‹Ûú

×®Ö²Ö®¬Ö Æîü וÖÃÖÛúÖ »ÖêÜÖÛú Æîü (A) †Ö¸ü.Ûêú. ¤üÖÃÖ ÝÖ㯟ÖÖ (B) †Ö×´ÖµÖÖ ¤êü¾Ö (C) þ֯®Ö ´Ö•Öã´Ö¤üÖ¸ü (D) ×ÃÖ×ÃÖ¸ü Ûãú´ÖÖ¸ü ¤üÖÃÖ 52. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖê †´Öê׸üÛú®Ö †®Öã¾ÖÖ¤ü¾ÖÖ¤ü

Ûúß ÛúÖê×™ü Ûêú †®ŸÖÝÖÔŸÖ ®ÖÆüà ´ÖÖ®ÖÖ •ÖÖ ÃÖÛúŸÖÖ ? (A) ¾ÖÖ»™ü ×¾Æü™ü´Öî®Ö (B) ¸üÖ»±ú ¾ÖÖ»›üÖê ‹´Ö¸üÃÖ®Ö (C) ‹×´Ö»Öß ×›üÛú®ÃÖ®Ö (D) Æêü®Ö¸üß ›üÖ×¾Ö»Ö £ÖÖ׸ü†Öê 53. ±ÏúÖµÖ›ü׸üÛú ÃÖ»Öê×ÝÖ»Ö ‹Ûú ¯ÖÏ´ÖãÜÖ ¾µÖ׌ŸÖŸ¾Ö £ÖÖ (A) ¯ÖÏÖ¸ü×´³ÖÛú •Ö´ÖÔ®Ö Œ»ÖÖÃÛúß¾ÖÖ¤ü (B) ´Ö¬µÖµÖãÝÖß®Ö •Ö´ÖÔ®Ö ÃÖÖ×ÆüŸµÖ (C) ÙüÖê´ÖÔ ‹Ó›ü ¸üÖÓÝÖ †Ö®¤üÖê»Ö®Ö (D) •Ö´ÖÔ®Ö ¸üÖê´ÖÖÓÃÖ¾ÖÖ¤ü 54. †ÓÝÖÏê•Öß ˆ¯Ö®µÖÖÃÖ ‘¸üÖ•Ö´ÖÖêÆü®Ö’ÃÖ ¾ÖÖ‡±ú’ ÛúÖ

»ÖêÜÖÛú Æîü (A) ´ÖÖ‡Ûêú»Ö ´Ö¬ÖãÃÖæ¤ü®Ö ¤ü¢Ö (B) ¸üÖ•ÖÖ ¸üÖ´Ö´ÖÖêÆü®Ö ¸üÖµÖ (C) ²ÖÓ×Ûú´Ö “Ö®¦ü “Ö™üÖê¯Ö¬µÖÖµÖ (D) ¸ü²Öß®¦ü®ÖÖ£Ö ™îüÝÖÖê¸ü

Paper-III 12 J-72-13

55. Homer’s The Odyssey contains (A) 12 books (B) 18 books (C) 24 books (D) 6 books 56. The Hindi film Utsav was based on (A) Gathasaptasati (B) Tripitaka (C) Mricchhakatika (D) Meghduta 57. _________ is the study of the

discursive content of images, the symbolic meanings that they express.

(A) Iconology (B) Philology (C) Mythography (D) Iconography 58. Which early European poet used the

AZP structure of the ballet to formulate his stanzaic pattern ?

(A) Dante (B) Petrarch (C) Harace (D) Pindar 59. Satyajit Ray’s award winning film

“Pather Panchali” is based on a novel by

(A) Kazi Nazrul Islam (B) Rabindranath Tagore (C) Bibhutibhushan Bandopadhyay (D) Sarat Chandra Chattopadhyay 60. Which of the following reports

engages most clearly with the emergence of Cultural studies ?

(A) Greene Report (B) Blue Report (C) Bernheimer Report (D) Levin Report

61. Culture Studies as an academic discipline began in the UK at the

(A) University of London (B) University of Birmingham (C) University of Manchester (D) University of East Anglia 62. Name the author of the novel

Kartography (A) Hanif Qureishi (B) Anitav Ghosh (C) Shyam Selvadurai (D) Kamala Shamsie 63. Who among the following devised a

“pointillist” method in Art history ? (A) Ernest Gombrich (B) Fernand Braudel (C) Erwin Panofsky (D) Heinrich Wölfflin 64. The following poems furnish good

examples of the artistic potential of emphasis :

I. “The Lady of Shallot” II. “Musee des Beaux Arts” III. “Preludes” IV. “Ode on a Grecian Uru” (A) I and II are correct (B) II and III are correct (C) III and IV are correct (D) II and IV are correct 65. Principles of Art History was written

by (A) Oskar Walzel (B) Heinrich Wolfflin (C) Zimmermann (D) E. Legouis

J-72-13 13 Paper-III

55. ÆüÖê´Ö¸ü Ûúß ‘†Öê›êüÃÖß’ ´Öë Æïü (A) 12 ÜÖÞ›ü (²ÖãŒÃÖ) (B) 18 ÜÖÞ›ü (²ÖãŒÃÖ) (C) 24 ÜÖÞ›ü (²ÖãŒÃÖ) (D) 6 ÜÖÞ›ü (²ÖãŒÃÖ) 56. ØÆü¤üß ×±ú»´Ö ˆŸÃÖ¾Ö †Ö¬ÖÖ׸üŸÖ £ÖÖ (A) ÝÖÖ£ÖÖÃÖ¯ŸÖ¿ÖŸÖß (B) סÖׯ֙üÛúÖ (C) ´Öé“”ûÛú×™üÛú (D) ´Öê‘Ö¤æüŸÖ 57. µÖÆü ײִ²ÖÖë, ˆ®Ö «üÖ¸üÖ †×³Ö¾µÖÓ×•ÖŸÖ ÃÖÖÓÛêúןÖÛú

†£ÖÖí, Ûêú ŸÖÛÔú¯Ö¸üÛú ¾ÖßÖã ÛúÖ †¬µÖµÖ®Ö Æîü (A) †Ö‡ÔÛúÖê®ÖÖê»ÖÖê•Öß (B) ³ÖÖÂÖÖ¿ÖÖÃ¡Ö (C) ×´Ö×£ÖÛú ×¾ÖªÖ (D) †Ö‡ÛúÖê®ÖÖêÝÖÏÖ±úß 58. ÛúÖî®Ö ÃÖê ¯ÖÏÖ¸ü×´³ÖÛú µÖæ¸üÖê×¯ÖµÖ®Ö Ûú×¾Ö ®Öê ²Öî»Öê Ûúß

‹ •Öê›ü ¯Öß œüÖÑ“Öê ÛúÖê “Ö¸ü×ÞÖÛú œüÖÑ“ÖÖ (Ùëü•ÖÖ ¯Öî™ü®ÖÔ) ²Ö®ÖÖ®Öê Ûêú ×»Ö‹ ¯ÖϵÖãŒŸÖ ×ÛúµÖÖ ?

(A) ›üÖÓ™êü (B) ¯Öê™ü¸üÖÛÔú (C) Æü¸êüÃÖ (D) ׯÖÞ›üÖ¸ü 59. ÃÖŸµÖ×•ÖŸÖ ¸êü Ûúß ¯Öã¸üÃÛéúŸÖ ×±ú»´Ö ‘¯ÖÖ£Öȩ̂ ü ¯ÖÓ“ÖÖ»Öß’

×ÛúÃÖÛêú ˆ¯Ö®µÖÖÃÖ ¯Ö¸ü †Ö¬ÖÖ׸üŸÖ Æîü ? (A) ÛúÖ•ÖÌß ®Ö•Öºþ»Ö ‡Ã»ÖÖ´Ö (B) ¸ü²Öß®¦ü®ÖÖ£Ö ™îüÝÖÖê¸ü (C) ×¾Ö³Öæ×ŸÖ ³ÖæÂÖÞÖ ²ÖÓ¤üÖê¯ÖÖ¬µÖÖµÖ (D) ¿Ö¸üŸÖ“Ö®¦ü “Ö™üÖê¯ÖÖ¬µÖÖµÖ 60. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖß ×¸ü¯ÖÖê™Ôü ÃÖÖÓÃÛéúןÖÛú

†¬µÖµÖ®Ö Ûêú ˆ³ÖÖ¸ü ÃÖê †×¬ÖÛúŸÖ´Ö ïÖ™üŸÖÖ ÃÖê ¾Ö“Ö®Ö²Ö¨ü Æîü ?

(A) ÝÖÏß®Ö ×¸ü¯ÖÖê™Ôü (B) ²»Öæ ׸ü¯ÖÖê™Ôü (C) ²Öî¸ü®ÖÆüß´Ö¸ü ׸ü¯ÖÖê™Ôü (D) »Öê×¾Ö®Ö ×¸ü¯ÖÖê™Ôü

61. †ÛúÖ¤ü×´ÖÛú †®Öã¿ÖÖÃÖ®Ö Ûêú ºþ¯Ö ´Öë ÃÖÖÓÃÛéúןÖÛú †¬µÖµÖ®Ö µÖæÛêú ´Öë ÛúÆüÖÑ ¯ÖÏÖ¸ü´³Ö Æãü†Ö ?

(A) µÖæ×®Ö¾ÖÙÃÖ™üß †Ö±ú »ÖÓ¤ü®Ö (B) µÖæ×®Ö¾ÖÙÃÖ™üß †Ö±ú ²ÖÚ´Ö‘Ö´Ö (C) µÖæ×®Ö¾ÖÙÃÖ™üß †Ö±ú ´ÖÖ®Ö“ÖêÙü¸ü (D) µÖæ×®Ö¾ÖÙÃÖ™üß †Ö±ú ‡ÔÙü ‹Ó×ݻֵÖÖ 62. ÛúÖ™üÖìÝÖÏÖ±úß ˆ¯Ö®µÖÖÃÖ ÛúÖ »ÖêÜÖÛú Æîü (A) Æü®Öß±ú Ûãú¸êü¿Öß (B) †×´ÖŸÖÖ¾Ö ‘ÖÖêÂÖ (C) ¿µÖÖ´Ö ÃÖê»Ö¾ÖÖ¤ãü¸üÖµÖ (D) Ûú´Ö»ÖÖ ¿ÖÖ´ÖÃÖß 63. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ×ÛúÃÖ®Öê Ûú»ÖÖ Ûêú ‡×ŸÖÆüÖÃÖ ´Öë

ײ֮¤ãü ד֡ÖÞÖ¾ÖÖ¤üß œÓüÝÖ ×®ÖÛúÖ»ÖÖ ? (A) †®ÖìÙü ÝÖÖê´²Ö׸üÛú (B) ±ú¸ü®ÖÖÓ›ü ²ÖÎÖ›êü»Ö (C) ‹¸ü×¾Ö®Ö ¯Öê®ÖÖê±úÃÛúß (D) Æêü®Ö׸üÛú ¾ÖÖê»±ú×°»Ö®Ö 64. ×®Ö´®Ö×»Ö×ÜÖŸÖ Ûú×¾ÖŸÖÖ‹Ñ ‹Ûú ±ú¸üÖ×ÃÖÃÖ Ûúß

Ûú»ÖÖŸ´ÖÛú ÃÖÓ³ÖÖ¾Ö®ÖÖ ÛúÖ ÃÖ㮤ü¸ü ˆ¤üÖÆü¸ÞÖ Æîü : I. “פü »Öê›üß †Öò±ú ¿Öî»Ö™ü” II. “Musee’ des Beaux Arts” III. “¯ÖÏß»µÖæ›üÃÖ” IV. “†Öê›ü †Öò®Ö ‹ ÝÖÏê×¿ÖµÖ®Ö †®ÖÔ” (A) I †Öî¸ü II ÃÖÆüß Æïü … (B) II †Öî¸ü III ÃÖÆüß Æïü … (C) III †Öî¸ü IV ÃÖÆüß Æïü … (D) II †Öî¸ü IV ÃÖÆüß Æïü … 65. ‘دÖÏÃÖֻ߯•ÖÌ †Öò±ú †Ö™Ôü ×ÆüÙü¸üß’ ÛúÖ »ÖêÜÖÛú Æïü (A) †ÖÃÛú¸ü ¾ÖÖ»•ÖÌê»Ö (B) Æêü®Ö׸ü“Ö ¾ÖÖê»±ú×»Ö®Ö (C) וÖÌ´´Ö¸ü´Öî®Ö (D) ‡Ô. ×»ÖÝÖÖê‡ÃÖ

Paper-III 14 J-72-13

66. Which of these books were published in two different editions separated by many years, the first in black and white, and the second in colour, where the racism in the former was sought to be removed by the author in the latter ?

(A) Tintin in Africa (B) Tintin in America (C) Tintin in the Congo (D) Tintin and the Broken Ear 67. Match List – I with List – II :

List – I (Broad Area)

List – II (Theorist

associated with it)i. The politics of

representations1. Richard

Hoggart ii. Cultural

studies and Media

2. Stuart Hall

iii. The audience and consumption

3. Lawrence Grossberg

iv. Cultural studiesin the US

4. David Morley

Codes : i ii iii iv (A) 3 4 2 1 (B) 2 4 3 1 (C) 2 1 4 3 (D) 4 3 1 2 68. The ‘Inuits’ are commonly known as (A) Negroes (B) Eskimos (C) Australoids (D) Red-Indians 69. An autobiographical graphic novel

by Marjane Satrapi is (A) My Persia (B) Revolution (C) Persepolis (D) Maus

70. “Understanding Comics” is written by

(A) Neil Gaiman (B) Scott McCloud (C) Alan Moore (D) Raymond Williams 71. Which Shakespearean play was

Rabindranath Tagore forced to translate at the age of fourteen as a part of his holiday homework ?

(A) Antony & Cleopatra (B) Macbeth (C) Hamlet (D) The Merchant of Venice 72. The concept of “Social Drama” was

developed by (A) Martin Esslin (B) Victor Turner (C) Northrop Frye (D) David Hare 73. The following play has experimented

with cultural and dramatic possibilities in an historical light :

(A) Indian Ink (B) Bringing Up Father (C) Teeth N’ Smiles (D) Mudrārāk asa 74. Which of these is not one of the

general categories Raymond Williams delineates in his definition of culture ?

(A) The Social (B) The Documentary (C) The Ideal (D) The Actual 75. ‘Native Earth Performing Arts’ is a

theatre company based in (A) Toronto (B) Brisbane (C) Ahmedabad (D) Nairobi

J-72-13 15 Paper-III

66. ×®Ö´®Ö×»Ö×ÜÖŸÖ ´Öë ÃÖê ÛúÖî®Ö ÃÖß ¯ÖãßÖÛëú Æïü וÖÃÖÛêú ×¾Ö׳֮®Ö ÃÖÓÃÛú¸üÞÖ Ûú‡Ô ¾ÖÂÖÖí Ûêú †®ŸÖ¸üÖ»Ö ÃÖê ¯ÖÏÛúÖ×¿ÖŸÖ Æãü‹ Æïü, ¯ÖÏ£Ö´Ö ÃÖÓÃÛú¸üÞÖ ¿¾ÖêŸÖ-¿µÖÖ´Ö (²»ÖîÛú ‹Þ›ü ¾ÆüÖ‡™ü) ´Öë ¯ÖÏÛúÖ×¿ÖŸÖ Æãü†Ö £ÖÖ †Öî¸ü ׫üŸÖßµÖ ÃÖÓÃÛú¸üÞÖ ¸ÓüÝÖß®Ö, ¯ÖÆü»Öê ÃÖÓÃÛú¸üÞÖ Ûêú †®ŸÖÝÖÔŸÖ †Ö‹ ®ÖÃÖ»Ö¾ÖÖ¤ü ÛúÖê »ÖêÜÖÛú ®Öê ׫üŸÖßµÖ ÃÖÓÃÛú¸üÞÖ ´Öë ¤æü¸ü Ûú¸ü®ÖÖ “ÖÖÆüÖ ?

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iii. ÁÖÖêŸÖÖ †Öî̧ ü ˆ¯Ö³ÖÖêÝÖŸÖÖ

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70. †Ó›ü¸üÙïüØ›üÝÖ ÛúÖò×´ÖŒÃÖ Ûêú ¸ü“Ö×µÖŸÖÖ Æïü (A) ®Öᯙ ÝÖế Öî®Ö (B) ÃÛúÖ™ü ´ÖŒÛú»ÖÖˆ›ü (C) ‹»Ö®Ö ´Öæ¸êü (D) ¸êü´ÖÖÓ›ü ×¾Ö×»ÖµÖ´ÃÖ 71. ¸ü²Öß®¦ü®ÖÖ£Ö ™îüÝÖÖê¸ü •Ö²Ö 14 ¾ÖÂÖÔ Ûêú £Öê ŸÖ²Ö ˆ®Æëü

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Paper-III 16 J-72-13

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