UGC NET 2010: December, Paper III, Comparative Literature
Text of page 1
PAPER-III
COMPARATIVE LITERATURE
Signature and Name of Invigilator
1. (Signature) __________________________
(Name) ____________________________ Roll No.
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(Name) ____________________________
Roll No.________________________________
D 7 2 1 0 (In words)
Time : 2 1/2 hours] [Maximum Marks : 200
Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 19
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COMPARATIVE LITERATURE
·Ä····oÛ¤··¸§Ý·
PAPER-III
·° ···-III
Note : This paper is of two hundred (200) marks containing four (4) sections. Candidates
are required to attempt the questions contained in these sections according to the
detailed instructions given therein.
··ËzÝ ·§Ý·° ··· ݷˤ··Ï h´oÛ·ÌoÛ·§ÏÝm·´i¤··Ìt··Ý p·´|Ý §ÐÝ gh·º···Ì oÛ·Ë i··Ì ¤···¸§Ý··° ··Ì oËÛj·Ý
h·q·¸ Ý·Ëq··Ë¸·¤·Ê·¸· ÍÝ ··ÌoËÛh·Ä¤··Ý ËÝ··§ÏÝg
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SECTION – I
p·´|Ý – I
Note : This section consists of two essay type questions of twenty (20) marks each, to be
answered in about five hundred (500) words each. (2 × 20 = 40 Marks)
··ËzÝ i¤·p·´|Ý ·Ì ·À¤·–·À¤·h´oÛ·Ì oËÛ Ý·Ë ¸·····oÛ·° ·§ÐÝ g·°·ËoÛoÛ·j·Ý ·q··q···²t·¤··Ï · Ý·Ì ·Ì
h·Ë¸c··§ÏÝg (2 × 20 = 40 h´oÛ)
1. A definition of Comparative Literature and its scope in the Indian context.
··Ý·À·¤·´ Ý·µ·Ì·Ä····oÛ¤··¸§Ý·oÛÀ·¸Ý··£··h·ÏÝj¤·oÛ·¸·¤··Ýc·Ë·g
OR / h···
Croce’s view that any literary study is essentially comparative. Give reasons in
support of your answer.
o¯Û·Ët·Ë oÛ·¸·t··Ý §ÏݸoÛoÛ·Ëiµ ·À¤··¸§Ý¼·oÛh···h¸····µ· ·Ä····oۧݷ˷·§ÏÝ gh··Ë j·Ý oËÛ¤···µ··Ì
oÛ·Ý~· ÝÀ¸v·mg
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2. Literature and Theatre Arts.
¤··¸§Ý·h·ÏÝ´Ýq··´t·oÛ··m²
OR / h···
The Mode of Existence of a Literary Work of Art.
oÛ··oÛÀ¤··¸§Ý¼·oÛÝt···oÛÀ¸······oÛ·}´Ýq·
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SECTION – II
p·´|Ý – II
Note : This section contains three (3) questions of fifteen (15) marks each, to be answered
in about three hundred (300) words. (3 × 15 = 45 Marks)
··ËzÝ i¤·p·´|Ý ·Ì ·Ý§Ý·Ý§Ý h´oÛ·Ì oËÛ·À· ·° ·§ÐÝ g·°·ËoÛ·° ·oÛ·j·Ý ·q··q··À·¤··Ï · Ý·Ì ·Ì
h·Ë¸c··§ÏÝg (3 × 15 = 45 h´oÛ)
3. Examine the view that period is “a time section dominated by a system of norms,
whose introduction, spread and diversification, integration and disappearance can be
traced.” (Wellek).
i¤·¸·t··Ý oÛÀ·ÝÀc··oÛÌÝ ¸oÛoÛ·· “·§Ý ¤···p·´|Ý §ÏÝ v··Ë ··· ´Ý|Ý·Ì oÛÀ·Ý¸·Ý·Ý·h¸·oÛ·Ý ·Ì Ýp··v····§ÏÝ
¸v··oÛÀ ·ÄÞh···°¤··Ýh·Ïݸ·¸·¸·oÛÝ~·moÛÀoÛÝ~·h·Ïݸ···Ë··oÛ·····q····v··¤·oÛ··§ÏÝ” ·Ë·ËoÛ g
4. Discuss the problems inherent in translating from a translation.
h·Ä·· ݤ·Ëh·Ä··¸ Ý·oÛݷˤ·Ëv·Ä|®ÝÀ¤··¤··h·ÌoÛÀ¸··Ët···oÛÀ¸v··Ëg
5. Briefly comment on the reception of Shakespeare in India.
··Ý··Ì ·Ën¤·¸··ÝoËÛh¸·q·°§Ý~··Ý¤·´¸c··¸zÝ·~·ÀoÛÌÝg
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SECTION – III
p·´|Ý – III
Note : This section contains nine (9) questions of ten (10) marks each, each to be answered
in about fifty (50) words. (9 × 10 = 90 Marks)
··ËzÝ i¤·p·´|Ý ·Ì ݤ· ݤ· h´oÛ·Ì oËÛ··Ï ·° ·§ÐÝ g·°·ËoÛ·° ·oÛ·j·Ý ·q··q··t··¤· · Ý·Ì ·Ì
h·Ë¸c··§ÏÝg (9 × 10 = 90 h´oÛ)
6. How do you distinguish between Historicism and New Historicism ?
h··i¸·§Ý·¤··ÝoÛ·· Ýh·ÏÝ··i¸·§Ý·¤··ÝoÛ·· ÝoËÛ·Àt·¸oÛ¤··°oÛ·Ýh·ÝoÛݷ˧ÐÝ"
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7. Define a ballad with examples.
q····q·À·oÛÀ¤··Ë Ý·§ÝÝ~··¸Ý··£·· ÌÝg
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8. What does K .semendra mean by aucitya ?
c·Ë·ËÝoËÛh·Ä¤··Ýh·Ï¸t··oÛ·n··h·µ§ÏÝ"
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9. How are themes concretized in literary works ?
¤··¸§Ý¼·oÛÝt···h·Ì·Ì¸·£···¤·Äo۷˸oÛ¤··°o۷ݤ··o۷ݸoÛ··v····§ÏÝ"
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10. How does Petersen define a plot ?
·ÀzÝݤ···ËoÛ···¤·Ä oÛ···oÛ o۷˸oÛ¤··°oÛ·Ý·¸Ý··¸£··¸oÛ··§ÏÝ"
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11. Distinguish between “influence” and “analogy”.
“·°···”h·ÏÝ“¤··Ý ·”oËÛ·Àt·h·ÝoÛÌÝg
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12. What does the term “allegory” mean ?
“ß·oÛoÛ··”· ÝoÛ·n··h·µ§ÏÝ"
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D-72-10 24
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13. What do the post-modern critics mean by “the death of the author” ?
“ ÝÀ|ËÝ·h·ÓÛ ÝÀh·Ó·Ý”¤·Ëj·Ýh··Ä¸·oÛh···Ët·oÛ·ÌoÛ·n··h·µ§ÏÝ"
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D-72-10 25 P.T.O.
Text of page 26
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14. Distinguish between Akam and Puram poetry, as discussed by the ancient Tamil
grammarians.
hoÛ·h·Ï
Ý ·ÄÝ·oÛ··oÛÀ¸v·¤··°oÛ·Ý ¤·Ë ·°·t·À··¸····oÛÝ~··Ë··h·Ì Ý·Ý·¸··Ët···oÛÀq·iµ §ÏÝ j·oËÛ·Àt·
h·ÝoÛÌÝg
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D-72-10 26
Text of page 27
SECTION – IV
p·´|Ý – IV
Note : This section contains five (5) questions of five (5) marks each based on the following
passage. Each question should be answered in about thirty (30) words.
(5 × 5 = 25 Marks)
··ËzÝ i¤·p·´|Ý ·Ì ¸··¸·¸p···¸ÝtuËÜ Ý ·Ý h···¸Ý···²t· ·° ·§ÐÝ g·°·ËoÛ·° ·oÛ·j·Ý ·q··q··À¤·
· Ý·Ì·Ìh·Ë¸c··§ÏÝg·°·ËoÛ·° ···²t· h´oÛ·ÌoÛ·§ÏÝg (5 × 5 = 25 h´oÛ)
It is usual for every prominent philosopher in the West to regard the question
of beauty as a part of the problem he is attempting to solve. Hence aesthetics has
come to be recognized there as a regular part of philosophy. The intrinsic relation
implied in this between aesthetics and philosophy is not denied in India; but the
former of these studies is carried on by a distinct class of thinkers – ODmNULNDVDV
.
they are called, or literary critics – who are not, generally speaking, professional
philosophers. This separation of aesthetic problems, in the matter of investigation,
from those of general philosophy may at first sight appear not only strange but also
defective; a little reflection, however, will show that it is not really so. Before
explaining this point, however, it is necessary to state that when we say that Indian
philosophers have not troubled themselves with questions of beauty, what is meant is
only that they do not deal with beauty in art and not also [sic] beauty in nature. The
latter is certainly included; but, while it is explicit in some systems, it is only implicit
in others. The exact view which they hold in this respect will become clear as we
proceed. As regards their neglect of beauty in art, the reason is that its pursuit cannot,
according to them, directly minister to the attainment of the final goal of life, which is
the prime concern of Indian philosophers. Perhaps some among them thought that its
pursuit might even tend to lead man away from that goal, in which case their attitude
towards art would be like that of Plato towards the same.
·¼ t···Ì ·°·ËoÛ·°·Äp· Ý· ·µ¸·oÛoËÛ¸··Ë ¤··Ï Ý·µ oËÛ·° ·oÛ·Ë j¤·¤··¤··¸v·¤·oÛ··§Ý §Ý·oÛÝ·Ë oÛÀ
t·Ë£zÝ·oÛÝ Ý§Ý·§ÏÝ oÛ·moÛ··q·¤··x···h·····§ÏÝ gh· ·§Ý·² ¤··Ï Ý·µ ··¤·oÛ·Ë Ý ·µ· ··¤·oÛ·¸··¸····q·
····v···Ë·q··§ÏÝg¤··Ï Ý·µ ··¤·h·ÏÝ Ý ·µ· ··¤·oËÛ·Àt·i¤··Ìj··¸c···Ç··Ç·¤·····Ý··Ì·oÛ·Ý··§ÝÁ
q···§ÏÝ ·Ý·Äi·h····Ì·Ì¤·Ë·§Ý·· ¤··Ð Ý·µ ··¤· ¸·t··ÝoÛ·Ì–h···oÛ·¸ÝoÛv·Ï¤··¸oÛ·§Ýoۧݷ··Ëv···Ë§ÐÝ
h···¤··¸§Ý¼·oÛh···Ët·oÛ·Ì –v··Ë ¤·······ÏÝ ·Ý ·Ë ·Ë·Ý Ý· ·µ¸·oÛ·§ÝÁ§ÐÝ –oËÛ¸···q·µ Ý·Ý·h·q·Ë ·}®Ý···
q···§ÏÝg ··Ë·oËÛ····Ë·Ì¤····· Ý ·µ· ··¤·oÛÀ¤··¤··h·Ì¤·Ë¤··Ï Ý·µ·ÝoÛ¤··¤··h·ÌoÛ··§Ýh·q····§Ý·À
·v·Ý·Ì·oËÛ··h ݬ·Ä··Ý·Ä·Ä¸zÝ·Ç~·µ·À·°·À·§Ý·Ë¤·oÛ··§ÏÝ ···¸···Ë|®Ý·¤··¸t··· Ý ··µmq··¸oÛ··¤···Ì
mˤ···§ÝÁ§ÏÝg···¸·i¤····o۷ˤ·£zÝoÛݷˤ·Ë·§Ý·Ë·§Ý·····h·· ·oÛ§ÏݸoÛv··§Ý·oۧݷ˧ÐݸoÛ··Ý·À·
Ý· ·µ¸·oÛ·Ì ·Ë h··Ë h··oÛ·Ë ¤··Ï Ý·µ oËÛ·° ··Ì oËÛ¤····ËÝ ····§ÝÁ¸oÛ····Ë j¤·oÛ·····µ oËÛ···§Ý §ÏÝ ¸oÛ·Ë
··Ëq·oÛ···Ì¤··Ï Ý·µh·ÏÝ·°oÊÛ¸··Ì¤··Ï Ý·µoËÛi¤··° ··Ý¸·t··Ý·§ÝÁoÛݷ˧ÐÝg Çݤ·ËÝ Ý ·µ· ··¤· o۷˸·¼ t··
ß·¤·Ë¤·¼·¸··¸oÛ··q···§ÏÝ ·Ý·Ä·§Ýv··¸oÛoÄÛuܸt····°~··¸···Ì ¸·t··Ý··Ý·h·Ì ·Ì¤·Ä¤·£zݧÏÝ Çݤ·Ý·Ì·Ì
·§Ýh¤·£zݧÏÝgi¤·¤····Ìj·oÛ·{ÝÀoÛ{ÝÀoÛ¸·t··Ý§Ý··ËÝh·q·Ë·}®Ý·Ë·Ý¤·£zݧݷËv···Ëq··goÛ···Ì¤··Ï Ý·µ
oËÛ¤····Ìj·oÛÀj·Ëc··oÛÀv·§Ý·²·oÛ···§ÏÝoÛ·Ý~··§Ý§ÏݸoÛj·oËÛh·Ä¤··Ýj¤·oËÛ¸··Ët·Ë£zÝ·oÛ·Ëv·À··oËÛ
h¼···c·oÛÀ·°·¼·v··Ë ¸oÛ··Ý·À· Ý· ·µ¸·oÛ·Ì oÛ··Äp·¤·Ý·ËoÛ·Ý §ÏÝoËÛ¤···¤·À·Ë ¤··¼···§ÝÁ¸oÛ··v··
¤·oÛ··§ÏÝgj··Ì¤·ËoÄÛuÜ·Ë ··· ݤ··Ët··¸oÛj¤·Ë···ËoÛÀt·Ë£zÝ··¼n·oÛ·Ëj¤··c·¤·Ë ··· Ý ÇÝÝ·ÀoÛݤ·oÛ·À
§Ïݸv·¤·¼¤·¸··Ì¸ÛÝoÛ··oËÛ·°¸·j·oÛÀh¸··Ê¸··ËzÝ·ËoÛÀh¸··Ê¸·oËÛ¤····§Ý·Ëq·Àg
D-72-10 27 P.T.O.
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15. What prompts the western philosopher to treat aesthetics and philosophy as related ?
¤··Ï Ý·µ ··¤···· Ý ·µ· ··¤·oÛ·Ë moÛ Çݤ·ËÝ ¤·Ë ¤··¼······Ë oËÛ¸··Ë ·· t··· Ý· ·µ¸·oÛoÛ·Ë ¸oÛ¤·····Ë
·°Ë¸Ý·¸oÛ··"
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16. How are Indian literary critics different from western philosophers ?
··Ý·À·¤··¸§Ý¼·oÛh···Ët·oÛ·¼ t··À Ý· ·µ¸·o۷̤·Ë¸oÛ¤··°o۷ݸ··§ÐÝ"
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D-72-10 28
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17. Do you agree with the view that the Indian approach to the question of beauty is
defective ?
n··h··i¤·¸·t··Ý¤·Ë¤·§Ý··§ÐݸoÛ¤··Ï Ý·µoËÛ·° ·oÛ·Ë·ËoÛÝ··Ý·À·Ý·Ï···Ä¸zÝ·Ç~·µ§ÏÝ"
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18. Why do Indian philosophers refrain from addressing the question of beauty ?
··Ý·À· Ý· ·µ¸·oÛ¤··Ï Ý·µoËÛ·° ·o۷ˤ···Ë¸··n··Ì·§ÝÁoÛݷ˧ÐÝ"
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D-72-10 29 P.T.O.
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19. What do you understand from the passage about Plato’s views on art ?
oÛ···Ý·ËzÝ·ËoËÛ¸·t··Ý·ÌoËÛ··ËÝ·Ìi¤··¸ÝtuËÜ Ý¤·Ëh··n··¤··x··Ë§ÐÝ"
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Space For Rough Work D-72-10 31 P.T.O.
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FOR OFFICE USE ONLY
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D-72-10 32Official key not published for this paper.
Page 1 of 32
Source: University Grants Commission. Question paper published by University Grants Commission.