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[Maximum Marks : 150Time : 2 1/2 hours]
PAPER-IIICOMPARATIVE LITERATURE
(To be filled by the Candidate)
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J-72-13 1 P.T.O.
7 2J 1 3
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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
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«üÖ¸üÖ
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³ÖÖ¾ÖÖ®Öã¾ÖÖ¤ü †Öî¸ü †®ÖãÛéú×ŸÖ - ÛúÖ ¯ÖÏÖ¸ü´³Ö ×ÛúÃÖ®Öê ×ÛúµÖÖ
?
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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
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ÃÖ껾ÖÖ¤ãü¸üÖµÖ (D) †×®ÖŸÖÖ ¸üÖˆ ²ÖÖ¤üÖ´Öß
18. ¾ÖÆü ¤üÖ¿ÖÔ×®ÖÛú, וÖÃÖÛúß ´Öæ»Ö, ´ÖÆü¢¾Ö †Öî¸ü ˆ¯Ö×ãÖןÖ
Ûúß ÃÖ´ÖõÖÖ†Öë Ûúß ×¾ÖÃÖÓ¸ü“Ö®ÖÖŸ´ÖÛú ÃÖ´ÖßõÖÖ ®Öê ˆ®Ö
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ÃÖÓ̧ ü“Ö®ÖÖ¾ÖÖ¤ü ÃÖê ×¾ÖÛúÙÂÖŸÖ ÆüÖê “ÖãÛêú £Öê, £ÖÖ
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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
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(B) ŒµÖÖ ÃÖÖ×ÆüŸµÖ ‘knows’ •ÖÖ®ÖŸÖÖ Æîü, µÖÆü ¾ÖÆü –ÖÖ®Ö Æîü
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ÃÖÖ×ÆüŸµÖÛúÖ¸ü ÛúÖ ÃÖŸµÖ …
(C) ÃÖî¨üÖÓןÖÛú ¸ü“Ö®ÖÖ‹Ñ †¯Ö®Öê †×¬ÖÛúÖ¸üÖë «üÖ¸üÖ ¯ÖÖšüÛú Ûêú
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(D) ¯ÖÖšüÛú•Ö®ÖÖë Ûúß ×®ÖšüÖ Ûêú ÃÖÓ‘ÖÂÖÔ ´Öë ãÖÖׯ֟Ö
ÛúÖ¾µÖ¿ÖÖÃ¡Ö ÝÖÖî¸ü¾Ö¯ÖæÞÖÔ ¯Ö׸üÃÛéúŸÖ ¸ü“Ö®ÖÖ†Öë Ûúß †Öê¸ü
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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) ®ÖßןÖ
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
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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‹
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ÃÖÓÃÛú¸üÞÖ ´Öë ¤æü¸ü Ûú¸ü®ÖÖ “ÖÖÆüÖ ?
(A) ×™ü®Ö×™ü®Ö ‡®Ö †±ÏúßÛúÖ (B) ×™ü®Ö×™ü®Ö ‡®Ö †´Öê׸üÛúÖ (C)
×™ü®Ö×™ü®Ö ‡®Ö פü ÛúÖëÝÖÖê (D) ×™ü®Ö×™ü®Ö ‹Þ›ü פü ²ÖÎÖêÛú®Ö ‡†¸ü
67. ÃÖæ“Öß - I ÛúÖê ÃÖæ“Öß - II ÃÖê ÃÖã´Öê×»ÖŸÖ Ûúßו֋ :
ÃÖæ“Öß - I ÃÖæ“Öß - II (¾µÖÖ¯ÖÛú õÖê¡Ö) (ÃÖ´²Ö×®¬ÖŸÖ
×ÃÖ¨üÖÓŸÖÛúÖ¸ü) i. ¯ÖÏן־Öê¤ü®ÖÖë Ûúß
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ii. ÃÖÖÓÃÛéúןÖÛú †¬µÖµÖ®Ö †Öî¸ü ´Öß×›üµÖÖ
2. Ùãü†™Ôü ÆüÖ»Ö
iii. ÁÖÖêŸÖÖ †Öî̧ ü ˆ¯Ö³ÖÖêÝÖŸÖÖ
3. »ÖÖ¸ÓüÃÖ ÝÖÏÖÃÖ²ÖÝÖÔ
iv. µÖæ‹ÃÖ ´Öë ÃÖÖÓÃÛéúןÖÛú †¬µÖµÖ®Ö
4. ›êü×¾Ö›ü ´ÖÖê¸ü»Öê
Ûæú™ü : 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. ‡®ÖµÖæ™üÃÖ (Inuuits) ÛúÖê ÃÖÖ´ÖÖ®µÖŸÖµÖÖ ‡ÃÖ ºþ¯Ö ´Öë
•ÖÖ®ÖÖ •ÖÖŸÖÖ Æîü : (A) Æü²Ö¿Öß (B) ‹×ÃÛú´ÖÖêÃÖ (C)
†Ã™Òîü»ÖÖê‹›üÃÖ (D) ȩ̂ü›ü ‡Ó×›üµÖ®Ö 69. ‹Ûú †ÖŸ´ÖÛú£ÖÖŸ´ÖÛú
ÝÖÏÖ×±úÛú ˆ¯Ö®µÖÖÃÖ ×•ÖÃÖÛêú
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Öî®Ö (B) ÃÛúÖ™ü ´ÖŒÛú»ÖÖˆ›ü (C) ‹»Ö®Ö ´Öæ¸êü (D) ¸êü´ÖÖÓ›ü
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ˆ®Æëü
†¯Ö®Öß ”ãû×¼üµÖÖë ´Öë ×´Ö»Öê ‘‘Ö¸êü»Öæ ÛúÖ´Ö’ Ûêú †®ŸÖÝÖÔŸÖ
¿ÖêŒÃÖׯֵָü Ûêú ×ÛúÃÖ ®ÖÖ™üÛú ÛúÖ †®Öã¾ÖÖ¤ü Ûú¸ü®ÖÖ ¯Ö›ÌüÖ ?
(A) ‹Ó™ü®Öß ‹Þ›ü ׌»ÖµÖÖê¯Öê™ÒüÖ (B) ´ÖÖê£Ö (C) Æîü´Ö»Öê™ü
(D) פü ´Ö“Öí™ü †Ö±ú ¾Öê×®ÖÃÖ 72. ‘ÃÖÖ´ÖÖוÖÛú ®ÖÖ™üÛú’ Ûúß
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×ÛúµÖÖ (A) ´ÖÖÙ™ü®Ö ‹ÃÖ×»Ö®Ö ®Öê (B) ×¾ÖŒ™ü¸ü ™ü®ÖÔ¸ü ®Öê (C)
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®ÖÖ™üÛúÖë ´Öë ÃÖê ×ÛúÃÖ ®ÖÖ™üÛú ´Öë
ÃÖÖÓÃÛéúןÖÛú ‹¾ÖÓ ®ÖÖ™üÛúßµÖ ÃÖÓ³ÖÖ¾Ö®ÖÖ†Öë Ûêú ¯ÖÏןÖ
‹êןÖÆüÖ×ÃÖÛú †Ö»ÖÖêÛú ¯ÖϵÖÖêÝÖ Æãü†Ö Æîü ?
(A) ‡Ó×›üµÖ®Ö ‡ÓÛú (B) زÖÎØÝÖÝÖ †¯Ö ±úÖ¤ü¸ü (C) ™ü᜙ ‹®Ö’
ôÖÖ‡»ÖÃÖ (D) ´Öã¦üÖ¸üÖõÖÃÖ 74. ¸êü´ÖÖÓ›ü ×¾Ö×»ÖµÖ´ÖÃÖ «üÖ¸üÖ
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ÃÖß ÃÖÖ´ÖÖ®µÖ ÛúÖê×™ü ®ÖÆüà Æîü ?
(A) ÃÖÖ´ÖÖוÖÛú (B) ×»Ö×ÜÖŸÖ (C) †Ö¤ü¿ÖÔ (D) ¾ÖÖßÖ×¾ÖÛú 75.
‘®Öê×™ü¾Ö †£ÖÔ ¯Ö¸ü±úÖêÚ´ÖÝÖ †Ö™ÔüÃÖ’ ‹Ûú ×£Ö‹™ü¸ü
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ײÖÎÃÖ²Öê®Ö (C) †Æü´Ö¤üÖ²ÖÖ¤ü (D) ®Öî¸üÖê²Öß
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Paper-III 16 J-72-13
Space For Rough Work