PAPER-III COMPARATIVE LITERATURE Signature and Name of Invigilator 1. (Signature) __________________________ (Name) ____________________________ 2. (Signature) __________________________

Roll No. (In figures as per admission card)

(Name) ____________________________

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72

1 0

Time : 2 1/2 hours] Number of Pages in this Booklet : 32

Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. Answer to short answer/essay type questions are to be given in the space provided below each question or after the questions in the Test Booklet itself. No Additional Sheets are to be used. 3. At the commencement of examination, the question booklet will be given to you. In the first 5 minutes, you are requested to open the booklet and compulsorily examine it as below : (i) To have access to the Question Booklet, tear off the paper seal on the edge of this cover page. Do not accept a booklet without sticker-seal and do not accept an open booklet. (ii) Tally the number of pages and number of questions in the booklet with the information printed on the cover page. Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other discrepancy should be got replaced immediately by a correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra time will be given. 4. Read instructions given inside carefully. 5. One page is attached for Rough Work at the end of the booklet before the Evaluation Sheet. 6. If you write your name or put any mark on any part of the Answer Sheet, except for the space allotted for the relevant entries, which may disclose your identity, you will render yourself liable to disqualification. 7. You have to return the test booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 8. Use only Blue/Black Ball point pen. 9. Use of any calculator or log table etc., is prohibited.

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Roll No.________________________________ (In words) [Maximum Marks : 200 Number of Questions in this Booklet : 19

¯Ö¸ü߁ÖÖÙ£ÖµÖÖë êú ׻֋ ×­Ö¤ìü¿Ö 1. ¯ÖÆü»Öê ¯Öéšü êú ‰ú¯Ö¸ü ×­ÖµÖŸÖ Ã£ÖÖ­Ö ¯Ö¸ü †¯Ö­ÖÖ ¸üÖê»Ö ­Ö´²Ö¸ü ×»Ö׏֋ … 2. »Ö‘Öã ¯ÖÏ¿­Ö ŸÖ£ÖÖ ×­Ö²ÖÓ¬Ö ¯ÖύúÖ¸ü êú ¯ÖÏ¿­ÖÖë êú ˆ¢Ö¸ü, ¯ÖϟµÖêú ¯ÖÏ¿­Ö êú ­ÖߓÖê µÖÖ ¯ÖÏ¿­ÖÖë êú ²ÖÖ¤ü ´Öë פüµÖê Æãü‹ ׸üŒŸÖ ãÖÖ­Ö ¯Ö¸ü Æüß ×»Ö׏ֵÖê … ‡Ã֍êú ׻֋ úÖê‡Ô †×ŸÖ׸üŒŸÖ úÖÖ•Ö úÖ ˆ¯ÖµÖÖêÖ ­ÖÆüà ú¸ü­ÖÖ Æîü … 3. ¯Ö¸ü߁ÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê­Öê ¯Ö¸ü, ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ †Ö¯ÖúÖê ¤êü ¤üß •ÖÖµÖêÖß … ¯ÖÆü»Öê ¯ÖÖÑ“Ö ×´Ö­Ö™ü †Ö¯ÖúÖê ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ ÖÖê»Ö­Öê ŸÖ£ÖÖ ˆÃ֍úß ×­Ö´­Ö×»Ö×ÖŸÖ •ÖÖÑ“Ö êú ׻֋ פüµÖê •ÖÖµÖëÖê, וÖÃ֍úß •ÖÖÑ“Ö †Ö¯ÖúÖê †¾Ö¿µÖ ú¸ü­Öß Æîü : (i) ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ ÖÖê»Ö­Öê êú ׻֋ ˆÃ֍êú ú¾Ö¸ü ¯Öê•Ö ¯Ö¸ü »ÖÖß úÖÖ•Ö úß ÃÖᯙ úÖê ±ú֛Íü »Öë … Öã»Öß Æãü‡Ô µÖÖ ×²Ö­ÖÖ Ã™üߍú¸ü-ÃÖᯙ úß ¯ÖãÛß֍úÖ Ã¾ÖߍúÖ¸ü ­Ö ú¸ëü … (ii) ú¾Ö¸ü ¯Öéšü ¯Ö¸ü ”û¯Öê ×­Ö¤ìü¿ÖÖ­ÖãÃÖÖ¸ü ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ êú ¯Öéšü ŸÖ£ÖÖ ¯ÖÏ¿­ÖÖë úß ÃÖӏµÖÖ úÖê †“”ûß ŸÖ¸üÆü “Öîú ú¸ü »Öë ׍ú µÖê ¯Öæ¸êü Æïü … ¤üÖêÂÖ¯ÖæÖÔ ¯ÖãÛß֍úÖ ×•Ö­Ö´Öë ¯Öéšü/¯ÖÏ¿­Ö ú´Ö ÆüÖë µÖÖ ¤ãü²ÖÖ¸üÖ †Ö ÖµÖê ÆüÖë µÖÖ ÃÖß׸üµÖ»Ö ´Öë ­Ö ÆüÖë †£ÖÖÔŸÖ ×úÃÖß ³Öß ¯ÖύúÖ¸ü úß ¡Öãיü¯ÖæÖÔ ¯ÖãÛß֍úÖ Ã¾ÖߍúÖ¸ü ­Ö ú¸ëü ŸÖ£ÖÖ ˆÃÖß ÃÖ´ÖµÖ ˆÃÖê »ÖÖî™ü֍ú¸ü ˆÃ֍êú ãÖÖ­Ö ¯Ö¸ü ¤æüÃÖ¸üß ÃÖÆüß ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ »Öê »Öë … ‡Ã֍êú ׻֋ †Ö¯ÖúÖê ¯ÖÖÑ“Ö ×´Ö­Ö™ü פüµÖê •ÖÖµÖëÖê … ˆÃ֍êú ²ÖÖ¤ü ­Ö ŸÖÖê †Ö¯Öúß ¯ÖÏ¿­Ö-¯ÖãÛß֍úÖ ¾ÖÖ¯ÖÃÖ »Öß •ÖÖµÖêÖß †Öî¸ü ­Ö Æüß †Ö¯ÖúÖê †×ŸÖ׸üŒŸÖ ÃÖ´ÖµÖ ×¤üµÖÖ •ÖÖµÖêÖÖ … 4. †­¤ü¸ü פüµÖê ÖµÖê ×­Ö¤ìü¿ÖÖë úÖê ¬µÖÖ­Ö¯Öæ¾Öԍú ¯ÖœÍëü … 5. ˆ¢Ö¸ü-¯ÖãÛß֍úÖ úêú †­ŸÖ ´Öë ú““ÖÖ úÖ´Ö (Rough Work) ú¸ü­Öê êú ׻֋ ´Ö滵ÖÖӍú­Ö ¿Öߙü ÃÖê ¯ÖÆü»Öê ‹ú ¯Öéšü פüµÖÖ Æãü†Ö Æîü … 6. µÖפü †Ö¯Ö ˆ¢Ö¸ü-¯ÖãÛß֍úÖ ¯Ö¸ü †¯Ö­ÖÖ ­ÖÖ´Ö µÖÖ ‹êÃÖÖ úÖê‡Ô ³Öß ×­Ö¿ÖÖ­Ö ×•ÖÃÖÃÖê †Ö¯Öúß ¯ÖÆü“ÖÖ­Ö ÆüÖê Ã֍êú, ׍úÃÖß ³Öß ³ÖÖÖ ¯Ö¸ü ¤ü¿ÖÖԟÖê µÖÖ †Ó׍úŸÖ ú¸üŸÖê Æïü ŸÖÖê ¯Ö¸ü߁ÖÖ êú ×»ÖµÖê †µÖÖêµÖ ‘ÖÖê×ÂÖŸÖ ú¸ü פüµÖê •ÖÖµÖëÖê … 7. †Ö¯ÖúÖê ¯Ö¸ü߁ÖÖ ÃÖ´ÖÖ¯ŸÖ ÆüÖê­Öê ¯Ö¸ü ˆ¢Ö¸ü-¯ÖãÛß֍úÖ ×­Ö¸ü߁֍ú ´ÖÆüÖê¤üµÖ úÖê »ÖÖî™üÖ­ÖÖ †Ö¾Ö¿µÖú Æîü †Öî¸ü ‡ÃÖê ¯Ö¸ü߁ÖÖ ÃÖ´ÖÖÛ¯ŸÖ êú ²ÖÖ¤ü †¯Ö­Öê ÃÖÖ£Ö ¯Ö¸ü߁ÖÖ ³Ö¾Ö­Ö ÃÖê ²ÖÖÆü¸ü ­Ö »Öêú¸ü •ÖÖµÖë … 8. êú¾Ö»Ö ­Öß»Öê/úÖ»Öê ²ÖÖ»Ö ¯¾Öևՙü ¯Öê­Ö úÖ Æüß ‡ÃŸÖê´ÖÖ»Ö ú¸ëü … 9. ׍úÃÖß ³Öß ¯ÖύúÖ¸ü úÖ ÃÖӐ֝֍ú (îú»Öãú»Öê™ü¸ü) µÖÖ »ÖÖÖ ™êü²Ö»Ö †Öפü úÖ ¯ÖϵÖÖêÖ ¾ÖÙ•ÖŸÖ Æîü … P.T.O.

COMPARATIVE LITERATURE

€·Äœ·Ž····€€•·oÛÛ¤¤··¸§Ý€–· PAPER-III

·° Ž·  Ž··‚·-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.

Ž····ËËzÝ

–·§Ý·° Ž··‚·…ݷˤ··Ï  h´oÛ·ÌoÛ·§ÏÝmŸ·´i¤·•·Ìt····™™Ý p·´|Ý §ÐÝ gh”–·º„·–··Ì oÛ·Ë iŽ·•·Ì ¤·•··¸§Ý€··° Ž··Ì oËÛjƒ·™Ý hœ·q·¸…Ý–·Ëq·–·Ë¸Ÿ·¤€·Ê€·¸Ž·…ÍÝ ··ÌoËÛhŽ·Ä¤··™Ý…Ëݎ··§ÏÝg

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2

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)

Ž····ËËzÝ

i¤·p·´|Ý •·Ì “·À·À¤¤·–“·À·À¤¤·h´oÛ·Ì oËÛ……Ý·Ë ¸Ž·“·Ž··€•·oې·° Ž·§ÐÝ g·°€–·ËoÛoÛ·jƒ·™Ý œ·q·”·q···²t··¤¤····ÏÏ    ·“…Ý·Ì •·Ì h·Ë¸c·€·§ÏÝg (2 × 20 = 40 h´oÛ oÛ)

1.

A definition of Comparative Literature and its scope in the Indian context.

”··™Ý€·À–·¤·´…Ý”·µ•·Ì€·Äœ·Ž··€•·oÛ¤··¸§Ý€–·oÛÀ·¸™Ý”··£··h·Ï™Ýj¤·oÛ·¸Ÿ·¤€··™Ýc·Ë‚·g OR / h„·Ÿ·· Croce’s view that any literary study is essentially comparative. Give reasons in support of your answer.

o¯Û·Ët·Ë oÛ·¸Ÿ·t··™Ý §ÏݸoÛoÛ·Ëiµ ”·À¤··¸§Ý¼€–·oÛh–·–·Ž·h¸Ž·Ÿ··–·µ€·€·Äœ·Ž··€•·oۧݷˀ··§ÏÝ gh·Ž·Ë jƒ·™Ý oËÛ¤·•·„·µŽ·•·Ì oÛ·™Ý~·…ÝÀ¸v·mg _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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P.T.O.

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P.T.O.

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2.

Literature and Theatre Arts.

¤··¸§Ý€–·h·Ï™Ý™´Ýq·•·´t·oۜ··m² OR / h„·Ÿ·· The Mode of Existence of a Literary Work of Art.

oۜ··oÛÀ¤··¸§Ý¼€–·oÛ™Ýt·Ž··oÛÀ¸Ÿ·‹•··Ž·€··oÛ·}´Ýq· _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10 7 P.T.O.

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P.T.O.

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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)

Ž····ËËzÝ

i¤·p·´|Ý •·Ì ·Ž‡Ý§Ý· ·Ž‡Ý§Ý h´oÛ·Ì oËÛ€€·ÀŽ·· ·° Ž·§ÐÝ g·°€–·Ëoې·° Ž·oÛ·jƒ·™Ý œ·q·”·q·€€·ÀŽ··¤¤··Ï    ·“…Ý·Ì •·Ì h·Ë¸c·€·§ÏÝg (3 × 15 = 45 h´oÛ 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¤·¸Ÿ·t··™Ý oÛÀ·™ÝÀc··oۙÌÝ ¸oÛoÛ·œ· “Ÿ·§Ý ¤·•·–·p·´|Ý §ÏÝ v··Ë •··Ž·…´Ý|Ý·Ì oÛÀ·‰Ý¸€·ŒÝ·™Ý·h¸·oÛ·™Ý •·Ì ™Ýp··v··€··§ÏÝ ¸v·Ž·oÛÀ ·ÄšÞh·€··°¤··™Ýh·Ï™Ý¸Ÿ·¸Ÿ·¸·oۙÝ~·moÛÀoۙÝ~·h·Ï™Ý¸Ÿ·œ··Ë·Ž·oÛ··€··œ·q··–··v··¤·oۀ··§ÏÝ”Ÿ·Ëœ·ËoÛ g

4.

Discuss the problems inherent in translating from a translation.

hŽ·ÄŸ··…ݤ·ËhŽ·ÄŸ··¸…Ý€·oۙݎ·Ë¤·Ëv·Ä|®ÝÀ¤·•·¤–··h·ÌoÛÀ¸Ÿ·Ÿ·Ët·Ž··oÛÀ¸v·–·Ëg 5.

Briefly comment on the reception of Shakespeare in India.

”··™Ý€·•·Ì ·Ën¤·¸·–·™ÝoËÛh¸”·q·°§Ý~··™Ý¤·´¸c·€·¸zݐ·~·ÀoۙÌÝg _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10 11 P.T.O.

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P.T.O.

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P.T.O.

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P.T.O.

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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)

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i¤·p·´|Ý •·Ì …ݤ·…ݤ··   h´oÛ·Ì oËÛŽŽ····ÏÏ  ·° Ž·§ÐÝ g·°€–·Ëoې·° Ž·oÛ·jƒ·™Ý œ·q·”·q··t····¤¤··   ·“…Ý·Ì •·Ì h·Ë¸c·€·§ÏÝg (9 × 10 = 90 h´oÛ oÛ)

6.

How do you distinguish between Historicism and New Historicism ?

h··i¸€·§Ý·¤··™Ýo۟··…Ýh·Ï™ÝŽ·Ÿ·i¸€·§Ý·¤··™Ýo۟··…ÝoËÛ“·Àt·¸oÛ¤··°oÛ·™ÝhŽ€·™Ýoۙ݀·Ë§ÐÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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P.T.O.

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7.

Define a ballad with examples.

q··„··q·À€·oÛÀ¤··Ë…Ý·§Ý™Ý~··¸™Ý”··£··…ÌÝg _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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8.

What does Ksemendra mean by aucitya ? .

c·Ë•·ËŽ‡ÝoËÛhŽ·Ä¤··™Ýh·Ï¸t·€–·oÛ·n–··h„·µ§ÏÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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P.T.O.

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9.

How are themes concretized in literary works ?

¤··¸§Ý¼€–·oÛ™Ýt·Ž··h·Ì•·Ì¸Ÿ·£·–·Ÿ·¤€·Äo۷˸oÛ¤··°oÛ·™Ý¤··oÛ·™Ý¸oۖ··v··€··§ÏÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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10.

How does Petersen define a plot ?

·Àzݙݤ·Ž·Ž·Ëoۄ··Ÿ·¤€·Äoۄ··Ž·oÛ o۷˸oÛ¤··°oÛ·™Ý·¸™Ý”··¸£·€·¸oۖ··§ÏÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________

11.

Distinguish between “influence” and “analogy”. “·°”··Ÿ·”h·Ï™Ý“¤··†Ý –·”oËÛ“·Àt·hŽ€·™ÝoۙÌÝg

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P.T.O.

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12.

What does the term “allegory” mean ? “›ß·oÛoۄ··”·…ÝoÛ·n–··h„·µ§ÏÝ"

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13.

What do the post-modern critics mean by “the death of the author” ? “…ÝÀ|Ë݄·h·Ó’Û…ÝÀh·Ó„·™Ý”¤·Ëjƒ·™Ýh··Ä¸Ž·oÛh·œ··Ët·oÛ·ÌoÛ·n–··h„·µ§ÏÝ"

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14.

Distinguish between Akam and Puram poetry, as discussed by the ancient Tamil grammarians.

  ™Ý ·Ä ™Ý•·oÛ·Ÿ–·oÛÀ¸v·¤··°oÛ·™Ý ¤·Ë ·°·t·ÀŽ·€·¸•·œ·Ÿ–··oۙÝ~·Ÿ·Ëƒ··h·Ì ŒÝ·™Ý·¸Ÿ·Ÿ·Ët·Ž··oÛÀq·iµ §ÏÝ jŽ·oËÛ“·Àt· hoە·h·Ï hŽ€·™ÝoۙÌÝg _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________

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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)

Ž····ËËzÝ

i¤·p·´|Ý •·Ì ¸Ž·•Ž·¸œ·¸p·€··¸™ÝtuË܅Ý ·™Ý h···¸™Ý€···²t·· ·° Ž·§ÐÝ g·°€–·Ëoې·° Ž·oÛ·jƒ·™Ý œ·q·”·q·€€·À¤··   ·“…Ý·Ì•·Ìh·Ë¸c·€·§ÏÝg·°€–·Ëoې·° Ž·····²²t·· h´oÛ·ÌoÛ·§ÏÝg (5 × 5 = 25 h´oÛ 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 – –ODmN—ULNDVDV . 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 ·°€–·Ëoې·°•·Äp·…Ý· ·µ¸Ž·oÛoËÛ¸œ·–·Ë ¤··ÏŽ…Ý–·µ oËې·° Ž·oÛ·Ë j¤·¤·•·¤–··¸v·¤·oÛ·Ÿ·§Ý §Ýœ·oۙݎ·Ë oÛÀ t·Ë£zÝ·oۙÝ ™Ý§Ý·§ÏÝ oÛ·moÛ”··q·¤·•·x·Ž··h·•·“··€·§ÏÝ gh€·Ÿ·§Ý·² ¤··ÏŽ…Ý–·µ ··¤‚·oÛ·Ë …Ý ·µŽ· ··¤‚·oÛ·¸Ž·–·¸•·€·”··q· •··Ž··v··Ž·Ëœ·q··§ÏÝg¤··ÏŽ…Ý–·µ ··¤‚·h·Ï™Ý…Ý ·µŽ· ··¤‚·oËÛ“·Àt·i¤·•·Ìj·œ·¸c·€·•·Çœ·”·Ç€·¤·•“·Ž·”··™Ý€·•·ÌŽ·oÛ·™Ý·Ž·§ÝÁ q·–··§Ïݐ·™ÝŽ€·ÄiŽ·h–·–·Ž··Ì•·Ì¤·Ë·§Ýœ··¤··Ð…Ý–·µ ··¤‚· ¸Ÿ·t··™ÝoÛ·Ì–h·œ·•·oÛ·¸™ÝoÛv·Ï¤··¸oÛŸ·§Ýoۧݜ··–·Ëv··€·Ë§ÐÝ h„·Ÿ··¤··¸§Ý¼€–·oÛh·œ··Ët·oÛ·Ì –v··Ë ¤··•··Ž–·€··Ï™Ý ·™Ý ·Ë ·ËŸ·™Ý …Ý· ·µ¸Ž·oÛŽ·§ÝÁ§ÐÝ –oËÛ¸”·ŽŽ·Ÿ·q·µ ŒÝ·™Ý·h·q·Ë “·}®Ý·–·· q·–··§ÏÝg ··Ë·oËÛ•··•·œ·Ë•·Ì¤··•··Ž–·…Ý ·µŽ· ··¤‚·oÛÀ¤·•·¤–··h·Ì¤·Ë¤··ÏŽ…Ý–·µ·™ÝoÛ¤·•·¤–··h·ÌoÛ·–·§Ýhœ·q··Ÿ··§Ýœ·À Ž·v·­™Ý•·ÌŽ·oË۟·œ·h…ݬ”·Ä€··™ÝŽ€·Ä‚·Ä¸zݐ·Ç~·µ”·À·°€·À€·§Ý·Ë¤·oۀ··§ÏÝ€·„··¸·„··Ë|®Ý·¤··¸t·Ž€·Ž·…Ý ··µmq··¸oÛŸ··¤€·Ÿ·•·Ì mˤ··Ž·§ÝÁ§ÏÝg€·„··¸·i¤·“··€·o۷ˤ·£zÝoۙݎ·Ë¤·Ë·§Ýœ·Ë–·§Ý“·€··Ž··h·Ÿ· –·oÛ§ÏݸoÛv·“·§Ý•·oۧ݀·Ë§ÐݸoÛ”··™Ý€·À–· …Ý· ·µ¸Ž·oÛ·Ì Ž·Ë h·Ž·Ë h··oÛ·Ë ¤··ÏŽ…Ý–·µ oËې·° Ž··Ì oËÛ¤··„··™ËÝ ··Ž·Ž·§ÝÁ¸oۖ··€··Ë j¤·oÛ·€··€·–·µ oË۟·œ·–·§Ý §ÏÝ ¸oÛŸ·Ë œ··Ëq·oۜ··•·Ì¤··ÏŽ…Ý–·µh·Ï™Ý·°oÊÛ¸€·•·Ì¤··ÏŽ…Ý–·µoËÛi¤··° Ž··™Ý¸Ÿ·t··™ÝŽ·§ÝÁoۙ݀·Ë§ÐÝg…Çݤ·™ËÝ…Ý ·µŽ· ··¤‚· o۷˸Ž·¼ t·€· ›ß·¤·Ë¤·¼••·¸œ·€·¸oۖ··q·–··§Ïݐ·™ÝŽ€·Ä–·§Ýv·“·¸oÛoÄÛuܸt·Ž€·Ž··°~··¸œ·–··Ì¸Ÿ·t··™Ý··™Ý·h·Ì •·Ì¤·Ä¤·£zݧÏÝ…Çݤ·™Ý·Ì•·Ì –·§Ýh¤·£zݧÏÝgi¤·¤·•“·Ž·•·ÌjŽ·oÛ·{ÝÀoÛ{ÝÀoÛ¸Ÿ·t··™Ý§Ý•··™ËÝh·q·Ë“·}®ÝŽ·Ë·™Ý¤·£zݧݷËv··–·Ëq··goۜ··•·Ì¤··ÏŽ…Ý–·µ oËÛ¤·•“·Ž·•·ÌjŽ·oÛÀj·Ëc··oÛÀv·§Ý·²€·oÛ“··€·§ÏÝoÛ·™Ý~·–·§Ý§ÏݸoÛjŽ·oËÛhŽ·Ä¤··™Ýj¤·oËÛ¸œ·–·Ët·Ë£zÝ·oÛ·Ëv·ÀŸ·Ž·oËÛ h¼Ž€·•·œ·c–·oÛÀ·°·¼€·v··Ë ¸oÛ”··™Ý€·À–·…Ý· ·µ¸Ž·oÛ·Ì oÛ·•·Äp–·¤·™Ý·ËoÛ·™Ý §ÏÝoËÛ¤··„·¤·À·Ë ¤·•“·¼Ž·€·Ž·§ÝÁ¸oۖ··v·· ¤·oۀ··§ÏÝgjŽ·•·Ì¤·ËoÄÛuÜŽ·Ë ··–·…ݤ··Ët··¸oÛj¤·Ë··Ž·ËoÛÀt·Ë£zÝ·Ÿ–·¼n€·oÛ·Ëj¤·œ·c–·¤·Ë ··–·…Ý…ÇݙÝ”·Àoۙݤ·oۀ·À §Ïݸv·¤·¼¤„·¸€·•·Ì¸’Û™Ýoۜ··oËې·°¸€·jŽ·oÛÀh¸”·Ÿ·Ê¸ƒ·œ·ËzÝ·ËoÛÀh¸”·Ÿ·Ê¸ƒ·oËÛ¤·•··Ž·§Ý·Ëq·Àg D-72-10

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15.

What prompts the western philosopher to treat aesthetics and philosophy as related ?

¤··ÏŽ…Ý–·µ ··¤‚·€·„··…Ý ·µŽ· ··¤‚·oÛ·Ë moÛ…Çݤ·™ËÝ ¤·Ë ¤·•“·¼Ž·€·•··Ž·Ž·Ë oËÛ¸œ·–·Ë ·· t··€–·…Ý· ·µ¸Ž·oÛoÛ·Ë ¸oÛ¤·“··€·Ž·Ë ·°Ë¸™Ý€·¸oۖ··" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________

16.

How are Indian literary critics different from western philosophers ?

”··™Ý€·À–·¤··¸§Ý¼€–·oÛh·œ··Ët·oې·¼ t·•·À…Ý· ·µ¸Ž·o۷̤·Ë¸oÛ¤··°oÛ·™Ý¸”·ŽŽ·§ÐÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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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¤·¸Ÿ·t··™Ý¤·Ë¤·§Ý•·€·§ÐݸoÛ¤··ÏŽ…Ý–·µoËې·° Ž·oÛ·Ëœ·ËoۙÝ”··™Ý€·À–·™ÝŸ·Ï–··‚·Ä¸zݐ·Ç~·µ§ÏÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 18.

Why do Indian philosophers refrain from addressing the question of beauty ?

”··™Ý€·À–·…Ý· ·µ¸Ž·oÛ¤··ÏŽ…Ý–·µoËې·° Ž·o۷ˤ·•“··Ë¸·€·n–··ÌŽ·§ÝÁoۙ݀·Ë§ÐÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ D-72-10

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_______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ 19.

What do you understand from the passage about Plato’s views on art ?

oۜ···™Ýœ·ËzÝ·ËoËÛ¸Ÿ·t··™Ý·ÌoËÛ“··™ËÝ•·Ìi¤··¸™ÝtuË܅ݤ·Ëh··n–··¤·•·x·€·Ë§ÐÝ" _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ _______________________________________________________________________________________________ ____________ D-72-10

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Space For Rough Work

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FOR OFFICE USE ONLY Marks Obtained Question Marks Number Obtained 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Total Marks Obtained (in words) ........................................... (in figures) .......................................... Signature & Name of the Coordinator ................................... (Evaluation)

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Date .........................

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