1. “Comparative Literature is the study of the literature beyond the confines of one particular country” – whose definition of comparative literature is this?
(A) Ulrich Weisstein
(B) H.H. Remak
(C) Rene Wellek
(D) Anna Balakian
2. The methodology of analogical study was advocated by the
(A) French school of comparative literature
(B) Russian school of comparative literature
(C) American school of comparative literature
(D) German school of comparative literature
3. When we trace the development of the sonnet in Europe since Petrarch’s days, we are referring to
(A) Regional literature
(B) World literature
(C) National literature
(D) General literature
4. The most important criterion for deciding the nationality of a writer is
5. When one says, “A’ has influenced ‘B’ on the basis of similarities between the works of two authors,” we study
6. The cycle of American Literature is authorised by
(A) Arthur Rimbaud
(B) Robert Spiller
(C) Van Tieghem
(D) Hypolytte Taine
7. A ‘counter-design’ is popularized by
(A) Bertolt Brecht
(B) Henry Person
(C) Rene Etiemble
(D) Ferdinand Brunetiere
8. Attempt at historical reconstruction has led to a great stress on the intention of the author. Identify the author of the statement:
(A) Wellek and Warren
(B) Schlegel - Tieck
(C) Carre - Guyard
(D) Hassan - Guillen
9. In the study of literary History, Holinshed’s Chronicles would constitute
(A) An affinity
(B) A source
(C) An influence
(D) An imitation
10. Who among the following was the first writer to stress the segregation of literary genres?
11. The principal topic of discussion in the third international congress of literary history held in Lyon in 1939 was
(A) Problem of literary types.
(B) Problem of literary translation.
(C) Literary relationship between the west and the east.
(D) Study of Thematology
12. Who is of the view that generic classification is a waste of time?
(A) Van Tieghem
(B) Benedetto Croce
(C) Eliseo Vivas
(D) Jeremias Gotthelf
13. Identify the author of the book Medieval Latin and the Rise of the European Love – lyric,
(A) Johannes Hosle
(B) Kurt Wais
(C) Peter Dronke
(D) Hypolytte Taine
14. The ‘Orestes’ theme has been used by
15. Who is the author of the statement, “life is not the greatest good, but guilt is the greatest evil.”
(A) Harry Levin
(B) Karl Jaspers
16. Thanks to whose efforts did the 1920’s witness the emergence of the History of Ideas?
17. Wellek and Warren’s Theory of Literature does not contain a chapter on
(A) Literary Genres
(C) Literary History
(D) Literature and the other Arts.
18. Paul Hazard almost omits thematolo from comparative literature, as it does not involve
(A) Study of other Arts
(B) Literary history
(C) History of Ideas
(D) Literary Influenceswww.netugc.com
19. The author of the essay “The Tradition of Traditions” is
(A) T.E. Hume
(B) T.S. Eliot
(C) Rene Wellek
(D) Harry Levin
20. The critic who argued that the “word ‘romantic’ has come to mean so many things that by itself, it means nothing.”
(A) Harry Levin
(B) M.H. Abrams
(C) L.R. Furst
(D) A.O. Lovejoy
21. Who, by mistake, called the masters of Roman satire, comic playwrights?
(B) Grande della scala
(D) Alvin Kernan
22. Bion is an exponent of
(B) Lyrical Drama
(D) Pastoral Elegy
23. The most important work of Dandin is
24. The most important exponent of oblique poetry in Sanskrit is
25. Akam and Puram are the unique features of
(A) Bhakti Poetry
(B) Sankam Literature
(C) Love Poetry
(D) Heroic Poetry
26. The idea of defamiliarization is associated with
27. ‘A grand narrative constitutes
(A) a beautiful narrative
(B) a long narrative
(C) a universal explanatory theory
(D) a global narrative
28. Who translated the ‘Rubaiyats’ of Omar Khayyam?
(A) T.S. Eliot
(B) Edward Fitzgerald
(C) Matthew Arnold
(D) Ezra Pound
29. “What is world literature?” is written by
(A) Rene Wellek
(B) David Damrosch
(C) Dorothy Figuera
(D) Gayatri Chakraborti Spivak
30. The origin of the legend of the Chalk Circle is
31. The Faust legend was adopted by
(A) John Webster
(C) Thomas Mann
32. Hafiz became popular in Europe through the adaptations by
33. The comment “Poetry is that which is lost in translation” was made by
(A) P.B. Shelley
(B) W.H. Auden
(C) Robert Frost
(D) T.S. Eliot
34. Medium to medium translation is not possible in the case of
35. Who claimed that all texts are ‘translations of translation of translations’?
(A) Susan Bassnett
(B) Octavio Paz
(C) William Morris
(D) Eugene Nida
36. Before the Christian era, the Hebrew Old Testament was translated in to
37. The term “Ut Pictura Poesis’ comes from
38. Vikram Seth’s novel A Suitable Boy has a structure which follows a pattern from
39. Which movement / trend were common to architecture and literature?
40. Identify the poet who was also a painter
(A) Hermann Hesse
(B) Lodovico Ariosto
(C) William Blake
(D) Heinrich Heine
41. “Impressionism” had its origins in
42. Identify the historian / biographer who greatly influenced Renaissance Drama.
(D) Julius Caesar
43. The dominant political theorist of the 17th century who inspired many literary figures was
(A) Blaise Pascal
(B) Reni Descartes
(C) Thomas Hobbes
(D) John Milton
44. Transcendentalism inspired the works of
45. Identify the author of The Historical Novel:
(A) Georg Lukacs
(B) Christopher Caudwell
(C) Kenneth Burke
(D) Georgi Plekhanov
Note: Read the passage below and mark the correct answer:
The problem of writing the history of a period will be first a problem of description: we need to discern the decay of one convention and the rise of a new one. Why this change of convention has come about at a particular moment is a historical problem insoluble in general terms. One type of solution proposed assumes that within the literary development a stage of exhaustion is reached requiring the rise of a new code. The Russian formalists describe this process as a process of ‘automatization’, i.e. devices of poetic craft effective in their time become so common and hackneyed that new readers become inured against them and crave something different, something, it is assumed, antithetic to what has gone before. A see-saw alternation is the scheme of development, a series of revolts ever leading to new ‘actualizations’ of diction, themes, and all other devices. But this theory does not make clear why development has to move in the particular direction it has taken: mere see-saw schemes are obviously inadequate to describe the whole complexity of the process. One explanation of these changes in direction would put the burden on outside interferences and pressures of the social milieu:
46. The problem while writing the history of a period is _________.
(A) The problem of explanation and definition.
(B) The problem of discerning new conventions.
(C) The necessity to understand the degeneration of one convention and the emergence of an alternative.
(D) The need to understand the decay of the existing conventions.
47. The historical problem related to the change of convention is
(A) That a literary movement, wheneven a point of ennui is reached, calls for innovative practices.
(B) The rise of a new code due to change of convention.
(C) That the stage of exhaustion is reached in no time.
(D) The change of convention itself is a serious problem.www.netugc.com
48. The word, ‘automatization’ means to the Russian Formalists
(A) The young readers always demand interesting new devices.
(B) The old get easily automatized.
(C) The poetic devices soon become so lustreless and uninteresting that the readers want something new.
(D) The poetic craft slowly gets fossilized.
49. ‘sea-saw’ alternation in the passage refers to:
(A) A combination of the devices of the present and the past.
(B) Prioritizing the past over the present.
(C) A scheme of developing the poetic craft of diction and theme.
(D) A number of protests that bring in innovations in the use of poetic materials and devices.
50. The change in convention is due to
(A) External interventions from the society.
(B) Internal pressures that poets suffer from,
(C) Insoluble problems due to decay of conventions.
(D) The new readers craze for innovative devices.