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Test Booklet No.
D—7 2 0 4 PAPER—II
Time : 1¼ hours] COMPARATIVE LITERATURE [Maximum Marks : 100
Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 50
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9. You have to return the test question booklet to the ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU Ù
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10. Use only Blue/Black Ball point pen. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ

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D—7204 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. Mathew Arnold used the term “Comparative Literatures” for the first time is :
(A) 1830
(B) 1822
(C) 1848
(D) 1856

2. Sarat Chandra’s novel Devdas was published in :

(A) 1910
(B) 1920
(C) 1914
(D) 1917

3. The author of the ‘Surrealist Manifesto’ is :

(A) Tristan Tzara
(B) Miguel de Unamuno
(C) George Trakl
(D) Andre’ Breton

4. An early Bibliography of Comparative Literature is attributed to :

(A) Henry Remak
(B) Baldensperger and Friedrich
(C) Francois Jost
(D) A.O. Aldridge

5. The author who distinguished between the study of General and Comparative
Literature is :
(A) H. Remak
(B) Francois Jost
(C) Van Tieghem
(D) Harry Levin

D—7204 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. ×ñ‰Øê ¥æÙæðüËÇ Ùð ÒÒÌéÜÙæˆ×·¤ âæçãˆØæð´ÓÓ ·¤æ ÂýØæð» ç·¤â ßáü ×ð´ ç·¤Øæ?
(A) 1830
(B) 1822
(C) 1848
(D) 1856

2. àæÚÌ¿‹Îý ·ð¤ ©Â‹Øæâ ÎðßÎæâ ·ð¤ Âý·¤æàæÙ ·¤æ ßáü ãñ Ñ

(A) 1910
(B) 1920
(C) 1914
(D) 1917

3. ÒâÚèØçÜSÅ ×ðçÙÈð¤SÅæðÓ ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) çÅþSÅæÙ $ÁæÚæ
(B) çׂßéÜ Î ØêÙæ×éÙæð
(C) ÁæòÁü Åþ€Ü
(D) ¥æ‹Îýð ÕýðÅÙ

4. çÕçŽÜ¥æð»ýæÈ¤è ¥æòȤ ·¤ÂðÚðçÅß çÜÅÚð¿Ú ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) ãðÙÚè çÚ×æ·¤
(B) ßæËÇðÙSÂÁüÚ ¥æñÚ Èýð¤çÇþ·¤
(C) Èý¤æ‹€ßæ ÁæðSÌ
(D) °. ¥æð. ¥æðçËÇþÁ

5. Òâæ×æ‹ØÓ ÌÍæ ÒÌéÜÙæˆ×·¤ âæçãˆØÓ ·ð¤ Õè¿ çßÖðÎ ·¤ÚÙð ßæÜð Üð¹·¤ ·¤æ Ùæ× ãñ Ñ
(A) °¿. çÚ×æ·¤
(B) Èý¤‹·¤ßæ ÁæðSÅU
(C) ßðÙ ÅU槻ð×
(D) ãñÚè ÜðçßÙ

D—7204 3 P.T.O.
6. An early comparatist who advocated the expansion of comparative studies to
extra—European countries was :
(A) Claude Pichois
(B) Rene’ Etiemble
(C) C.L. Wrenn
(D) Henry Gifford

7. The author of the book Thirty—Six Dramatic Situations is :

(A) Raymond Trousson
(B) Harry Levin
(C) Georges Polti
(D) Paul Merker

8. The author of Auchityavicharcharcha is :

(A) Ksemendra
(B) Vaman
(C) Dandin
(D) Kuntak

9. The author of The Dance of Shiva is :

(A) Ananda Coomaraswamy
(B) Krishna Rayan
(C) J. Krishnamurthy
(D) Ananda Shankar Ray

10. The story of Kannaki and Kovalan is dealt with in :

(A) Tirukkural
(B) Cilapathikaram
(C) Nallathangal Kathai
(D) Desingurajan Kathai

D—7204 4
6. °·¤ ÌéÜÙæßæÎè, çÁâÙð ÌéÜÙæˆ×·¤ ¥ŠØØÙ ·ð¤ çßSÌæÚ ·¤è »ñÚ-ØêUÚæðÂèØ Îðàææð´ Ì·¤ ÕæÌ ·¤è, ·¤æ Ùæ× ãñ Ñ
(A) €ÜæÇ çÂàææðÂ
(B) ÚÙñ °çÅ°ÕÜ
(C) âè. °Ü. ÚðÙ
(D) ãðÙÚè ç»$ȤÇü

7. ÒÍÅèü-çâ€â Çþæ×ðçÅ·¤ çâ¿é°ðàæ‹âÓ ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) Úð×‡Ç Åþåâæð´
(B) ãñÚUè ÜðçßÙ
(C) ÁæðÁü ÂæðËÅè
(D) ÂæòÜ ×·ü¤Ú

8. ¥æñ翈Øçß¿æÚ¿¿æü ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) ÿæð×ð‹Îý
(B) ßæ×Ù
(C) ΋Çè
(D) ·é¤‹Ì·¤

9. ÒÎ Çæ‹â ¥æòȤ çàæßæÓ ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ?

(A) ¥æÙ´Î ·é¤×æÚ Sßæ×è
(B) ·ë¤c‡ææ ÚæØÙ
(C) Áð. ·ë¤c‡ææ×êçÌü
(D) ¥æًΠàæ´·¤Ú Úð

10. çِÙçÜç¹Ì ×ð´ âð ç·¤â×ð´ Ò·¤óæ·¤èÓ ÌÍæ Ò·¤æðßÜÙÓ ·¤è ·¤ãæÙè ßç‡æüÌ ãñ?
(A) çÌL¤€·é¤ÚÜ
(B) çâÜæÂçÌ·¤Ú×
(C) لʹ»Ü ·¤Íæ§ü
(D) Îðçâ´»éÚUæÁÙ ·¤Íæ§ü

D—7204 5 P.T.O.
11. The figure of Asvatthama appears in the play :

(A) Gurudaksina

(B) Pahila Pandav

(C) Kamayani

(D) Andha Yug

12. The bhakti movement originated in :

(A) Gujarat

(B) Tamil Nadu

(C) West Bengal

(D) Punjab

13. Vachanas are poems composed by :

(A) Kashmiri Shaivites

(B) Vaishnavites of Gujarat

(C) Alwars of Tamilnadu

(D) Virashaivas of Karnataka

14. The Panchatantra was first translated into Pahlavi in :

(A) the 6th century AD

(B) the 7th century AD

(C) the 8th century AD

(D) the 9th century AD

15. Richard Lattimore’s name is associated with :

(A) The Divine Comedy

(B) Aeneid

(C) Romance of the Rose

(D) The Iliad and The Odyssey

D—7204 6
11. Ò¥à߈Íæ×æÓ ·¤æ ¿çژæ ç·¤â×ð´ ¥æÌæ ãñ ?
(A) »éL¤ Îçÿæ‡ææ
(B) ÂãÜæ Âæ‡Çß
(C) ·¤æ×æØÙè
(D) ¥‹Ïæ Øé»

12. Öç€Ì ¥æ‹ÎæðÜÙ ·¤ãæ¡ ¥æÚÖ ãé¥æ?

(A) »éÁÚæÌ
(B) Ìç×ÜÙæÇé
(C) Âçà¿× Õ´»æÜ
(D) ´ÁæÕ

13. ß¿Ù ·¤çßÌæ°¡ 緤ⷤè Ú¿Ùæ°¡ ãñ¢?

(A) ·¤à×èÚè àæñßæð´
(B) »éÁÚæÌ ·ð¤ ßñc‡æßæð´
(C) Ìç×ÜÙæÇé ·ð¤ ¥ÜßæÚæð´
(D) ·¤ÙæüÅ·¤ ·ð¤ ßèÚàæñßæð´

14. ´¿Ì´˜æ ·¤æð ÂãÜßè ×ð´ âßüÂýÍ× §â ·¤æÜ ×ð´ ¥ÙéßæçÎÌ ç·¤Øæ »Øæ ÍæÐ
(A) §üâæ Âà¿æÌ÷ ÀUÆUè àæÌæŽÎè
(B) §üâæ Âà¿æÌ÷ âæÌßè´ àæÌæŽÎè
(C) §üâæ Âà¿æÌ÷ ¥æÆßè´ àæÌæŽÎè
(D) §üâæ Âà¿æÌ÷ Ùßè´ àæÌæŽÎè

15. çÚ¿Çü ÜæçÅ×æðÚ ·¤æ Ùæ× ç·¤ââð â´Õ´çÏÌ ãñ?

(A) çÇßæ§Ù ·¤æò×ðÇè
(B) °ÙèÇ
(C) Úæð×æ‹â ¥æòȤ Î Úæð$Á
(D) Î §çÜ°Ç ¥æñÚ ¥æðÇðâè

D—7204 7 P.T.O.
16. Who is credited with the statement “themes, like biological entities, seem to have their
cycles, phases of growth, of heyday and of decline” ?
(A) Elizabeth Frenzel
(B) Raymond Trousson
(C) Harry Levin
(D) Brunetiere

17. “Comparative Literature is not able to establish a distinct subject matter and a specific
methodology” is a statement by :
(A) Van Tieghem
(B) Rene’ Wellek
(C) Ulrich Weisstein
(D) A.O. Alridge

18. Rangla is a character who features in :

(A) Bhavai
(B) Nautanki
(C) Mach
(D) Gambhira

19. Achhoot is a text written by :

(A) Namdev Dhasal
(B) Daya Pavar
(C) Joseph Macwan
(D) Mohan Das Nemishrai

20. A special issue of Comparative Literature in India was brought out by :

(A) Yearbook of Comparative and General Literature
(B) Comparative Literature
(C) New Comparisons
(D) Hikaku Bongaku

D—7204 8
16. çِÙçÜç¹Ì ߀ÌÃØ ç·¤â·¤æ ãñ?
ÒÒÁñçß·¤ ̈ßæð´ ·¤è Öæ´çÌ ÒçßáØßSÌéÓ ·¤è ¥ÂÙè ¿R¤çSÍçÌ ãæðÌè ãñ Áñâð ç·¤ çß·¤æâ, S߇æü·¤æÜ ÌÍæ ÂÌÙ ·¤è
çSÍçÌÓÓ
(A) °çÜÁæÕðÍ Èýð¤‹ÁðÜ
(B) Úð×‹Ç Åþåâæð´
(C) ãñÚè ÜðçßÙ
(D) Õýç‹ÅØÚ

17. ÒÒÌéÜÙæˆ×·¤ âæçãˆØ ¥ÂÙè çßçàæC çßáØ ßSÌé ÌÍæ SÂC ÂhçÌ çߙææÙ SÍæçÂÌ ·¤ÚÙð ×ð´ ¥âÈ¤Ü Úãæ ãñÓÓ ©Q¤
·¤Í٠緤ⷤæ ãñ?
(A) ßñÙ ÅU槻ð×
(B) ÚðÙð ßñÜð·¤
(C) ©ÜçÚ¿ ßè°SÅæ§Ù
(D) °. ¥æð. ¥æÜçÚÁ

18. Ú´»Üæ ·¤æ ¿çژæ ç·¤â×ð´ ¥æÌæ ãñ?

(A) Ößæ§ü
(B) ÙæñÅ´·¤è
(C) ×æ¿
(D) »´ÖèÚ

19. ¥ÀêÌ ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) Ùæ×Îðß ÏâæÜ
(B) ÎØæ ÂßæÚ
(C) Áæð$ÁðȤ ×ñ·¤ßæÙ
(D) ×æðãÙ Îæâ Ùñç×áÚæØ

20. ÖæÚÌ ×ð´ ÌéÜÙæˆ×·¤ âæçãˆØ ·¤æ çßàæðá ¥´·¤ ç·¤âÙð Âý·¤æçàæÌ ç·¤Øæ Íæ?
(A) Øè¥ÚÕé·¤ ¥æòȤ ·¤ÂðÚðçÅß °‡Ç ÁÙÚÜ çÜÅÚð¿Ú
(B) ·¤ÂðÚðçÅß çÜÅÚð¿Ú
(C) ‹Øê ·ò¤ÂðçÚÁÙ
(D) çã·¤æ·ê¤ ÕæðÙ÷»æ·ê¤

D—7204 9 P.T.O.
21. Ronsard was re—discovered by :

(A) Yeats

(B) Hopkins

(C) Shelley

(D) Auden

22. The ‘Ankiya Nat’ is a performance tradition from :

(A) Orissa

(B) Assam

(C) Kerala

(D) Jharkhand

23. “Creative treason” is a phrase attributed to :

(A) R. Escarpit

(B) A. Jolles

(C) H. Levin

(D) R. Wellek

24. Kavya Mimamsa is written by :

(A) Rajshekhar

(B) Anandavardhan

(C) Abhinavgupta

(D) Dandin

25. “The casting of images upon the visual imagination” was an ideal proposed by :

(A) Symbolists

(B) Expressionists

(C) Romantics

(D) Imagists

D—7204 10
21. Úæð‹ÁæÇü ·¤è ÂéÙÑ ¹æðÁ ç·¤âÙð ·¤è?
(A) ØðÅ÷â
(B) ãæðÂç·¤‹â
(C) àæñÜè
(D) ¥æòÇÙ

22. Ò¥´ç·¤Øæ ÙÅÓ ·¤ãæ¡ ·¤è ÂڐÂÚæ ãñ?

(A) ©Ç¸Uèâæ
(B) ¥â×
(C) ·ð¤ÚÜ
(D) ÛææÚ¹‡Ç

23. ÒÒâëÁÙæˆ×·¤ çßàßæâƒææÌÓÓ ÂÎ ç·¤â·ð¤ mæÚæ ÂýØæð» ç·¤Øæ »Øæ ãñ Ñ

(A) ¥æÚ. °S·¤æçÂüÌ
(B) °. ÁæðËâ
(C) °¿. ÜðçßÙ
(D) ¥æÚ. ßñÜð·¤

24. Ò·¤æÃØ×è×æ´âæÓU ·ð¤ Üð¹·¤ ·¤æ Ùæ× ãñ Ñ

(A) ÚæÁàæð¹Ú
(B) ¥æÙ´ÎßÏüÙ
(C) ¥çÖÙß»éŒÌ
(D) ·ÇèÙ

25. ÒÒÎëàØ×æÙ ·¤ËÂÙæ ÂÚ çՐÕæð´ ·¤æ çÙÿæðÂÓÓ §â ¥æÎàæü ·¤æð ç·¤âÙð ÂýSÌæçßÌ ç·¤Øæ Íæ?
(A) ÂýÌè·¤ßæÎè
(B) ¥çÖÃØçQ¤ßæÎè
(C) Úæð×æç‹Å·¤
(D) çՐÕßæÎè

D—7204 11 P.T.O.
26. “National Literature means little low” was stated by :
(A) Rene’ Wellek
(B) Van Tieghem
(C) Goethe
(D) Arnold

27. Subramania Bharathi’s reinterpretation of the story of Draupati is :

(A) Kuyilpattu
(B) Panchali Sapatham
(C) Gnanaratham
(D) Swacharitham

28. The term used in Marathi for the word ‘novel’ is :

(A) Navalkatha
(B) Upanyas
(C) Kadambari
(D) Varta

29. “Imagined communities” is a term that Benedict Anderson uses for :

(A) Diasporic groups
(B) Nationhood
(C) Ethnicity
(D) Colonized people

30. The paradigms of significance in the concept of National Literature are :

(A) Space and language
(B) Space and time
(C) Time and language
(D) Tradition and time

31. The German term wirkung refers to :

(A) a foreign writer’s deep impact on native literature
(B) introduction of a foreign author to the native audience
(C) negative influence
(D) indirect reception

D—7204 12
26. ÒÒÚæCþèØ âæçãˆØ çِ٠·¤æðçÅ ·¤æ âæçãˆØ ãñÓÓ, Øã ç·¤â·¤æ ·¤ÍÙ ãñ?
(A) ÚðÙð ßñÜð·¤
(B) ßðÙ çÅ°»×
(C) »ðÅð
(D) ¥ÙæðüËÇ

27. ÎýæñÂÎè ·¤è ·¤ãæÙè ·¤æ ÂéÙüçßßð¿Ù âéÕýræ‡Ø× ÖæÚÌè Ùð ç·¤â Ú¿Ùæ ×ð´ ç·¤Øæ ãñ?
(A) ·é¤çØÜÂ^ää
(B) Âæ´¿æÜè àæÂÍ×
(C) ™ææÙÚÍ×÷
(D) Sß¿çÚÌ×÷

28. ÒÙæòßðÜÓ ·ð¤ çÜ° ×ÚæÆè ×ð´ ÂýØéQ¤ àæŽÎ ãñ Ñ

(A) ÙßÜ·¤Íæ
(B) ©Â‹Øæâ
(C) ·¤æΐÕÚè
(D) ßæÌæü

29. Ò·¤çËÂÌ â×éÎæØæð´Ó Ùæ×·¤ ÂÎ ·¤æ ÂýØæð» ÕðÙðçǀŠ°‹ÇÚâÙ Ùð ç·¤â·ð¤ çÜ° ç·¤Øæ ãñ?
(A) ¥æŒÌßæâè â×êã
(B) ÚæCþèØÌæ
(C) ÁæÌèØÌæ
(D) ©ÂçÙßðçàæÌ

30. ÚæCþèØ âæçãˆØ ·¤è çßÖæßÙæ ×ð´ ×ãˆß ·ð¤ ÂýçÌ×æÙ ·¤æñÙ ãñ¢?
(A) SÍæÙ ÌÍæ Öæáæ
(B) SÍæÙ ÌÍæ â×Ø
(C) â×Ø ÌÍæ Öæáæ
(D) ÂڐÂÚæ ÌÍæ â×Ø

31. Á×üÙ àæŽÎ Òçß·éZ¤»Ó ·¤æ ¥Íü ãñ Ñ

(A) Îðàæè âæçãˆØ ÂÚ çßÎðàæè Üð¹·¤æð´ ·¤æ ÂýÖæß
(B) Îðàæè ŸæôÌæ ·ð¤ çÜ° çßÎðàæè Üð¹·¤ ·¤æ ÂçÚ¿Ø
(C) Ù·¤æÚæˆ×·¤ ÂýÖæß
(D) ¥ÂýˆØÿæ ÂýÖæß

D—7204 13 P.T.O.
32. Assertion (A) : “Our journey is not from Comparative Literature to
Comparative Indian Literature, but from Comparative Indian
Literature to Comparative Literature”.
Reason (R) : “We cannot study literature as a body of impersonal knowledge
without any relation to the people or to the time to which we
belong”.
Choose the correct answer.
(A) A and R are false
(B) A is true but R is false
(C) A and R are true, but R is not entirely true
(D) A is false but R is true

33. Assertion (A) : Wellek and Warren’s Theory of Literature does not contain a
separate chapter on Thematology.
Reason (R) : The author’s perception of a two—tier division, intrinsic and
extrinsic, was responsible for the lapse.
Choose the correct answer.
(A) Both A and R are true
(B) A is true and R is not entirely true
(C) Both A and R are false
(D) A is false but R is true

34. Goethe spoke of three ‘naturformen’, the lucidly narrative, the enthusiastically excited
and the personally active. These three are in other words :
(A) novel, drama and lyric
(B) lyric, essay and drama
(C) epic, lyric and drama
(D) menoir, romance and pastoral

35. Identify the correct set of order in which the following authors influenced literary
criticism :
(A) Levi—Strauss, Derrida, Baudrillard, Greenblatt
(B) Baudrillard, Derrida, Levi—Strauss, Greenblatt
(C) Derrida, Levi—Strauss, Greenblatt, Baudrillard
(D) Baudrillard, Greenblatt, Derrida, Levi—Strauss

D—7204 14
32. ·¤ÍÙ (A) : ÒÒ¤ã×æÚè Øæ˜ææ ÌéÜÙæˆ×·¤ âæçãˆØ âð ÌéÜÙæˆ×·¤ ÖæÚÌèØ âæçãˆØ Ù ãæð·¤Ú ÌéÜÙæˆ×·¤

ÖæÚÌèØ âæçãˆØ âð ÌéÜÙæˆ×·¤ âæçãˆØ ·¤è ¥æðÚ ãñÓÓÐ

Ì·ü¤ (R) : ÒÒã× âæçãˆØ ·¤æ ¥ÃØçQ¤·¤ ™ææÙ, çÁâ·¤æ Üæð»æð´ Øæ ©â â×Ø âð çÁâ×ð´ ã× ÚãÌð ãñ, ·ð¤

â×êã ·ð¤ M¤Â ×ð´ ¥ŠØØÙ Ùãè´ ·¤Ú â·¤ÌðÓÓÐ

âãè ©žæÚ ¿éçÙ° Ñ

(A) A ÌÍæ R »ÜÌ ãñ¢Ð

(B) A âãè ãñ ÂÚ R »ÜÌ ãñ¢Ð

(C) A ÌÍæ R âãè ãñ¢, ÂÚ R Âê‡æü âˆØ Ùãè´ ãñÐ

(D) A »ÜÌ ãñ, ÂÚ R âãè ãñÐ

33. ·¤ÍÙ (A) : ßñÜð·¤ ÌÍæ ßæðÚÙ ·¤è ÂéSÌ·¤ ‰ØôÚè ¥æòȤ çÜÅÚð¿Ú ×ð´ Íè×ðÅæðÜæðÁè ÂÚ ·¤æð§ü ¥Ü» ¥ŠØæØ
Ùãè´ ãñÐ
Ì·ü¤ (R) : Üð¹·¤æð´ ·¤æ çmSÌÚèØ çßÖæÁÙ, - Õæs ÌÍæ ¥æ‹ÌçÚ·¤ §â·ð¤ çÜ° çÁ×ðÎæÚ ÍæÐ
âãè ©žæÚ ¿éçÙ° Ñ
(A) A ÌÍæ R ÎæðÙæð´ âãè ãñ¢Ð
(B) A âãè ãñ ÂÚ R ÂêÚæ âãè Ùãè´ ãñÐ
(C) A ÌÍæ R ÎæðÙæð´ »ÜÌ ãñ¢UÐ
(D) A »ÜÌ ãñ ÂÚ R âãè ãñÐ

34. »ðÅð UÙðU ÌèÙ Âý·¤æÚ ·ð¤ ÒÒÙæÌéÚȤæðü×ðÙÓÓ - ÒÜØæˆ×·¤ ·¤Íæ ßëžææ´ÌÓ, Ò©ˆâæãè ©žæðçÁÌÓ ÌÍæ ÒÃØçQ¤»Ì âçR¤ØÓ ·¤è
¿¿æü ·¤è ãñÐ ¥‹Ø àæŽÎæð´ ×ð´ ßð çِ٠Âý·¤æÚ âð ãñ ?
(A) ÙæðßðÜ, Çþæ×æ ¥æñÚ çÜÚUè·¤
(B) çÜÚUè·¤, °Sâð ¥æñÚ Çþæ×æ
(C) °ç·¤, çÜÚUè·¤ ¥æñÚ Çþæ×æ
(D) ×ð×æðØÚ, Úæð×æ‹â ¥æñÚ ÂðSÅæðÚÜ

35. çِÙçÜç¹Ì ¥æÜæð¿·¤æð´ ·¤æð ©Ù·ð¤ ÂýÖæß ·ð¤ â×Ø ·ð¤ çãâæÕ âð âãè R¤× ¿éçÙ° Ñ
(A) Üðßè-SÅþæâ, ÇðçÚÎæ, ÕæñçÇþÜæÇü, »ýèَÜæÅ
(B) ÕæñçÇþÜæÇü, ÇðçÚÎæ, Üðßè-SÅþæâ, »ýèَÜæÅ
(C) ÇðçÚÎæ, Üðßè-SÅþæâ, »ýèَÜæÅ, ÕæñçÇþÜæÇü
(D) ÕæñçÇþÜæÇü, »ýèَÜæÅ, ÇðçÚÎæ, Üðßè-SÅþæâ

D—7204 15 P.T.O.
36. Identify the correct set of order in which the following movements emerged :

(A) Imagism, Dadaism, Surrealism, Vorticism

(B) Imagism, Vorticism, Dadaism, Surrealism

(C) Vorticism, Imagism, Surrealism, Dadaism

(D) Dadaism, Surrealism, Imagism, Vorticism

37. Identify the correct set of order in which the following novels appeared :

(A) All About H. Hatter, RajMohan’s Wife, In Custody, Train to Pakistan

(B) Train to Pakistan, All About H. Hatter, RajMohan’s Wife, In Custody

(C) RajMohan’s Wife, All About H. Hatter, Train to Pakistan, In Custody

(D) In Custody, RajMohan’s Wife, Train to Pakistan, All About H. Hatter

38. Identify the odd group :

(A) Fakir Mohan Senapati, Chandu Menon, Bankimchandra

(B) H.N. Apte, K.S. Niranjana, Govardhanram Tripathi

(C) Mulk Raj Anand, Birendra Kumar Bhattacharya, Nanak Singh

(D) Sumitranandan Pant, ‘Suman’, Akbar Ilahabadi

39. Identify the odd group :

(A) Rilke’, Valery, Yeats

(B) Wallace Stevens, Gertrude Stein, Ezra Pound

(C) Lorca, Jimenez, Claudel

(D) Apollinaire, Mayakovsky, Montale

40. Identify the set with names of symbolist poets :

(A) Baudelaire, Mallarme’, Valery

(B) Appolinaire, Andre Breton, Paul Aragon

(C) Beckett, Joyce, Kafka

(D) Rimbaud, Rilke, Thomas Mann

D—7204 16
36. Ùè¿ð çÎØð ¥æ‹ÎæðÜÙæð´ ·¤æð ©Ù·ð¤ âãè ¥ßÌڇæ R¤× ×ð´ ¿éçÙ° Ñ
(A) §×ðçÁS×, ÇæÇ槒×, âÚèüØçܒ×, ßæðçÅüçâ’×

(B) §×ðçÁS×, ßæðçÅüçâ’×, ÇæÇ槒×, âÚèüØçܒ×

(C) ßæðçÅüçâ’×, §×ðçÁS×, âÚèüØçܒ×, ÇæÇ槒×

(D) ÇæÇ槒×, âÚèüØçܒ×, §×ðçÁS×, ßæðçÅüçâ’×

37. Ùè¿ð çΰ ©Â‹Øæâæð´ ·¤æð ©Ù·ð¤ âãè â×Ø R¤× ×ð´ Âã¿æçÙ° Ñ
(A) ¥æÜ ¥Õæ©Å °¿. ãñÅÚ, ÚæÁ×æðãÙÓâ ßæ§È¤, §Ù ·¤SÅÇè, ÅþðÙ Åê Âæç·¤SÌæÙ

(B) ÅþðÙ Åê Âæç·¤SÌæÙ, ¥æÜ ¥Õæ©Å °¿. ãñÅÚ, ÚæÁ×æðãÙÓâ ßæ§È¤, §Ù ·¤SÅÇè

(C) ÚæÁ×æðãÙÓâ ßæ§È¤, ¥æÜ ¥Õæ©Å °¿. ãñÅÚ, ÅþðÙ Åê Âæç·¤SÌæÙ, §Ù ·¤SÅÇè

(D) §Ù ·¤SÅÇè, ÚæÁ×æðãÙÓâ ßæ§È¤, ÅþðÙ Åê Âæç·¤SÌæÙ, ¥æÜ ¥Õæ©Å °¿. ãñÅÚ

38. çßá× â×êã Âã¿æÙð¢ Ñ

(A) Ȥ·¤èÚ ×æðãÙ âðÙæÂçÌ, ¿‹Îé ×ðÙÙ, մ緤׿‹Îý

(B) °¿÷.°Ù. ¥æŒÅð, ·ð¤.°â. çÙÚ´ÁÙ, »æðßÚÏÙÚæ× ç˜æÂæÆè

(C) ×éË·¤ ÚæÁ ¥æًÎ, ÕèÚð‹Îý ·é¤×æÚ Ö^æ¿æØü, ÙæÙ·¤ çâ´ã

(D) âéçטææًÎ٠´Ì, Òâé×ÙÓ, ¥·¤ÕÚ §ÜæãæÕæÎè

39. çßá× â×êã Âã¿æÙð¢ Ñ

(A) çÚË·ð¤, ßæÜðÚè, ØðÅ÷â

(B) ßæÜðâ SÅèßð‹â, »ÚÅþåUÇ SÅæ§Ù, °ÁÚæ Â橋Ç

(C) Üæð·¤æü çÁ×ÙðÁ, €ÜæðÇðÜ

(D) ¥ÂæðÜæðÙðØÚ, ×Øæ·¤æðßS·¤è, ×æð‹ÅðÜ

40. çِÙçÜç¹Ì ×ð´ ÂýÌè·¤ßæÎè ·¤çߥæð´ ·ð¤ â×êã ·¤æð Âã¿æçÙ° Ñ

(A) ÕæÎÜð°Ú, ×Üæ×ü, ßæÜðÚè

(B) ¥ÂæðÜæðÙð°Ú, ¥æ‹Îýð ÕýðÅÙ, ÂæòÜ °Úð»æÙ

(C) Õð·ð¤Å, ÁæðØâ, ·¤æ·¤æ

(D) çÚ×ßæÎ, çÚË·ð¤, Åæ×â ×ñÙ

D—7204 17 P.T.O.
41. Which one of the following is not rightly matched ?
(A) A genre that combines elements of the epic, the lyric and the drama. —Ballad.
(B) A genre that has been called the bourgeois epic. —Novel.
(C) A genre that has been identified as the imitation of action and as having a cathartic
effect. —Tragedy.
(D) A genre that is related to the court. —Pastoral.

42. Which one of the following is not rightly matched ?

(A) The English poet who has drawn some of his descriptions from tapestries and
pageants. —Spenser.
(B) The French poet who was inspired by a painting of Boucher in the London
National Gallery. —Mallarme’.
(C) The English poet who was influenced by the Elgin Marbles.
—William Wordsworth.
(D) The American born poet who was influenced by Wagner’s muic. —T.S. Eliot.

43. Which one of the following is rightly matched ?

(A) Documentation of sources and origins.
—American School of Comparative Literature.
(B) Tracing humanity’s achievement through time and space.
—Comparative Literature in Latin America.
(C) Redefining canons of literature. —Comparative Literature in the third world.
(D) Comparison of texts without taking into consideration crucial socio-political issues.
—Indian School of Comparative Literature.

44. Match the following and choose the right code :

List—I List—II
(a) Stoff (i) Content
(b) Inhalt (ii) Meaning
(c) Gestalt (iii) Subject manner
(d) Gehalt (iv) Form
Code :
(a) (b) (c) (d)
(A) (ii) (iii) (iv) (i)
(B) (iii) (ii) (i) (iv)
(C) (iv) (i) (ii) (iii)
(D) (iii) (i) (iv) (ii)

D—7204 18
41. çِÙçÜç¹Ì ×ð´ ·¤æñÙ â×êã âãè ɸ´» âð â´ØæðçÁÌ Ùãè´ ãñ?
(A) °·¤ âæçãˆØ çßÏæ Áæð ×ãæ·¤æÃØ, »èÌ (çÜçÚ·¤) ÌÍæ ÙæÅ·¤ ·ð ¤ ̈ßæð ´ ·¤æð âç×çÜÌ
·¤ÚÌè ãñÐ —ÒÕñÜðÇÓ
(B) °·¤ âæçãˆØ çßÏæ çÁâð ÕéÁéü¥æ ×ãæ·¤æÃØ ·¤ãæ ÁæÌæ ãñÐ —ÒÙæßðÜÓ
(C) °·¤ âæçãˆØ çßÏæ çÁâð Úð¿·¤ ÂýÖæß ßæÜð çR¤Øæ·¤Üæ ·¤è ¥Ùé·ë¤çÌ ·ð¤ M¤Â ×ð´ ÁæÙæ ÁæÌæ ãñÐ
—ÒÅþðÁÇèÓ
(D) °·¤ âæçãˆØ çßÏæ çÁâ·¤æ â´Õ¢Ï ÚæÁÎÚÕæÚ âð ÍæÐ —ÒÂSÅæðÚÜÓ

42. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙâæ âãè â´ØæðÁÙ Ùãè´ ãñ?

(A) ¥´»ýðÁè ·¤çß çÁ‹ãæðÙð ¥ÂÙð ߇æüÙ ÅðÂðSÅþè ÌÍæ ÂèÁð‹Å÷â âð çÜ° ÍðÐ —ÒSÂð‹âÚÓ
(B) Èý¤æ´âèâè ·¤çß Áæð ܋ÎÙ ÙðàæÙÜ »ñÜÚè ×ð´ ßæ©¿Ú ·¤è Âðç‹Å´» âð ÂýÖæçßÌ ãé¥æ ÍæÐ —Ò×Üæ×üÓ
(C) ¥´»ýðÁè ·¤çß Áæð Ò°ç˻٠×æÕüËâ âð ÂýÖæçßÌ ãé¥æ ÍæÐ —ÒßÇüâ÷ßÍü
(D) ¥×ðÚè·¤è ·¤çß Áæð ßæ‚ÙÚ ·ð¤ â´»èÌ âð ÂýÖæçßÌ ãé¥æ ÍæÐ —ÒÅè.°â÷. °çÜ¥ÅÓ

43. çِÙçÜç¹Ì ×ð´ ·¤æñÙâæ â´ØæðÁÙ âãè ãñ?

(A) dæðÌ ÌÍæ ©ˆÂçžæ ·¤æ ÎSÌæßðÁ跤ڇæÐ
—ÌéÜÙæˆ×·¤ âæçãˆØ ·¤æ ¥×ðçÚ·¤è S·ê¤Ü
(B) SÍæÙ ÌÍæ â×Ø ·ð¤ çãâæÕ âð ×æÙßÌæ ·¤è ©ÂÜçŽÏØæð´ ·¤è ÌÜæàæÐ
—ÜñçÅÙ ¥×ðçÚ·¤æ ×ð´ ÌéÜÙæˆ×·¤ âæçãˆØ
(C) âæçãˆØ ·ð¤ ÂýçÌ×æÙæð´ (·ð¤ÙÙ) ·¤è ÂéÙüÂçÚÖæáæÐ
—ÌëÌèØ çßàß ×ð´ ÌéÜÙæˆ×·¤ âæçãˆØ
(D) ×éØ âæ×æçÁ·¤-ÚæÁÙñçÌ·¤ çßáØæð´ ·¤æð ŠØæÙ ×ð´ çÜ° Õ»ñÚ ·ë¤çÌØæð´ ·¤è ÌéÜÙæÐ
—ÌéÜÙæˆ×·¤ âæçãˆØ ·¤æ ÖæÚÌèØ S·ê¤Ü

44. çِ٠·¤æð âé×ðçÜÌ ·¤èçÁ° ÌÍæ âãè ·¤æðÇ ¿éçÙ° Ñ

âê¿è - I âê¿è - II
(a) SÅæñȤ (i) çßáØ ßSÌé

(b) §‹ãæËÅ (ii) ¥Íü

(c) ÁðSÅæËÅ (iii) ÚèçÌ

(d) »ðãæËÅ (iv) M¤Â

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

D—7204 19 P.T.O.
45. Match the following and choose the right code :
List—I List—II
(Names of authors) (Movements)
(a) Sajjad Zaheer (i) Sabuja
(b) Ananda Shankar Ray (ii) Progressive Movement
(c) B.M. Srikantaya (iii) Chayavad
(d) Sumitranandan Pant (iv) Navodaya
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (iii) (ii) (i) (iv)
(C) (i) (ii) (iii) (iv)
(D) (iv) (i) (ii) (iii)

Read the passage below and answer the questions that follow based on your
understanding of the passage :
Such questions have given rise to a growing concern with the relation between
popular and high culture. For intertextuality almost always sinks its deepest roots into
the everyday conversations and attitudes that shape any author’s earliest experience
and continue to impinge upon the experience of the adult. Thus, some would argue
that popular books of piety, folk songs, television shows, or rap music may influence a
writer’s imagination more powerfully than anything Homer, Shakespeare or Joyce ever
wrote. Perhaps. Perhaps not. Most likely every writer uniquely combines influences
from disparate sources. But the recognition of the significance of popular culture in the
imagination of writers does not logically justify a repudiation of the discrete claims of
self—conscious literary craft. Rather, it justifies broadening our understanding of the
popular influences upon discrete writers or the role of popular culture in the
high—cultural imagination, on the firm understanding that the uses of popular
influences will be eminently idiosyncratic.

46. Intertextuality is a concept to be found in :

(A) Julia Kristeva
(B) William Empson
(C) Boris Eichenbaum
(D) Mathew Arnold

D—7204 20
45. çِ٠·¤æð âé×ðçÜÌ ·¤èçÁ° ÌÍæ âãè ·¤æðÇ ¿éçÙ° Ñ

âê¿è - I âê¿è - II
(Üð¹·¤ ·¤æ Ùæ×) (¥æ‹ÎæðÜÙ)
(a) â”ææÎ ÁãèÚ (i) âÕéÁæ
(b) ¥æًΠàæ´·¤Ú ÚæØ (ii) Âý$»çÌàæèÜ ¥æ‹ÎæðÜÙ
(c) Õè.°×. Ÿæè·¤æ‹ÌñØæ (iii) ÀæØæßæÎ
(d) âéçטææًÎÙ Â´Ì (iv) ÙßæðÎØ
·¤æðǸ Ñ
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (iii) (ii) (i) (iv)
(C) (i) (ii) (iii) (iv)
(D) (iv) (i) (ii) (iii)

çِÙçÜç¹Ì »læ´àæ ·¤æð Âçɸ° ÌÍæ çΰ ãé° ÂýàÙæ𴠷𤠩žæÚ ÎèçÁ° Ñ
ÒÒ°ðâð ÂýàÙæð´ Ùð Üæð·¤çÂýØ ÌÍæ ©“æ â´S·ë¤çÌ ·ð¤ Õè¿ â´Õ´Ïæð´ ·¤æ𠩞æÚæðžæÚ ç¿‹Ìæ ·¤æ çßáØ ÕÙæ çÎØæ ãñÐ

¥‹Ì·ë¤çÌçÙDÌæ çÎÙ ÂýçÌçÎÙ ·ð¤ °ðâð ßæÌæüÜæÂæð´ ÌÍæ ÎëçC·¤æð‡ææð´ ×ð´ ¥ÂÙè ÁǸ Á×æÌè ãñÐ çÁ‹ãæð¢Ùð Üð¹·¤ ·ð¤

ÂýæÚ´çÖ·¤ ¥ÙéÖßæð´ ·¤æð ÉæÜæ ÌÍæ ©â·ð¤ ÕæÎ Öè ßØS·¤ çSÍçÌ ×ð´ ¥ÙéÖß ÂÚ ÂýÖæß ÇæÜæÐ §â Âý·¤æÚ ·é¤À Üæð»

Ì·ü¤ Îð´»ð ç·¤ ÂçߘæÌæ, Üæ𷤻èÌ, ÅðÜèçßÁÙ ·¤æØüR¤× Øæ Úñ ⴻèÌ °·¤ Üð¹·¤ ·¤è ·¤ËÂÙæ ÂÚ ¥çÏ·¤ ÂýÖæß

ÇæÜÌð ãñ, ãæð×Ú, àæð€âÂèØÚ Øæ ’Øæðâ ·ð¤ Üð¹Ù ·¤è ÌéÜÙæ ×ð´Ð àææØÎ ãæð, ¥æñÚ Ù Öè ãæðÐ ÂÚ ¥çÏ·¤ â´ÖæßÙæ

Øã ãñ ç·¤ °·¤ Üð¹·¤ çßçßÏ ÂýÖæßæð´ ·¤ô ¥ÙêÆð É´» âð â´ØæðçÁÌ ·¤ÚÌæ ãñÐ ç·¤‹Ìé Üð¹·¤æð´ ·¤è ·¤ËÂÙæ ×ð´

Üæð·¤çÂýØ â´S·ë¤çÌ ·ð¤ ×ãˆß ·¤è Âã¿æÙ ·¤æ ¥Íü ¥æˆ×â¿ðÌ âæçãˆØ·¤Üæ ·ð¤ çßçßÏ Îæßæð´ ·¤æ çÌÚS·¤æÚ Ùãè´ ãñÐ

§â·ð¤ çßÂÚèÌ, çßçßÏ Üð¹·¤æð´ ÂÚ Üæð·¤çÂýØ ÂýÖæßæð´ ·¤è, ¥Íßæ ©“æ âæ´S·ë¤çÌ·¤ ·¤ËÂÙæ ×ð´ Üæð·¤çÂýØ â´S·ë¤çÌ

·¤è Öêç×·¤æ ·¤è ã×æÚè â×Ûæ ·ð¤ çß·¤æâ ·¤æð ßñÏ çâh ·¤ÚÌæ ãñ ÌÍæ Øã Öè ç·¤ Üæð·¤çÂýØ ÂýÖæß ·¤è Âý·ë¤çÌ

×éØÌÑ âÙ·¤èÂÙ ·ð¤ M¤Â ×ð´ ãæðÌè ãñÐ

46. ¥‹Ì·üë¤çÌçÙDÌæ ·¤è çßÖæßÙæ 緤ⷤè ãñ?

(A) ÁéçÜØæ çR¤SÅèßæ

(B) çßçÜØ× °ÂâÙ

(C) ÕæðçÚ⠥槷ð¤ÙÕæò×

(D) ×ñ‰Øê ¥æÙæðüËÇ

D—7204 21 P.T.O.
47. The text suggests that :
(A) Texts from high culture do not have any influence on writers.
(B) Texts from popular culture alone have influence on writers.
(C) Texts from popular culture have an idiosyncratic influence on writers.
(D) Texts from high culture have very powerful influence on writers.

48. The relation between popular and high culture according to the author :
(A) is not —existent
(B) exists only in the early stages of a writer’s formation
(C) is impossible to study
(D) may be worked out in the psyche of almost every writer

49. The author’s attitude towards popular culture is :

(A) Somewhat indifferent
(B) Mildly condescending
(C) Quite accommodative
(D) Absolutely negative

50. In recent times a theorizing of the notion of taste has been linked with :
(A) Pierre Bordieu
(B) Jacques Derrida
(C) Michael Rifaterre
(D) Tzoetan Todorov

__________

D—7204 22
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