Showing posts sorted by date for query coleridge. Sort by relevance Show all posts
Showing posts sorted by date for query coleridge. Sort by relevance Show all posts
01689--Cambridge school
Cambridge school is
the name sometimes given to an influential group of English critics associated
with the University of Cambridge in the 1920s and 1930s. The leading figures
were I. A. Richards, F. R. Leavis, Q. D. Leavis, and William Empson. Influenced
by the critical writings of Coleridge and of T. S. Eliot, they rejected the
prevalent biographical and historical modes of criticism in favour of the
'close reading' of texts. They saw poetry in terms of the reintegration of
thought and feeling, and sought to demonstrate its subtlety and complexity,
notably in Empson's Seven Types of Ambiguity (1930). The Leavises achieved
great influence through the journal Scrutiny (1932-53), judging literary works
according to their moral seriousness and 'lifeenhancing' tendency.
01650--ballad
Ballad is a folk
song or orally transmitted poem telling in a direct and dramatic manner
some popular story usually derived from a tragic incident in local history or
legend. The story is told simply, impersonally, and often with vivid dialogue.
Ballads are normally composed in quatrains with alternating four-stress and
three-stress lines, the second and fourth lines rhyming (see ballad metre); but
some ballads are in couplet form, and some others have six-line stanzas.
Appearing in many parts of Europe in the late Middle Ages, ballads nourished
particularly strongly in Scotland from the 15th century onward. Since the 18th
century, educated poets outside the folk-song tradition— notably Coleridge and
Goethe—have written imitations of the popular ballad's form and style:
Coleridge's 'Rime of the Ancient Mariner' (1798) is a celebrated example.
00598--What is the difference between Metaphor and Simile?
What is the
difference between Metaphor and Simile?
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METAPHOR
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SIMILE
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Metaphor
is the most important and widespread figure of speech, in which one
thing, idea, or action is referred to by a word or expression normally
denoting another thing, idea, or action, so as to suggest some common quality
shared by the two.
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Simile is an explicit comparison between two different things,
actions, or feelings, using the words 'as' or 'like'.
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Eg. He
is a lion
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Eg.
I wandered lonely as a cloud
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In metaphor, the resemblance is assumed
as an imaginary identity rather than directly stated as a comparison:
referring to a man as that pig, or saying he is a pig is metaphorical, whereas he is like a pig is a
simile. Metaphors may also appear as verbs (a talent may blossom) or as
adjectives (a novice may be green), or in longer idiomatic phrases,
e.g. to throw
the baby out with the bath-water.
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A simple example is Robert Burns, "O my love's like a
red, red rose."
The following simile from Samuel Taylor
Coleridge's "The Rime of the Ancient Mariner" also specifies the
feature ("green") in which icebergs are similar to emerald:
And ice, mast-high, came
floating by,
As green as emerald.
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Reference: 1. The Concise Oxford
Dictionary of Literary Terms
2. A Glossary of Literary Terms [M.H.Abrams]
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00573--A note [Summary] on Epithalamion by Edmund Spenser.
A short note [Summary] on Epithalamion by Edmund Spenser.
According to
Mutter Epithalamion is one of the
greatest formal lyrics in English.
Legouis praises it as a great ode without a rival. It exceeds in richness and splendour all
compositions of the same kind. It is the
most gorgeous jewel in the treasure-house of the Renaissance. J.W. Mackail assigns to it the first place
not only among spenser’s lyrics but also among all English odes. It celebrates the marriage of Spenser with
Elizabeth Boyle.
Audio Books
Audio Books
The ode adopts
the Italian Canzone. It has twenty three
stanzas of usually seventeen lines which are of unequal length and intricate
rhyme pattern, each stanza ending in a fourteen syllable line which forms a
varied refrain. The last seven lines are
tornata, an envoi, that expresses the poet’s desire to offer the poem as a gift
in lieu of the ornaments that have not reached her because of some accident. It bears the influence of Sappho,
Theocritus’s Epithalamium of Helen, Catallus’s The Wedding of Manlius and Vinia
and the epithalamia of the French Pleiade, Ronsard and Du Bellay. Its novelty lies in the narrator being the
poet who is also the bridegroom.
The poem unfolds
a canvas where mythological and Christian elements, literary reminiscence and
natural description blend harmoniously
to intensify the expression of the poet’s personal emotions. It radiates an aura of a pageant about
it. Its chief features are the invocation
of the Muse, the procession, feasting, the decoration of the bride, the praise
of her beauty, the bride’s arrival at the church, the marriage ceremony, the
preparation of the bridal chamber and prayer for their fruitful union.
Spenser’s
Platonic conception that the outward beauty is a reflection of the inner virtue
and purity, manifests itself in the description of the bride who is adorn’d
with beauty’s grace and virtue’s store.
The beauty of her body like a palace fair leads the mind with many a
stately stair to honour’s seat, to the seat of perfect virtue. Spenser’s celebration of ideal beauty, and
the Petrarchan deification of the lady
are conventional. Though the poem is
personal, it universalies the experience of love. The narration of events covering one day,
from morning to midnight imposes on the poem a unity in respect of the
subject-matter and of its emotional content.
As Mutter observes, the wealth of imagery is allied to the often
remarked musical quality of the poem to produce a total effect of strength and
controlled luxuriance which earns for it Coleridge’s praise of truly sublime.
00522--The Summary of “The Rime of the Ancient Mariner” by S T Coleridge
The Summary of “The Rime of the Ancient Mariner” by S T Coleridge
One evening three guests were going to a marriage party, one
of them was stopped by an Ancient Mariner who insisted on telling a story which
is full of supernatural interest.
Once the ancient mariner and his companions were sailing in a
ship, they were overtaken by a storm and driven to the South Pole. The ship was surrounded by icebergs. After some time, an Albatross came up and
became friendly with the sailors. It was
a bird of good omen; the ice broke and good wind arose from the south. The ship moved and the great bird followed in
fog and snow; but then the old mariner shot the bird with the cross bow. The sailors became angry because they
believed that it would bring the curse, but then they praised the old man and
became partners in the sin.
The ship moved and they crossed the pacific and came to
equator; the days became calm and the chip could not move and stood as a
painted ship on a painted ocean. The
supply of fresh water ran out and they were all dying of thirst. They were cursed, and the carcass of the
albatross was hung around the neck of the ancient mariner.
The same went on for days, the sailors were dying of thirst;
there was salt water all around but not a single drop to drink. The sun was merciless. It became blistering hot. The slimy creatures of the sea rose to the
rotting waters. The sailors suffered,
and they accused the old mariner for their plight.
After several days of torment they saw a sail. The ancient mariner bit his arm and drank his
own blood and shouted with joy “A sail”.
It was a ghostly ship that moved on the still sea without wind or tide. The sailors on the ship were spell-bound, and
when the ghost ship came nearer, they saw a female monster named ‘Life-in-death’ who had red lips,
yellow hair and leprous skin. She was
playing a game of dice with her companion named Death-in-life. She won the
life of all sailors except the life of the ancient mariner. The old sailor was won by Death-in-life. Therefore he could not die but was left
to suffer the life of torture.
Death soon claimed his victims and the sailors were dying one
by one, and the ancient mariner was left alone to suffer the horrors and
torments of life-in-death. He was denied
the luxury of death. The slimy creatures
were alive; his companions were lying dead on the deck; he tried to pray but
the fountain of prayer was dried up and the curse of the dead sailors increased
his agony. Cold sweat dropped from the dead
bodies of the sailors, their eyes were open, and the ancient mariner had to pay
for his sin.
For seven days he remained in this wretched condition; he had
no company except that of the moon and the stars; the water snakes played
around in the water, and the moon beams shined on their bodies. Love began to gush from his heart and he
blessed those creatures. He then
realised he could pray. The load of sin
was lifted and the spell was broken. The
dead albatross dropped from his neck, and he fell into a deep sleep. When he woke up his thirst was quenched and
the wind was blowing. The dead sailors
came back to life because the troop of the angels animated the dead
bodies. The spirit of the South Pole
obeyed the angels and carried the ship, and it was filled with their music and
then they disappeared.
The old sailor again fell into sleep and heard two voices in
his dream; one was the voice of justice that demanded the punishment for
killing the albatross; the other was the voice of mercy that pleaded for the
ancient mariner and pointed out that he had suffered and done enough
penance. When the old man woke up, he
found his companions alive, the ship moving, and they came to their native
shore. It was the night-time, the
harbour was bathed in moonlight; and the light-house, as well as the church on
the hill-top were shining, he fell on his knees and prayed. The angelic spirits (Seraphs) waved their hands
and disappeared.
Then a boat from the harbour came; it contained a pilot, the
pilot’s boy and a hermit. When they
neared there was a big noise and the ancient mariner’s ship went down. But the old sailor was rescued; but his
strange appearance threw the pilot into a fit, and the hermit was shaken. They all began to pray for protection against
evil.
The ancient mariner took charge of the boat and brought it to
the shore. He begged of the hermit to
listen to his strange story and grant him absolution. The ancient mariner’s sin was not expiated
and he felt the agony that tormented his soul.
He travelled from place to place, and became a wanderer. He could find solace and relief when he told
his story to someone.
The ancient mariner finished his tale and pointed out to the
wedding-guest the lesson from his strange story; the best prayer is that which embodies the love of all creatures, great
and small, made by God, who loves us all.
“He prayeth best
All things, both great and small
For the dear God, who loveth us,
He made them and loveth all.”
END
00310--IVOR ARMSTRONG RICHARDS and his works
IVOR ARMSTRONG RICHARDS
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1.The Foundations of Aesthetics
2.The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism
3.Principles of Literary Criticism
4.Science and Poetry
5.Practical Criticism: A Study of Literary Judgment.
6.Mencius on the Mind: Experiments in Multiple Definition
7.Basic Rules of Reason
8.Coleridge on Imagination
9.Basic in Teaching: East and West
10.The Philosophy of Rhetoric
11.How to Read a Page: A Course in Effective Teaching, with an Introduction to a Hundred Great Words
12.Interpretation in Teaching
13.Basic English and its Uses
14.Speculative Instruments
15.The Philosophy of Rhetoric
16.Complementarities: Uncollected Essays and Reviews
17.Richards on Rhetoric: Selected Essays
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00264--[DOUBLE] Willing suspension of disbelief in THE BIG BANG THEORY
Willing suspension
of disbelief is a term coined in 1817 by the poet and
aesthetic philosopher Samuel Taylor Coleridge who suggested that if a
writer could infuse a "human interest and a semblance of truth"
into a fantastic tale, the reader would suspend judgment concerning
the implausibility of the narrative. [Wikipedia]
Sheldon is a collection
of strange behaviours. To enjoy the work of art, namely Sheldon, the
audience practices the attitude which Coleridge called as Willing
suspension of disbelief.
We all very well remember the incident in which Sheldon
throws away the food just because Penny has touched it. Now will
such a person take someone else's cookie even if it is to show off
the importance he gained after he made a great discovery?
We are OK with Sheldon's that
habit (thanks to our capacity to suspend disbelief) but now he
behaves the opposite as he snatches a cookie from Leonard. That too
is OK. Again thanks to our capacity to suspend disbelief.
We watch TBBT to laugh. Therefore
we keep aside our reasoning and laugh when Sheldon says,“Now
give me that cookie I discovered an element”. But here we are
suspending our disbelief for the second time. I would like to call
it DOUBLE SUSPENSION OF DISBELIEF.
However “reason” is the
substratum. TBBT had to introduce a new character named Lucy to make
Raj to talk in front of women without the help of alcohol. Raj's
cure is made possible without the willing suspension of disbelief
from the part of the audience.
I LOVE THE BIG BANG THEORY!!!!
00225--Consider 'Kubla khan' as a fantasy [S.T.Coleridge] OR Discuss the supernatural elements in the poem ‘Kubla Khan’ [English Literature free notes]
'Supernatural' refers to things that cannot be explained. Supernatural forces are forces that work upon people but we cannot explain how and why. Ghosts in the plays of Shakespeare, gods interfering in the affairs of man, Deus ex machine, etc. can be taken as supernatural elements. Coleridge employs the supernatural in three of his important poems, namely, 'Christabel, 'Ancient Mariner' and 'Kubla khan'. We shall discuss here how Coleridge exploits this device to create effect to his poem.
'Kubla khan' is a vision in a dream and all the images
rising up before the poet seem to be 'things'.
Kubla khan orders a pleasure dome to be build in Xanadu on the banks of
the sacred river Alph which flows, through 'Caverns measureless to man' and
flows 'down to a sunless sea'. An area
of ten miles was enclosed for the purpose with walls and towers. Inside the enclosed area were gardens with
'sinuous rills' and 'sunny spots of greenery'.
The dome is a miracle of rare device.
Everything about the river is mysterious and enigmatic. The hidden caves of nature are set against
the 'sinuous rills' and the 'sunny spots of greenery'. The word 'bright' suggests something abnormal
and unnatural. 'Walls' and 'towers' also
suggest the exclusiveness and man's effort to cut himself off from nature.
The land plunges down through cedar woods to a deep
valley. A note of fear and beauty is
suggested. The atmosphere is both holy
and enchanted. The place is both savage
and charming. Into this place is
introduced a love-lorn lady seeking her demon lover under the weird light of
the declining moon. This adds to the
eeriness and mystery of the scene. It
adds a dramatic force to the scene.
The irregular bursts of water beneath the earth is
described with the phrases 'turmoil seething',
'fast thick pants', 'mightily', 'forces', 'vaulted', 'flung up' etc. The river makes a deep nose
when it falls into the ocean. Kubla Khan
seems to hear the voices of his forefathers predicting that war is
imminent. A message about destruction
from the immeasurable past is passed on to the present. It is ominous indeed.
The song of the
Abyssinian girl suggests something primitive about it. The poet with his
holiness and his sacred inspiration is a prophet different from the ordinary
people. The frenzy in which the poet is in the second part of the poem
also contributes to its supernatural vein. On the whole, 'Kubla khan' is
full of supernatural elements.
00224--What distinction does Coleridge make between FANCY and IMAGINATION? [English Literature free notes]
Imagination for Coleridge is the creative faculty possessed by poets. This shaping power of imagination enables the poet to configure the work as a unified whole. Both primary and secondary imagination—the former is involuntary where as the latter is a conscious form—have the same faculty of recreation. Fancy on the contrary is made of memory emancipated from the order of time and space, modified by the empirical phenomenon of the will. Coleridge makes poetic genius identical with imagination, and poetic talent with fancy.
00222--The Lake School of Poetry [English Literature free notes]
The Romantic Poetry can be classified into three groups: The Lake School, The Scott Group, and The Byron Group. Although Wordsworth was born in the Lake district he lived there only for a short period, along with S.T.Coleridge and Robert Southey he is called a lake poet. This term Lake School was first used in the Edinburgh Review, August, 1817.
00199--UGC-NET, English Literature Objective Type Question Answers 76 to 145 [English Literature free notes]
1. Match the right authors
1 The chambers and the stables weren wide
And well we weren easd at the best.
30 And shortly, when the sun was to rest,
So had I spoken with them every one
That I was of their fellowship anon,
And mad forward early for to rise
To take our way there as I you devise.
2 Rather had I, a Jew, be hated thus,
Than pitied in a Christian poverty.
For I can see no fruits in all their faith,
But malice, falsehood, and excessive pride,
Which methinks fits not their profession.
Haply some hapless man hath conscience,
And for his conscience lives in beggary.
3 Right in the midst the goddess' self did stand
Upon an altar of some costly mass,
Whose substance was uneath [difficult] to understand:
For neither precious stone, nor dureful brass,
Nor shining gold, nor mouldering clay it was;
But much more rare and precious to esteem,
Pure in aspect, and like to crystal glass,
Yet glass was not, if one did rightly deem,
But being fair and brickie [brittle], likest glass did
seem.
4 And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, nay more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, we'are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to this, self murder added be,
And sacrilege, three sins in killing three.
a, Spenser
b, Chaucer
c, Donne
d, Marlowe
A 1-d, 2-c, 3-a, 4-b
B 1-c, 2-d, 3-a, 4-b
C 1-b, 2-d, 3-a 4-c
D 1-a, 2-c, 3-b 4-d
Answer:…………………..
2. “My great religion is the belief in the blood, the flesh as being wiser than intellect”.
Whose words?
a) Thomas Hardy
b) Charlotte Bronte
c) Emily Bronte
d) D.H Lawrence
Answer:…………………..
3. “Urania, I shall need
Thy guidance, or a greater Man, if such
Descend to earth or dwell in highest heaven!
For I must tread on shadowy ground, must sink
Deep—and, aloft ascending, breathe in worlds
To which the heaven of heavens is but a veil”
The above passage is an instance of epic style invocation. Identify the work and its author.
a) Illiad by Homer
b) Paradise Lost Book 3, Milton
c) Paradise Lost Book 1, Milton
d) Recluse, by Wordsworth
Answer:…………………..
4. “Amidst thy bowers the tyrant’s hand is seen,
And desolation saddens all thy green:
One only master grasps the whole domain,
And half a tillage stints thy smiling plains”
The above lines are from The Deserted Village, written by Oliver Goldsmith. What social movement is referred to in these lines?
a) The Enclosure
b) The Chartist movement
c) Green Revolution
d) Glorious Revolution
Answer:…………………..
5. “Let us swear an oath, and keep it with an equal mind,
In the hollow Lotos-land to live and lie reclined
On the hills like Gods together, careless of mankind.”
Identify the poem?
a) Tennyson’s Lotos Eaters
b) Browning’s My Last Dutchess
c) Tennyson’s Lady of Shallot
d) Browning’s Porphyria's Lover"
Answer:…………………..
6. The following are characteristic features of a poetic genre. Identify the genre.
A single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment […].
This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker.
The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.
a) Sonnet
b) Epic
c) Ode
d) Dramatic Monologue
Answer:…………………..
7. “Grow old along with me!
The best is yet to be,
The last of life, for which the first was made:
Our times are in his hand
Who saith, "A whole I planned,
Youth shows but half; trust God: see all, nor be afraid!"
Identify the author and work.
a) Tennyson, Lotos eaters
b) Browning, Rabbi Ben Ezra
c) Browning, My Last Dutchess
d) Browning, Andrea del Sarto
Answer:…………………..
8. “If music be the food of love, play on;
Give me excess of it; that, surfeiting,
The appetite may sicken, and so die. —
That strain again; it had a dying fall:
O, it came oer my ear, like the sweet sound
That breathes upon a bank of violets,
Stealing, and giving odour! Enough! No more.
'Tis not so sweet now as it was before.”
Which of Shakespearen character says so. Identify the play.
a) Hamlet, in Hamlet
b) Lady Macbeth in Macbeth
c) Orsino in Twelfth Night
d) Hermione in the Winter’s Tale
Answer:…………………..
9. He scarce had ceas't when the superiour Fiend
Was moving toward the shoar; his ponderous shield
Ethereal temper, massy, large and round, [ 285 ]
Behind him cast; the broad circumference
Hung on his shoulders like the Moon, whose Orb
Through Optic Glass the Tuscan Artist views
At Ev'ning from the top of Fesole,
Or in Valdarno, to descry new Lands, [ 290 ]
Rivers or Mountains in her spotty Globe.
His Spear, to equal which the tallest Pine
Hewn on Norwegian hills, to be the Mast
Of some great Ammiral, were but a wand,
He walkt with to support uneasie steps [ 295 ]
Over the burning Marle, not like those steps
On Heavens Azure, and the torrid Clime
Smote on him sore besides, vaulted with Fire;
The fragment is taken from a work by
A, Edmund Spenser
B, John Milton
C, William Shakespeare
D, Geoffrey Chaucer
Answer:…………………..
10. "It is virtue, yea virtue, gentlemen, that maketh gentlemen; that maketh the poor rich, the base-born noble, the subject a sovereign, the deformed beautiful, the sick whole, the weak strong, the most miserable most happy. There are two principal and peculiar gifts in the nature of man, knowledge and reason; the one commandeth, and the other obeyeth: these things neither the whirling wheel of fortune can change, neither the deceitful cavillings of worldlings separate, neither sickness abate, neither age abolish”.
The above passage is an example of a mannered style of English prose fashionable in the Elizabethan times. Identify the style.
a. Bombast
b. Parallelism
c. Euphuism
d. Baroque
Answer:…………………..
11. “The people who believe most that our greatness and welfare are proved by our being very rich, and who most give their lives and thoughts to becoming rich, are just the very people whom we call the Philistines. Culture says: “Consider these people, then, their way of life, their habits, their manners, the very tones of their voice; look at them attentively; observe the literature they read, the things which give them pleasure, the words which come forth out of their mouths, the thoughts which make the furniture of their minds; would any amount of wealth be worth having with the condition that one was to become just like these people by having it?”
The above passage appears in……
a. Notes Towards the Definition of Culture
b. Culture and Society
c. Popular Culture
d. Culture and Anarchy
Answer:…………………..
12. 1 The existence of a variety of structures of language generated by specific configurations of power, all seeking precedence and the imposition of particular rules and hierarchies.
2 An overarching explanation of a state of affairs, like those offered by Marxism, the enlightenment or Christianity
3 Possessing no overall design or universal plan, resistant to totalisation or universalisation.
4 A self-certifying or absolute structure or foundation which lies beyond the operation of language
a, anti-teleological
b, plurality of power/discourse formation
c, metaphysics of presence
d, metanarrative
A 1-c, 2-b, 3-d, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-d, 2-a, 3-c 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..
13. 1 The way in which linguistic structures or discourses maintain a radical difference from one another
2 The collapse of signification as a set of discernible and discrete units of meaning
3 An identity, consciousness or ego which is deferred,displaced, fragmented or marginalised within a structure.
4 Self conscious incorporation of the process of production, construction or composition
a, reflexivity
b, implosion of meaning
c, incommensurable
d decentring of the subject
A 1-b, 2-c, 3-d, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-d, 2-a, 3-c 4-b
D 1-c, 2-b, 3-d 4-a
Answer:…………………..
14. 1 It is well known that certain periods of highest development
of art stand in no direct connection with the general development
of society, nor with the material basis and the skeleton
structure of its organization. Witness the example of the
Greeks as compared with the modem nations or even
Shakespeare. As regards certain forms of art, as, e.g., the
epos, it is admitted that they can never be produced in the
world-epoch-making form as soon as art as such comes into
existence; in other words, that in the domain of art certain
important forms of it are possible only at a low stage of its
, development. If that be true of the mutual relations of different
forms of art within the domain of art itself, it is far less
surprising that the same is true of the relation of art as a
whole to the general development of society. The difficulty
lies only in the general formulation of these contradictions.
No sooner are they specified than they are explained. Let us
take for instance the relation of Greek art and of that of
Shakespeare's time to our own
2 The production of ideas, of conceptions, of consciousness, is
at first directly interwoven with the material activity and the
material intercourse of men, the language of real life. The mental intercourse of men, appear at this stage as the direct efflux of their material behaviour. The same applies to mental production as expressed in the language
of the politics, laws, morality, religion, metaphysics of a people. Men are the producers of their conceptions, ideas, etc.-real, active men, as they are conditioned by a definite development of their productive forces and of the intercourse corresponding to these, up to its furthest forms. Consciousness
can never be anything else than conscious existence, and the existence of men is their actual life process
3 ..............All the powers of old Europe have entered into a holy alliance
to exorcise this spectre: Pope and Czar, Mettemichand Guizot, French Radicals and German police-spies. Where is the party in opposition that has not been decried as communistic by its opponents in power? Communism is already acknowledged by all European powers to be itself a power. It is high time that Communists should openly, in the face of the whole world, publish their views, their aims their tendencies, and meet this nursery tale of the spectre of Communism with a manifesto of the party itself. To this end, Communists of various nationalities have assembled in London, and sketched the following manifesto to be published in the English, French, German, Italian, Flemish and Danish languages.
4 The history of all hitherto existing society is the history of
class struggles. Freeman and slave, patrician and plebeian, lord and
serf, guildmaster and journeyman, in a word, oppressor and
oppressed, stood in constant opposition to one another, carried
on an uninterrupted, now hidden, now open fight, a
fight that each time ended, either in a revolutionary reconstitution
of society at large, or in the common ruin of the contending classes. In the earlier epochs of history, we find almost everywhere complicated arrangement of society into various orders a manifold gradation of social rank. In ancient Rome we have patricians, knights, plebeians, slaves; in the Middle Ages, feudal lords, vassals, guild-masters, journeymen, apprentices, serfs; in almost all of these classes, again, subordinate gradations.
a, Manifesto of theCommunist Party.
b, Bourgeois and Proletarians1
c, A Contribution to the Critique of Political Economy
d, The German Ideology
A 1-c, 2-b, 3-d, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..
15. 1 J C Ransome a, irony
2 R P Blackmur b, tension
3 R P Warren c, gesture
4 Allen Tate d, texture
A 1-d, 2-c, 3-a, 4-b
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..
16. 1, satire a, autumn
2, romance b, spring
3, tragedy c, winter
4, comedy d, summer
A 1-d, 2-c, 3-a, 4-b
B 1-c, 2-d, 3-a, 4-b
C 1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..
17. 1, Maud Bodkin a, Archetypes in Literature
2, Jessie Weston b, Archetypal Patterns in Poetry
3, Levi Strauss c, From Ritual to Romance
4, Northrope Frye d, Elementary Structures of kinship
A 1-d, 2-b, 3-a, 4-c
B 1-c, 2-d, 3-a, 4-b
C 1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d 4-d
Answer:…………………..
18. 1 Among the following, who is/are not belonging to Formalist School?
1, Yury Tynyanove
2 Osip Brick
3 R S Crane
4 Boris Eichenbaum
A, Both 2 and 4
B, Only 2
C, Only 3
D, Both 2 and 3
Answer:…………………..
19. Of his kind of analysis, the privileges of the subject?
Clearly, in undertaking an internal and architectonic analysis
of a work (whether it be a literary text, a philosophical
system, or a scientific work) and in delimiting psychological
and biographical references, suspicions arise concerning
the absolute nature and creative role of the subject. But
the subject should not be entirely abandoned. It should be
reconsidered, not to restore the theme of an originating
subject, but to seize its functions, its intervention in discourse,
and its system of dependencies. We should suspend
the typical questions: how does a free subject penetrate
the density of things and endow them with meaning;
how does it accomplish its design by animating the rules
of discourse from within? Rather, we should ask: under
what conditions and through what forms can an entity like
the subject appear in the order of discourse; what position
does it occupy; what functions does it exhibit; and what
rules does it follow in each type of discourse? In short, the
subject (and its substitutes) must be stripped of its creative
role and analysed as a complex and variable function of
discourse.
The passage implies...
A, that the author is insignificant in the analysis of a work
B, that the author is merely a part of work
C, that the author has a role in the analysis of a work
D, that the author is dead
Answer:…………………..
20. If we attend to the confused cries of the newspaper critics and the susurrus of popular repetition that follows, we shall hear the names of poets in great numbers; if we seek not blue-book knowledge but the enjoyment of poetry, and ask for a poem, we shall seldom find it. I have tried to point out the importance of the relation of the poem to other poems by other authors, and suggested the conception of poetry as a living whole of all the poetry that has ever been written.... And I hinted, by an analogy, that the mind of the mature poet differs from that of the immature one not precisely in any valuation of personality, not being necessarily more interesting, on having 'more to say', but rather by being a more finely perfected medium in which special, or very varied, feelings are at liberty to enter into new combinations.
The passage is taken from a work by:
A, Mathew Arnold
B, William Wordsworth
C, S T Coleridge
D, T S Eliot
Answer:…………………..
21. The importance of the god or hero in the myth lies in the fact that such
characters, who are conceived in human likeness and yet have more power
over nature, gradually build up the vision of an omnipotent personal community
beyond an indifferent nature. It is this community which the hero regularly enters in his apotheosis. The world of this apotheosis thus begins to pull away from the rotary cycle of the quest in which all triumph is temporary. Hence if we look at the quest-myth as a pattern of imagery, we see the hero's quest first of all in terms of its fulfilment.... the vision of innocence which sees the world in terms of total human intelligibility. It corresponds to, and is usually found
in the form of, the vision of the unfallen world or heaven in religion. We may call it the comic vision of life, in contrast to the tragic vision, which sees the quest only in the form of its ordained cycle.
The passage is an example of...
A, formalist criticism
B, archetypal criticism
C, psychoanalytic criticism
D, new criticism
Answer:…………………..
22. 1, New Historicism a, Mikhail Bakhtin
2, Dialogism b, Allen Sinfield
3, Frankfurt School c, Stephen Green
4, Cultural materialism d, Walter Benjamin
A 1-d, 2-c, 3-a, 4-b
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-a, 4-b
D 1-c, 2-a, 3-d, 4-b
Answer:…………………..
23. “There is shadow under this red rock”
The line suggests...
A, the possibility of attaining salvation
B, modern man fails to see each other
C, loss of faith in the modern era
D, modern man’s life is futile
Answer:…………………..
24. 1, Robert Graves a, The Shield of Achilles
2, T S Eliot b, The Cool Web
3, W H Auden c, October Dawn
4, Ted Hughes d, Ash Wednesday
A 1-b, 2-d, 3-a, 4-c
B 1-c, 2-d, 3-a, 4-b
C 1-d, 2-c, 3-a, 4-b
D 1-c, 2-a, 3-d, 4-b
Answer:…………………..
25. 1. “My object in living is to unite
My avocation and my vocation
As my two eyes makes one sight”
In which Frostean poem do we read these lines?
a) Mending Walls
b) True Tramps in Mud Time
c) A Brook in the City
d) A Servant to Servants
Answer:…………………..
26. “Nature is the incarnation of thought
The world is the mind precipitated”
Which is the philosophical doctrine that holds the above belief?
a) Transcendentalism
b) Romanticism
c) Naturalism
d) Realism
Answer:…………………..
27. “The Tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops, the same is true of laugh”.
Who says so and in which work appear these lines?
a) Pozzo in Waiting for Godot
b) Camus in The Myth of Sisyphus
c) Nietzsche in Thus Spoke Zarathusthra
d) Kazantzakis in The Report to Greco
Answer:………………….
28. “The peculiar nakedness of Wordsworth’s poetry, its strong sense of being alone with the visible universe, with no myth or figure to meditate between ego and phenomena, is to a surprisingly large extent not so much a result of history as it is of Wordsworth’s personal faith in the reality of the body of nature”.
The above passage is taken from a classical study of Romanticism. Identify the author and work?
a) The Romantic Imagination by Mourice Bowra
b) The Visionary Company by Harold Bloom
c) Natural Supernaturalilsm by M.H Abrams
d) The Mirror and Lamp by M.H Abrams
Answer:…………………..
29. “... the entire history of the concept of structure, before the rupture of which we are speaking, must be thought of as a series of substitutions of centre for centre, as a linked chain of determinations of the centre. Successively, and in a regulated fashion, the centre receives different forms or names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymies. Its matrix [...] is the determination of being as presence in all senses of this word. It could be shown that all the names related to fundamentals, to principles, or to the centre have always designated an invariable presence (essence, existence, substance, subject, transcendentality, consciousness, God, man, and so forth).”
Who is the author of the above passage?
a) Roman Jakobson
b) Roland Barthes
c) Jacques Derida
d) Jacques Lacan
Answer:…………………..
30. “History, Stephen said, is a nightmare from which I am trying to awake.”
Identify the author and work?
a) James Joyce Portrait of the Artist as a Young Man
b) James Joyce Ulysses
c) Beckett, Murphy
d) Beckett, Moloy
Answer:…………………..
31. “Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table.”
In which poem by Eliot appear the above lines?
a) The Love Song of J. Alfred Prufrock
b) The Waste Land
c) The Hollow Men
d) Ash-Wednesday
Answer:…………………..
32. It is a narrative form which deals with the artist’s growth to maturity. It means the “artis’s novel”. Wordsworth’s Prelude, Dickens’ David Copperfield, etc. are examples of this narrative form. Name this narrative form.
a) Künstlerroman
b) Bildungsroman
c) Autobiography
d) Historical novel
33. “Incredulity towards meta-narratives” is a definition of postmodernism given by:
a) Lyotard
b) Baudrillard
c) Fredric Jameson
d) Terry Eagleton
Answer:…………………..
34. “With this same key
Shake-speare unlocked his heart' once more!
Did Shakespeare? If so, the less Shake-speare he!”
Identify the author of the above lines.
a. Robert Browning
b. Ben Johnson
c. Dr. Samuel Johnson
d. Coleridge
Answer:…………………..
35. “An ambiguity, in ordinary speech, means something very pronounced, and as a rule witty or deceitful.... any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language”.
Identify the author and Work.
a. I.A Richards, Principles of Literary Criticism
b. Derrida, Speech and Phenomena
c. F.R Leavis, The Common Pursuit
d. William Empson, Seven Types of Ambiguity
Answer:…………………..
36. “Why can a street be completely rebuilt and still be the same? Because it does not constitute a purely material entity; it is based on certain conditions that are distinct from the materials that fit the conditions, i.e. its location with respect to other street”
The passage reminds you of.....
A, Archetypal criticism
B, Structuralism
C, Postmodernism
D, Poststructuralism
Answer:…………………..
37. 1, Barthes a, History
2, Levi Strauss b, Anthropology
3, Foucault c, Philosophy
4, Derrida d, Literature
A 1-d, 2-b, 3-a, 4-c
B 1-c, 2-d, 3-a, 4-b
C 1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d 4-d
Answer:…………………..
38. Which is/are not by Foucault...
1, Order of Things
2, Madness and Civilisation
3, A Study of History
4, History of Sexuality
A, Only 1
B, Only 3
C, Both 1 and 2
D, Both 3 and 4
Answer:…………………..
39. Literature was conceived to be primarily an "art"; that is, a set of skills which, though it requires innate talents, must be perfected by long study and practice and consists mainly in the deliberate adaptation of known and tested means to the achievement of foreseen ends upon the audience of readers. It is the craftsman's ideal demanding finish, correction, and attention to detail. Special allowances were often made for the unerring freedom of what were called natural geniuses, and also for happy strokes, available even to some less gifted poets, which occur without premeditation.
The passage refers to...
A, formalist criticism
B, neo-classical criticism
C, new criticism
Answer:…………………..
40. Match the works with their composers
1, Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues...
2, From gardens where we feel secure
Look up, and with a sigh endure
The tyrannies of love:
And, gentle, do not care to know,
Where Poland draws her Eastern bow,
What violence is done . . .
3, Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free . . .
4, And I missed my chance with one of the lords
Of life
And i have something to expiate;
A pettiness
a, W H auden- Look Stranger
b, D H Lawrence- Snake
c, T S Eliot- waste Land
d, W B Yeats- The Tower
A 1-c, 2-a, 3-d, 4-b
B 1-c, 2-d, 3-a, 4-b
C 1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d 4-d
Answer:…………………..
41. Match the following
1, Lacan a, discourse
2, Derrida b, mirror stage
3, Foucault c, scriptible
4, Barthes d, logocentrism
A 1-c, 2-a, 3-d, 4-b
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d 4-d
Answer:…………………..
42. 1,Culture and Anarchy a, Walter Pater
2, The Picture of Dorian Gray b, Johnson
3, Studies in the History of the Renaissance c, Mathew Arnold
4, Lives of the English Poets d, Oscar Wilde
A 1-c, 2-d, 3-a, 4-b
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-b, 4-a
D 1-b, 2-c, 3-d 4-d
Answer:…………………..
43. After all, if anyone will ask me whether 'a tragedy cannot be made upon
any other grounds than those of exciting pity and terror in us, Bossu,4 the
best of modern critics, answers thus in general: That all excellent arts, and
particularly that of poetry, have been invented and brought to perfection by
men of a transcendent genius; and that, therefore, they who practise afterwards
the same arts are obliged to tread in their footsteps, and to search in
their writings the foundation of them; for it is not just that new rules should
destroy the authority of the old. But Rapin writes more particularly thus,
that no passions in a story are so proper to move our concernment as fear
and pity; and that it is from our concernment we receive our pleasure is
undoubted; when the soul becomes agitated with fear for one character, or
hope for another, then it, is' that we are pleased 'in ‘Tragedy, by the interest
which we take in their adventures.
This extract is taken from...
A, Pope- Essay on Criticism
B, Dryden- Essay on Dramatic Poesy
C, Johnson- Preface to Shakespeare
D, Sidney- Apology for Poetry
Answer:………………….
44. ‘Considering that it is as subject one comes to voice, then the postmodernist
focus on the critique of identity appears at first glance to threaten and
close down the possibility that this discourse and practice will allow those
who have suffered the crippling effects of colonization and domination to
gain or regain a hearing. Even if this sense of threat and the fear it evokes
are based on a misunderstanding of the postmodernist political project, they
nevertheless shape responses. It never surprises me when black folks respond
to the critique of essentialism, ,especially when it denies the validity of identity
politics by saying, 'Yeah, It s easy to give up identity, when you got one."
Should we not be suspicious of postmodern critiques of the "subject" when
they surface at a historical moment when many subjugated people feel themselves coming to voice for the first time? Though an apt and oftentimes
appropriate comeback, it does not really intervene in the discourse in a way
that alters and transforms.’
The passage highlights...
A, postcolonialism
B, postmodernism
C, racial isues
D, cultural criticism
Answer:…………………..
45. 1, Macbeth a, pride
2, Hamlet b, ambition
3, Othello c, procrastination
4, Lear d, jealousy
A 1-d, 2-c, 3-d, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..
46. I will not suffer a sense of false modesty to prevent me from asserting, that
I point my Reader's attention to this mark of distinction, far less for the sake
of these particular Poems than from the general importance of the subject.
The subject is indeed important! For the human mind is capable of. Being
excited without the application of gross and violent stimulants; and he must
have a very faint perception of its beauty and dignity who does not know
this, and who does not further know, that one, being is elevated above
another, in proportion as he possesses this capability. It has therefore
appeared to me, that to endeavour, to produce or enlarge this capability is
done of the best services in which, ;at any period, a Writer can• be engaged;
but this service; excellent at all times, is especially so at the present day. For
a multitude of causes, unknown to former ,times, are now acting with a combined force to blunt the discriminating powers of the mind, and unfitting it
for all voluntary exertion to reduce it to Ii state of almost savage torpor. The
most effective of these causes rather great national events which are daily
taking place and the increasing accumulation of men in cities, where the
the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies; To this tendency of life and manners the literature and theatrical exhibitions of the
country have conformed themselves.
The passage is from
A, The Function of Criticism by T S Eliot
B, Biographia Literaria by Coleridge
C, Culture and Ararchy by Arnold
D, Preface to Lyrical ballads by Wordsworth
Answer:…………………..
47. 1, Louis McNiece a, Lost Season
2, Roy Fuller b, Confessions of a Life Artist
3, Basil Bunting c, Homage to Cliches
4, Thom Gunn d, The Spoils
A 1-d, 2-c, 3-d, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-a, 3-d, 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..
48. Among the following who is/are not from Dickens’ Hard Times?
1, Louisa
2, Gradgrind
3, Sissy Jupe
4, Pip
A, Only 1
B, Only 4
C, Both 1 and 2
D, Both 3 and 4
Answer:…………………..
49. Match the quotations with writers
1, “unconscious is structured like a language”
2, “there is nothing outside text”
3, “life is a fatal sexually transmitted disease”
4, “power is maintained through discursive practices”
a, Freud
b, Derrida
c, Lacan
d, Foucault
A 1-d, 2-c, 3-b, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-a, 3-d, 4-b
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
50. 1, Dylan Thomas a, Country Sentiments
2, R S Thomas b, Lament and Triumph
3, George Barker c, The Stones of a Field
4, Robert Graves d, Fern Hill
A 1-d, 2-c, 3-b, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-c, 2-a, 3-d, 4-b
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
51. which critical practice provided equal weightage to history and text?
1, Cultural Materialism
2, Rchetypal Criticism
3, Structuralism
4, New Historicism
A, Only 1
B, Only 4
C, Both 1 and 4
D, Both 3 and 4
Answer:…………………..
52. One important feature of Jane Austen’s style is?
(A) boisterous humour
(B) humour and pathos
(C) subtlety of irony
(D) stream of consciousness
53. The title of the poem ‘The Second Coming’ is taken from?
(A) The Bible
(B) The Irish mythology
(C) The German mythology
(D) The Greek mythology
Answer:…………………..
54. The following lines are an example……… of image.
‘The river sweats
Oil and tar’
(A) visual
(B) kinetic
(C) erotic
(D) musical
Answer:…………………..
55. Who invented the term ‘Sprung rhythm’?
(A)Hopkins
(B)Tennyson
(C)Browning
(D)Wordsworth
Answer:…………………..
56. Which of the following plays of Shakespeare has an epilogue?
(A) The Tempest
(B) Henry IV, Pt I
(C) Hamlet
(D) Twelfth Night
Answer:…………………..
57. Which of the following poems of Coleridge is a ballad?
(A) Work Without Hope
(B) Frost at Midnight
(C) The Rime of the Ancient
(D) Youth and Age
Answer:…………………..
58. The second series of Essays of Elia by Charles Lamb was published in?
(A) 1823
(B) 1826
(C) 1834
(D) 1833
Answer:…………………..
59. Identify the poet, whom Queen Victoria, regarded as the perfect poet of ‘love and loss’—
(A) Tennyson
(B) Browning
(C) Swinburne
(D) D. G. Rossetti
Answer:…………………..
60. A verse form using stanza of eight lines, each with eleven syllables, is known as?
(A) Spenserian Stanza
(B) Ballad
(C) OttavaRima
(D) Rhyme Royal
Answer:…………………..
61. Identify the rhetorical figure used in the following line of Tennyson “Faith un-faithful kept him falsely true.”
(A) Oxymoron
(B) Metaphor
(C) Simile
(D) Synecdoche
Answer:…………………..
62. Match the following
1, Hybridity
2, Ahistorical
3, Transhistorical
4, Phonocentric
a, irrespective of historical era
b, insignificance of historical era
c, priority of speech over writing
d, mixed individual identity
A 1-d, 2-c, 3-b, 4-a
B 1-b, 2-d, 3-a, 4-c
C 1-d, 2-b, 3-a, 4-c
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
63, Match the following
1, With its sombre ideology of heroism and baleful destiny; thus also the work
of Eugene Genovese on black religion restores the vitality of these utterances
by reading them, not as the replication of imposed beliefs, but rather as a
process whereby the hegemonic Christianity of the slave-owners is appropriated, secretly emptied of its content and subverted to the transmission of quite different oppositional and coded messages. Moreover, the stress on the dialogical then allows us to reread or rewrite the hegemonic forms themselves; they also can be grasped as a process of the reappropriation and neutralization, the cooptation and class transformation, the cultural universalization, of forms which originally expressed the situation of "popular," subordinate, or dominated groups. So the slave religion of Christianity is transformed into the hegemonic ideological apparatus of the medieval system; while folk music and peasant dance find themselves transmuted into the forms of aristocratic or court festivity and into the cultural visions of the pastoral; and popular narrative from time immemorial romance, adventure story, melodrama, and the like-is ceaselessly drawn on to restore vitality to an enfeebled and asphyxiating "high culture."
2, Chlorinated fluids, for instance, have always been experienced as a sort of
liquid fire, the action of which must be carefully estimated, otherwise the
object itself would be affected, 'burnt'. The implicit legend of this tyt;e of
product rests on the idea of a violent, abrasive modification of matter: the
connotations are of a chemical or mutilating type: the product 'kills' the dirt.
Powders, on the contrary, are separating agents: their ideal role is to litfe'rate
the object from its circumstantial imperfection: dirt is 'forced out' and no
longer killed; in the Omo imagery, dirt is a diminutive enemy, stunted and
black, which takes to its heels from the fine immaculate linen at the sole
threat of the judgment of Omo. Products based on chlorine and ammonia
are without doubt the representatives of a kind of absolute fire, a saviour but
a blind one. Powders, on the contrary, are selective, they push, they drive
dirt through the texture of the object, their function is keeping public order
not making war. This distinction has ethnographic correlatives: the chemical
fluid is an extension of the washerwoman's movements when she beats the
clothes, while powders rather replace those of the housewife pressing and
rolling the washing against a sloping board.
3, To put this more scientifically, I shall say that the reproduction of labour
power requires ,not only a reproduction, of its skills but, also, at the same
time, a reproduction of its submission to the rules of the established order,
i.e. a reproduction of submission to the ruling ideology for the, workers,' and
a reproduction of the ability to manipulate the ruling ideology curtly for
the agents of exploitation and repression; so that they, too, will provide for
the domination of the ruling class. In other words, the school (but also other State institutions like the Church, or 'other apparatuses like the Army) teaches 'know-how', but in forms which ensure subjection to the ruling ideology or the mastery of its 'practice'. All the agents of production, exploitation and repression, not to speak of the 'professionals of ideology' (Marx), must in one way or another be 'steeped' in this ideology in order to perform their tasks 'conscientiously' the tasks of the exploited (the proletarians), of the exploiters (the capitalists), of the exploiters' auxiliaries (the managers), or of the high priests of the ruling ideology .
4, To judge from various recent publications; the spirit of the times is not
blowing in the direction of formalist and intrinsic criticism.• We may no
longer be hearing too much about relevance but we keep hearing a great
deal about reference, about the nonverbal "outside" to which language refers,
by which it is conditioned and upon which it acts. The stress falls not so
much on the fictional status of literature property now perhaps somewhat
too easily taken for granted-but on the interplay between these fictions and
categories that are said to partake of reality, such as the self, man, society,
"the artist, his culture and the human community," as one critic puts it.
Hence the emphasis on hybrid texts considered to be partly literary and partly
referential, on popular fictions deliberately aimed towards social and psychological gratification, on literary autobiography as a key to the understanding of the self, and so on. We speak as if, with the problems of literary form resolved once and forever, and with the techniques of structural analysis refined to near-perfection, we could now move "beyond formalism"2 towards the questions that really interest us and reap, at last, the fruits of the ascetic concentration on techniques that prepared us for this decisive step. With
the internal law and order of literature well policed, we can now confidently
devote ourselves to the foreign affairs, the external politics of literature. Not
only do we feel able to do so, but we owe it to ourselves to take this step:
our moral conscience would not allow us to do otherwise.
a, Althusser-‘ Ideology and Ideological State Apparatus’.
b, Paul de Man- Semiology and Rhetoric’
c, Roland Barthers- Mythologies
d, Friedric Jameson- ‘Political Unconscious’
A 1-d, 2-c, 3-a, 4-b
B 1-b, 2-d, 3-a, 4-c
C 1-d, 2-b, 3-a, 4-c
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
64. By the time a century or two of exploitation has passed there comes about a
veritable emaciation of the stock of national culture. It becomes a set of
automatic habits some traditions of dress, and a few broken-down institutions.
Little movement can be discerned in such remnants of culture; there
is no real creativity and no overflowing life. The poverty of the people,
national oppression, and the inhibition of culture are one and the same thing.
After a century of colonial domination we find a culture which is rigid in the
extreme, or rather what we find are the dregs of culture, its mineral strata.
The withering away of the reality of the nation and the death pangs of the
national culture are linked to each other in mutual dependence. This is why
it is of capital importance to follow the evolution of these relations during
the struggle for national freedom. The negation of the native's culture, the
contempt. For any manifestation of culture whether active or emotional, and
the placing outside the pale of all specialized branches of organization contribute to breed aggressive patterns of conduct in the native. But these patterns of conduct are of the reflexive type; they are poorly differentiated,
anarchic and ineffective.
The passage implies...
A, Marxism
B, New Historicism
C, Postcolonialism
D, Cultural Materialism
Answer:…………………..
65. It is a peculiarity of our epoch that, at the moment when the phoneticization of writing the historical origin and structural possibility of philosophy as of
science, the condition of the episteme-begins to lay hold on world culture,
science, in its advancements, can no longer be satisfied with it. This inadequacy had always already begun to make its presence felt. It appears as such, allows it a kind of takeover without our being able to translate this novelty into clear cut notions of mutation, explication, accumulation, revolution, or tradition.
By alluding to a science of writing reined ill by metaphor, metaphysics,
and theology, this exergue must not only announce that the science of writing-
grammatology shows signs of liberation all over the world, as a result
of decisive efforts. These efforts are necessarily discreet, dispersed, almost
imperceptible; that is a quality of their meaning and of the milieu within
which they produce their operation. I would like to suggest above all that,
however fecund and necessary the undertaking might be, and even if given
the most favourable hypothesis it did overcome all technical and epistemological obstacles as well as all the theological and metaphysical impediments that have limited it hitherto, such a science of writing runs the risk of never being established as such and with that name, of never being able to define the unity of its project or its object. Of not being able to either write its
discourse on method or to describe the limits of its field.
The extract reminds you of...
A, Judith Butler
B, Harold Bloom
C, Roland Barthes
D, Jacques Derrida
Answer:…………………..
66. Who called ‘The Waste Land ‘a music of ideas’?
(A) Allen Tate
(B) J. C. Ransom
(C) I. A. Richards
(D) F. R Leavis
Answer:…………………..
67. Which book of John Ruskin influenced Mahatma Gandhi?
(A) Sesame and Lilies
(B) The Seven Lamps of Architecture
(C) Unto This Last
(D) Fors Clavigera
Answer:…………………..
68. The twins in Lord of the Flies are?
(A)Ralph and Jack
(B) Simon and Eric
(C) Ralph and Eric
(D) Simon and Jack
Answer:…………………..
69. Which of the following plays of Shakespeare, according to T. S.
Eliot, is ‘artistic failure’?
(A) The Tempest
(B) Hamlet
(C) Henry IV, Pt I
(D) Twelfth Night
Answer:…………………..
70. What does ‘I’ stand for in the following line?
‘To Carthage then I came’
(A) Buddha
(B) Tiresias
(C) Smyrna Merchant
(D) Augustine
ANSWER KEY
1-C
2-D
3-D
4-A
5-A
6-D
7-B
8-C
9-B
10-C
11-D
12-B
13-D
14-C
15-A
16-B
17-D
18-C
19-C
20-D
21-B
22-D
23-C
24-A
25-B
26-A
27-A
28-B
29-C
30-B
31-A
32-A
33-A
34-A
35-D
36-B
37-A
38-B
39-B
40-A
41-B
42-A
43-C
44-C
45-A
46-D
47-C
48-B
49-D
50-A
51-C
52-B
53-A
54-C
55-A
56-A
57-C
58-D
59-D
60-C
61-A
62-C
63-A
64-C
65-D
66-A
67-C
68-A
69-B
70-D