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UGC NET JUN 2005 : ENGLISH PAPER II

8 pages, 50 questions, 50 questions with responses, 65 total responses,

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Signature and Name of Invigilator Answer Sheet No. : ...................................................... (To be filled by the Candidate) 1. (Signature) Roll No. (Name) (In figures as per admission card) Roll No. 2. (Signature) (Name) Test Booklet No. J 3 0 0 5 PAPER II ENGLISH Time : 1 hours] Number of Pages in this Booklet : 8 [Maximum Marks : 100 Number of Questions in this Booklet : 50 U Instructions for the Candidates 1. 2. 3. 4. 1. U DU U S U U U U Write your roll number in the space provided on the top of this page. This paper consists of fifty multiple-choice type of questions. 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. (iii) After this verification is over, the Serial No. of the booklet should be entered in the Answer-sheets and the Serial No. of Answer Sheet should be entered on this Booklet. Each item has four alternative responses marked (A), (B), (C) and (D). You have to darken the oval as indicated below on the correct response against each item. Example : A B C 2. - 3. U U U, - S U U U - S U (i) - S U U U U S U U- U S S U U (ii) U DU U U U - S DU U U U U U U S DU / U U U U U S S U U U U U S U U - S U U - S U UQ (iii) - S R U- U U U U U- R - S U U 4. U U (A), (B), (C) (D) U U U U U D A B C D ( C) U 5. U U I U U- U where (C) is the correct response. Your responses to the items are to be indicated in the Answer Sheet given inside the Paper I booklet only . If you mark at any place other than in the ovals in the Answer Sheet, it will not be evaluated. 6. Read instructions given inside carefully. 7. Rough Work is to be done in the end of this booklet. 8. 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. 9. You have to return the test question booklet to the invigilators at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. 10. Use only Blue/Black Ball point pen. 11. Use of any calculator or log table etc., is prohibited. 12. There is NO negative marking. 5. J 3005 (In words) U U U S U U U , U 6. U U 7. (Rough Work) S DU U U 8. U- S U , U U U U 9. U # U U- S U U U U U # U U U / U Z U S U U ( U U) U U 12. U U 10. 11. 1 P.T.O. ENGLISH PAPER II Note : This paper contains f ifty ( 50) multiple-choice questions, each carrying two (2) marks. Attempt all of them. 1. The Nun s Priest s Tale had its origin in : (A) The French Roman de Renart (B) The Italian Boccaccios Teseide (C) The English John Gower s Confessio Amantis (D) The Germal Goethe s Faust 2. The First Folio of Shakespeare s plays appeared in : (A) 1664 (B) 1631 (C) 1623 (D) 1650 Restoration comedy begins with : (A) Congreve (B) Sheridan (C) Dryden (D) Etherege The author of Of The Progress of the Soul is : (A) John Bunyan (B) (C) Henry Vaughan (D) John Donne Richard Crashaw (D) Amelia 3. 4. 5. Dr. Johnson s The Lives of The Poets is an example of : (A) Psychological criticism (B) Biographical criticism (C) Historical criticism (D) Archetypal criticism 6. The picaresque novel with a female picaroom is : (A) Tom Jones (B) Clarissa (C) Moll Flanders 7. The expression ancestral voices prophesying war occurs in : (A) Kublakhan (B) Frost at Midnight (C) Christabel (D) Rime of The Ancient Mariner 8. The posthumously published novel of Jane Austen is : (A) Sense and Sensibility (B) Mansfield Park (C) Emma (D) Northanger Abbey 9. Carlyle s Sartor Resartus means : (A) Satan s story retold (C) I know not where (B) (D) The tailor retailored a set of elegant clothes The character not created by Hardy is : (A) Sue Bridehead (C) Betsy Trotwood (B) (D) Bathsheba Everdene Thomasin 10. 11. The poet who described poetry as inspired mathematics is : (A) T.S. Eliot (B) Hopkins (C) Archibald Macheish (D) Ezra Pound J 3005 2 12. The woman character who is an artist by profession in Virgnniia Woolf s To The Lighthouse is : (A) Lily Briscoe (B) Mrs. Ramsay (C) Mrs. Dalloway (D) Miriam 13. The poet who said, My poems are not about violence, but vitality, is : (A) Philip Larkin (B) Ted Hughes (C) C.D. Lewis (D) Thom Gunn 14. Pinter s Care Taker can be called a : (A) comedy of manners (C) comedy of errors (B) (D) comedy of menace comedy of humours 15. Toni Morrison used male narrator for the first time in : (B) Tar Baby (A) Song of Solomon (C) Jazz (D) The Bluest Eye 16. The author of The Hungry Tide is : (A) Vikram Seth (C) Amitav Ghosh 17. 18. 19. 20. 21. 22. (B) (D) Shobha De Upamanyu Chatterjee The soul of tragedy, according to Aristotle is : (A) Thought (B) Character (C) The discussion of Fabula/Syuzhet occurs in : (A) New criticism (B) (C) Structuralism (D) Deconstruction Formalism United we stand, divided we fall is an example of : (A) Antithesis (B) Bathos (C) Plot Tautology (D) Spectacle (D) Litotes A metre in which an unaccented syllable precedes the accented is called : (A) anapaestic (B) dactylic (C) catalectic (D) iambic Choose the correct chronological sequence in question numbers 21-30 : (A) Northanger Abbey , Pride and Prejudice , Sense and Sensibility , Mansfield Park (B) Mansfield Park , Sense and Sensibility , Northanger Abbey , Pride and Prejudice (C) Pride and Prejudice , Northanger Abbey , Mansfield Park , Sense and Sensibility (D) Sense and Sensibility , Pride and Prejudice , Mansfield Park , Northanger Abbey Shakespeare criticism by : (A) Spurgeon T.S. Eliot Stephen Greenblatt Bradley (B) Bradley Spurgeon T.S. Eliot Stephen Greenblatt (C) T.S. Eliot Stephen Greenblatt Bradley Spurgeon (D) Stephen Greenblatt Bradley T.S. Eliot Spurgeon J 3005 3 P.T.O. 23. (A) (B) (C) (D) Pre-Raphaelite Brotherhood, Oxford Movement, Movement Poetry, Imagism Oxford Movement, Pre-Raphaelite Brotherhood, Imagism, Movement Poetry Imagism, Movement Poetry, Pre-Raphaelite Brotherhood, Oxford Movement Movement Poetry, Pre-Raphaelite Brotherhood, Oxford Movement, Imagism 24. (A) (B) (C) (D) Closet drama, Epic Theatre, Theatre of the Absurd, Portable Theatre Epic Theatre, Portable Theatre, Theatre of the Absurd, Closest drama Portable Theatre, Closet drama, Epic Theatre, Theatre of the Absurd Theatre of the Absurd, Portable Theatre, Closet drama, Epic Theatre 25. (A) (B) (C) (D) Thomas Nashe, Ben Jonson, Kyd, Marlowe Ben Jonson, Thomas Kyd, Marlowe, Thomas Nashe Thomas Kyd, Marlowe, Thomas Nashe, Ben Jonson Marlowe, Thomas Nashe, Thomas Kyd, Ben Jonson 26. (A) (B) (C) (D) Essay on Dramatic Poesy , Areopagitica , Urn Burial , Religio Medici Areopagitica , Urn Burial , Religio Medici , Essay on Dramatic Poesy Religio Medici , Areopagitica , Urn Burial , Essay on Dramatic Poesy Urn Burial , Essay on Dramatic Poesy , Areopagitica , Religio Medici 27. (A) (B) (C) (D) Kamala Das, Sarojini Naidu, Toru Dutt, Meena Alexander Meena Alexander, Toru Dutt, Sarojini Naidu, Kamala Das Sarojini Naidu, Kamala Das, Meena Alexander, Toru Dutt Toru Dutt, Sarojini Naidu, Kamala Das, Meena Alexander 28. (A) (B) (C) (D) Jude, Lady Havisham, Dorothea, Mrs. Morel Dorothea, Mrs. Morel, Jude, Lady Havisham Dorothea, Jude, Mrs. Morel, Lady Havisham Lady Havisham, Dorothea, Jude, Mrs. Morel 29. (A) The Well-Wrought Urn , The Verbal Icon , Theory of Literature , Literary Theory : An Introduction The Well-Wrought Urn , Theory of Literature , The Verbal Icon , Literary Theory : An Introduction The Verbal Icon , The Well-Wrought Urn , Literary Theory : An Introduction , Theory of Literature Literary Theory : An Introduction , The Well-Wrought Urn , Theory of Literature , The Verbal Icon (B) (C) (D) 30. Nobel Prize Winners in Literature : (A) Seamus Heaney, T.S. Eliot, Nadine Gordimer, W.B. Yeats (B) W.B. Yeats, T.S. Eliot, Nadine Gordimer, Seamus Heaney (C) T.S. Eliot, Seamus Heaney, W.B. Yeats, Nadine Gordimer (D) Nadine Gordimer, Seamus Heaney, W.B. Yeats, T.S. Eliot, J 3005 4 31. Select the matching pair in question numbers 31 to 40 : (A) A Idylls of the King Browning (B) The Diverting History of John Gilpin William Cowper T.S. Eliot (C) The Tower (D) The Fall of Hyperion Shelley 32. (A) (B) (C) (D) Hard Times To The Light-house The Castle of Otranto Wuthering Heights Psychological novel Picaresque novel Gothic novel Historical novel 33. (A) (B) (C) (D) Emily Bronte Hardy Walter Scott Mark Twain Yorkshire Moors Scotland Ireland Yoknapatawfa 34. (A) (B) (C) (D) Surrealism Imagism Naturalism Magic Realism Tristan Tzara Spender Yeats Galriel Garcia Marquez 35. (A) (B) (C) (D) Victor Shklovsky Stanley Fish Hjelmslev Roland Barthes Carnivalesque Aphasia Glossematics Affective Stylistics 36. (A) (B) (C) (D) Bessie Head Derek Walcott A.D. Hope Ondaatje Newzealand South Africa Australia Nigeria 37. (A) (B) (C) (D) T.S. Eliot Osborne Bernard Shaw Tom Stoppard The Birthday Party The Entertainer Luther Lear 38. (A) (B) (C) (D) Periodical Essays Confessional Poetry Science Fiction Pre-Raphaelites Bacon Ted Hughes David Lodge William Morris 39. (A) (B) (C) (D) Nissim Ezekiel Gieve Patel Dilip Chitre Adil Jussawallah Persian Gujarati Sanskrit Urdu J 3005 5 P.T.O. 40. Pearl The Scarlet Letter (B) Raka The God of Small Things (C) Raphael The Great Expectations (D) 41. (A) Pip Fire on the Mountain The assertion, We had a very restful holiday, implies : (A) (B) We did nothing (C) 42. We didn t exert ourselves We were very lazy (D) We had a very dull time The progress of an artist is an continual self sacrifice, a continual extinction of personality. This assertion implies : (A) (B) An artist is likely to make progress through continual self sacrifice and extinction of personality (C) Continual self sacrifice and extinction of personality will undermine the progress of the artist (D) 43. Merely by a continual extinction of personality an artist is sure to make progress An artist must have a personality to create art The best poetry will be found to have a power of forming, sustaining and delighting us . This assertion implies : (A) (B) Poetry is more useful than other arts (C) All other arts including poetry have their limitations (D) 44. Poetry has multiple functions to perform Poetry has no role to play Human beings, and especially human beings as an integral part of a social organisation are regarded as primary subject matter of literature . This assertion implies : (A) (B) All living beings animal and human, contribute towards the creation of literature (C) Humans as social beings are the nucleus of all literary exercise (D) 45. Human beings alone can be the subject matter of literature Literature transcends the human and the non-human. We must learn to see more, to hear more, to feel more . The assertion implies : (A) Human beings have only three faculties at their command to comprehend all knowledge (B) A sharpening of three faculties mentioned would help human beings to become better (C) Only with the combination of all senses, we may become better (D) Seeing, hearing and feeling are not enough to become better human beings J 3005 6 Read the passage below, and answer the questions that follow based on your understanding of the passage : John Dryden in the late seventeenth century defined poetic license as The liberty which poets have assumed to themselves, in all ages, of speaking things in verse which are beyond the severity of prose . In its most common use the term is confined to diction alone, to justify the poet s departure from the rules and conventions of standard spoken and written prose in matters such as syntax, word order, the use of archaic or newly coined words, and the conventional use of eye-rhymes. The degree and kinds of linguistic freedom assumed by poets have varied according to the conventions of each age, but in every case the justification of the freedom lies in the success of the effect. In a broader sense, Poetic License is applied not only to language, but to all the ways in which poets and other literacy authors are held to be free to violate, for special effects, the ordinary norms not only of common discourse but also of literal and historical truth, including the devices of metre and rhyme, the recourse to literary conventions, and the representation of fictional characters and events. 46. Poetic license means : (A) liberty with diction, alone (B) liberty with diction and norms of common discourse (C) liberty with historical truth (D) liberty with representations of fictional characters 47. Linguistic freedom is : (A) freedom with diction, newly-coined words, syntax (B) freedom with the use of colloquial language (C) freedom with the use of figurative construction (D) freedom with literal truth 48. How do you justify the linguistic freedom taken ? (A) on the basis of scholarship embedded (B) on the basis of form (C) on the basis of the success of the effect (D) on the basis of the thematic grandeur 49. Diction means : (A) severity of prose (C) poetic license (B) (D) devices of metre and rhyme syntax and word order Poetic license applies to : (A) Poets alone (C) Dramatists only (B) (D) All literary authors Epic writers only 50. ** *** ** J 3005 7 P.T.O. Space For Rough Work J 3005 8

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