I. In a biographical approach to literary criticism, which of the
following aspects of a novel receives the most attention?
A. connections to the author's
personal history
B. assessments of its impact on
other authors' work
C. references to contemporary cultural and
political life
D. responses by readers to its major themes
and ideas
II. Match the following: (5 x I :5)
(l) Binary Opposites
(a) Kaarle Krohn
(2) Solar Mythology
(b) Vladimir Propp
(3) Historical-Geographical Method (c) Richard Bauman
(4) Syntagmatic approach (d) Max Muller
(5) Plot Structure (e) Levi Strauss
(f) Gustav Freytag
Ans: (l) Binary Opposites --- (e) Levi Strauss
(4)
Syntagmatic approach... (b) Vladimir
Propp
III. Match the following :
(a) Irony as a Principle
(i) Empson of
Structure
(b) The Golden Bough ii) cleanath Brook (c) Seven Types of
(iii) Northrop Frye
(d) The Archetypes of Literature (iv) Frazer Ambiguity
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
(B) (iv) (i) (iii) (ii)
(C) (ii) (iv) (i) (iii)
(D) (ii) (iv) (iii) (i)
Ans-(C)
(ii) (iv) (i) (iii)
IV. In contrast to -------, Plotinus considers the
artist a
creator of vehicles of valuable, though
imperfect,
spiritual insight. Plotinus’ artist does not
work by
rational principles; he does not, as -------
would
have had him, lead us to the ideas through the
use
of reason. Rather, he tries to express in an
artistic
medium some insight into the One.
Which of the following will correctly complete
the first two sentences of the passage?
(A) Plato
(B) Horace
(C) Juvenal
(D) Ovid
(E) Virgil
Ans-Plato
Questions V-VI are based on the following
passage.
Poesy therefore is an art of (1) , for so (2)termeth it in his word mimesis that is to say, a
representing, counterfeiting, or figuring forth—to speak metaphorically, a speaking picture; with this
end, to teach and delight.
I. In a biographical approach to literary criticism, which of the following aspects of a novel receives the most attention?
A. connections to the author's personal history
B. assessments of its impact on other authors' work
C. references to contemporary cultural and political life
D. responses by readers to its major themes and ideas
II. Match the following: (5 x I :5)
(l) Binary Opposites (a) Kaarle Krohn
(2) Solar Mythology (b) Vladimir Propp
(3) Historical-Geographical Method (c) Richard Bauman
(4) Syntagmatic approach (d) Max Muller
(5) Plot Structure (e) Levi Strauss
(f) Gustav Freytag
Ans: (l) Binary Opposites --- (e) Levi Strauss
(4) Syntagmatic approach... (b) Vladimir Propp
Code :
(a) (b) (c) (d)
(A) (ii) (i) (iii) (iv)
V. Which of the following should be inserted at
1 ?
(A) logic
(B) imitation
(C) seduction
(D) fantasy
(E) manipulation
Ans-(B)
imitation
VI. Which of the following should be inserted at
2 ?
(A) Aristotle
(B) Cicero
(C) Augustine
(D) Longinus
(E) Johnson
Ans-(A)
Aristotle
VII. What, according to Aristotle, are the two
emotions that tragedy arouses in the audience ?
(A) Pity and Fear
(B) Surprise and Shock
(C) Sympathy and Satisfaction
(D) Despair and Disgust
Ans-(A)
Pity and Fear
VIII. Match the following :
I. Libido
1. Carl Jung
II. Collective 2.
Sigmund Freud unconscious
III. Ambiguity 3.
Frazer
IV. Myth 4.
William Empson
I II III IV
(A) 2 4 3 1
(B) 2 1 4 3
(C) 2 1 3 4
(D) 2 3 4 1
Ans-(B)
2 1 4 3
IX. M.H. Abrams’ The Deconstructive Angel
is a critique of
(A) Roland Barthes
(B) Gayatri Chakravorty Spivak
(C) Jaques Derrida
(D) Paul de Man
Derrida coined the portmanteau term Differance.
The term suggests to differ' and 'to defer'. Deconstructionists hold that
communicating through language is rather impossible. In "The
Deconstructive Angel", Abrams defend the ability of traditional historical
criticism to discover what literary works might have meant to their
contemporaries. They can also grasp what they mean today. To prove
this, he compares his own interpretation to those of other
interpretations. These combined approximations will "confirm the
'objectivity' of his own interpretation". Abrams admits the
ambiguity of literary language, sharing the ideas of Barthes. Abram is
comfortable with linguistic theories that see language as pluralistic or
ambiguous. But he cannot agree with the violent claims of
Deconstruction. To quote him: "deconstruction goes beyond the
limits of pluralism, by making impossible anything that we would account as
literary and cultural history".
X. English Critical Texts is edited by
(A) David Daiches
(B) D. J. Enright and Ernest Chickera
(C) Nagarajan and Seturaman
(D) Rene Wellak
Ans-(B)
D. J. Enright and Ernest Chickera and Oxford University Press (1 December 1962)
Shelley's 'A Defence of Poetry' is a rejoinder
to Love Peacock's charges levelled against poetry and poets in his four Ages of
Poetry. Peacock called poets 'semi-barbarians in a civilized community' and
condemned Shelley's own poetry as "querulous egotistical rhapsodies."
Defending poetry, Shelley says that poetry is on
embodiment of "beautiful idealism of moral excellence." The poet
"excites a generous impulse, an ardent thirst for excellence." He
calls the poet a nightingale , who sits in darkness and sings to cheer its own
solitude, with sweet sound." He says that poetry is the creative impulse
in man. Poets are "not only the authors of language and of music, of the
dance and architecture, and statutory, and painting, they are the institutors
of laws, and founders of a civil society, and the inventors of the arts of
life." They are men of the most spotless virtue, the most consummate
prudence, the most fortunate of men." They are "philosophers of the
very loftiest power." Poetry is the record of the best and happiest
moments of the happiest and best minds."
Poetry is 'the centre and circumference of
knowledge and it comprehends all science.' Consequently, Shelley calls the
poets "unacknowledged legislators of the world." The poet reveals
'those forms which are common to universal nature and existence.' Hence a poem
is "the very image of life expressed in its eternal truth."
Thus "a poet, as he is the author of the
highest wisdom, pleasure virtue and glory, so he ought personally to be the
happiest, the best the wisest and the most illustrious of men." So the
poet is the legislator of the moral, spiritual and intellectual life in the
world.
the superiority of poetry over all other
branches of learning
Sidney says that poetry is the most ancient source
of learning and wisdom. It is "the first light giver to ignorance, and
first nurse, whose milk by little and little enabled them to feed afterwards of
tougher knowledge." Poetry is the better and nobler source of wisdom than
even history and philosophy which are believed to be the richest source of
knowledge and wisdom. Even philosophy was first taught in verse. Wise Solomon
was directly a poet. Plato's 'DIALOGUES' are in spirit poetical because they
are imaginative and emotional. The Bible itself is written in poetical prose
and its sayings are called 'verses'. Sidney says, "And even
Historiographers, although their lips sound of things done,... have been glad
to borrow both fashion and perchance weight of poets."
(XI) Poetry is indeed something divine. It is at
once the center
and circumference of knowledge; it is that which
comprehends all other sciences, and that to
which all
science must be referred. It is at the same time
the root
and blossom of all other systems of thought; it
is that
from which all spring, and that which adorns
all.
(A) Dr. Johnson
(B) Ben Jonson
(C) Addison
(D) Richard Steele
E)shelley
Ans-E)shelley
XII. Philip Sidney wrote An Apology for Poetry in
immediate response to
(A) Plato’s Republic
(B) Aristotle’s Poetics
(C) Stephen Gosson’s The School of Abuse
(D) Jeremy Collier’s Immorality and Profaneness
of the English Stage.
Ans:C
STEPHEN GOSSON (1554-1624). —Poet, actor, and
satirist wrote The School of Abuse (1579), directed against "poets,
pipers, players, jesters, and such-like Caterpillars of a Commonwealth."
Dedicated to Sir P. Sidney, it was not well received by him, and is believed to
have evoked his Apologie for Poetrie (1595).
Sidneys various kinds or forms or species of poetry?
Sidney defends various kinds or forms or species
of poetry. The various popular forms of poetry are the Pastoral, Elegy, Satire,
Comedy, Tragedy, Lyric and Epic. Sidney defends each type on its own merit.
He admires the Pastorals because they bring into
light the miseries of the poorest section of society—the shepherds, peasants,
cottagers and the like living with their flocks of sheep and goats. The
Pastorals show the generosity of the poet’s heart.
The Elegy expresses human compassion accompanied
with the causes of lamentation. The Elegies exhibit tender human feelings
The Satire humourously exposes human follies and
vanities without hurting anybody’s personal feelings. The satirist functions as
a reformer.
The Comedy is an imitation of the common errors
of our lives, so that no spectator will dare act that way or do such a folly.
Nothing can more open our eyes than to find our own actions so contemptibly
exhibited.
Tragedies make the kings and tyrrants realize
their tyrannies and thier outcome. Sidney says, “with stirring the effects of
admiration and commiseration, Tragedy teacheth uncertainty of this world, and
upon how weak foundations golden roofs are builded.”
The Lyric praises virtue in sweet tunes and
pleasantly gives moral precepts.
And finally, the Epic unrolls before us the heroic
exploits and victories of our great ancestors and fills us with pride
Summarize the views of Sydney on the use of
verse and metre in Poetry.
In the use of verse and metre in poetry, Sidney
oscillated between the classical concept and Elizabethan practices.
According to the classical concept verse or
metre is not indispensable for poetry, but according to Elizabethan practices
metre was desirable, if not indispensable.
Sidney seems to reconcile the two extremes,
holding the classical view he says that metre is “but an ornament and no cause
to poetry, since there have been many most excellent poets that never
versified, and now swarm many versifiers that need never answer to the name of
poets.”
Invention is the soul of poetry, and in this
sense if prose is inventive, it should be classed with poetry.
Then comes on him the Elizabethan influence.
This attracts him to favour the use of verse or metre in poetry, though on
other grounds.
He says that verse being sweeter and more
appealing to our aesthetic sense should be used in poetry. Verse is a superior
form of expression to ordinary prose.
He further says that on account of its sweetness
and orderliness verse is fitted for memory, and memory is the treasure-house of
knowledge.Musical verse can be more easily remembered and
retained in the mind than prose.Therefore it s advisable to write poetry in
verse and metre. Sidney’s views on the three Dramatic Unities.Sidney was a strong advocate of the THREE
DRAMATIC UNITIES OF TIME, PLACE AND ACTION. These three unities must be
observed if a play is believed to be a true copy of life. Sidney regretted
that, none of the English plays except “Gorboduck” to some extent observed the
three dramatic unities.
1) The Unity of Time: requires that the plot or
action of a play should not exceed the limit of one natural day of twenty-four
hours. If the action exceeds this limit, the play would appear to be highly
unnatural. But English dramatists have most hideously violated this unity. The
events extend for a long time period are packed in two hours space. Nothing
could be more absurd than this.
2) The Unity of Place: requires that the action
of the play should not shift frequently from one distant place top another. The
English dramatists violated the unity of place equally grossly. “You shall have
Asia of the one side, and Africa of the other, and so many other
under-kingdoms, that the player must ever begin with telling where he is, or
else the tale will not be conceived.” Also the same stage has to be taken for a
garden, a graveyard, a place or an island where there is a shipwreck, or a
battlefield. This is straining the imagination of the spectator to the breaking
point. This should be equally avoided.
3) The Unity of Action: requires that there
should be no admixture of the comic and tragic scenes in the most unnatural
way. A comedy should be a comedy, and a tragedy should be a tragedy from the
beginning to the end. The tragic and comic scenes and situations should not be
mixed up. The king and clown should not be mixed up on the stage. It is on this
ground that Sidney harshly condemns the vogue of tragi-comedies coming up in
English drama
(XIII) So that the ending end of all earthly
learning being
virtuous action, those skills that most serve to
bring forth
that have a most just title to be princes over
all the rest;
wherein, if we can show, the poet is worthy to
have it
before any other competitors.
a]sidney
b]wordsworth
c]arnold
d]shelley
Ans-a] Sidney
XIV. Assertion (A) : Dr Johnson’s The Lives of
the Poets carries critical and biographical studies of poets he admired. It
does not, however, carry a life of
William Wordsworth.
Reason (R) : Dr. Johnson singled out poets whom
he not only admired but also
adored. This explains his omission of
Wordsworth.
(A) (A) is wrong but (R) is correct.
(B) (A) is true but (R) is false.
(C) (A) and (R) are true.
(D) Neither (A) nor (R) is true.
Johnson's last major work, The Lives of the
English Poets, was begun in 1778, when he was nearly 70 years old, and
completed—in ten volumes—in 1781. It comprises short biographies and critical
appraisals of 52 poets, most of whom lived during the eighteenth century. It is
arranged, approximately, by date of death. On the other hand, Wordsworth’s
Lifetime (1770-1850) does not focus Johnson’s critical era.
XV. Dr. Johnson’s “The Vanity of Human Wishes”
expresses
(A) Epicureanism (B) Humanism (C) Stoicism (D)
Cynicism
Ans;
cynicism--- The Vanity of Human Wishes:The Tenth Satire of Juvenal, Imitated was
published on January 9, 1749, when Johnson was thirty-nine years old. From
Boswell's Life:
XVI. The first major English Dictionary was compiled
by :
(A) Dr. Johnson
(B) Ben Jonson
(C) Addison
(D) Richard Steele
Ans;(A)
Dr Johnson's House was built in 1700 and has retained many original features.
It was the home and workplace for Samuel Johnson from 1748-1759, and was where
he compiled the first comprehensive English dictionary in 1755 Preface to a Dictionary of the English Language
-A Dictionary of the English Language
XVII. Which romantic poet coined the famous phrase
‘spots of time’ ?
(A) John Keats
(B) William Wordsworth
(C) S.T. Coleridge
(D) Lord Byron
(William Wordsworth, English romantic poet,
wrote about the concept of "spots of time"
There are in our existence spots of time,
That with distinct pre-eminence retain
A renovating virtue, whence, depressed
By false opinion and contentious thought,
Or aught of heavier or more deadly weight,
In trivial occupations, and the round
Of ordinary intercourse, our minds
Are nourished and visibly repaired...
-William Wordsworth, from The Prelude, Book
Twelfth )
(XVIII) I do not doubt that it may safely be
affirmed, that there
neither is, nor can be, any essential difference
between
the language of prose and metrical composition.
. . . They
both speak by and to the same organs; the bodies
in
which both of them are clothed may be said to be
of the
same substance, their affections are kindred and
almost
identical, not necessarily differing even in
degree.
(A) John Keats
(B) William Wordsworth
(C) S.T. Coleridge
(D) Lord Byron
Ans-Preface
to Lyrical Ballads.
XIX. Which of the following statements about The Lyrical Ballads is NOT
true ?
(A) It carried only one ballad
proper, which was Coleridge’s
The Rime of the Ancient
Mariner.
(B) It also carried pastoral and other poems.
(C) It carried a “Preface” which
Wordsworth added in 1800.
(D) It also printed from Gray’s
Elegy Written in a Country
Churchyard.
Ans;)
It carried only one ballad proper, which was Coleridge’s The Rime of the
Ancient Mariner.
The Lyrical Ballads includes; Samuel Johnson was
the first of many critics to put forward the view that Gray spoke in two
languages, one public and the other private, and that the private language—that
of his best-known and most-loved poem, "Elegy Written in a Country
Churchyard" (published in 1751 as An Elegy Wrote in a Country Church
Yard)—was too seldom heard. William Wordsworth decided in his preface to
Lyrical Ballads (1798), using Gray's "Sonnet on the Death of Richard
West" (1775) as his example, that Gray, governed by a false idea of poetic
diction, spoke in the wrong language; and Matthew Arnold, in an equally
well-known judgment, remarked that the age was wrong for a poetry of high
seriousness, that Gray was blighted by his age and never spoke out at all. Such
judgments sum up the major critical history of Gray's reception and reputation
as a poet.
XX. In “An Essay of Dramatic Poesy” the participants are
I. Crites and Neander
II. Lisideius and Eugenius
III. Sedley and Howard
IV. Sackille and Dryden
(A) I and II
(B) II and III
(C) III and IV
(D) I and IV
Ans-(A)
I and II
XXI. “Of all modern, and perhaps ancient poets,
Shakespeare had the largest and most
comprehensive soul.” The author of the
statement is
(A) Henry Fielding (B) Thomas Rymer
(C) Samuel Johnson (D) John Dryden
Ans-John
Dryden (1631–1700)----
1] He was the man who of all modern, and perhaps ancient
poets, had the largest and most comprehensive soul.
2] He is the very Janus of poets; he wears
almost everywhere two faces; and you have scarce begun to admire the one, ere
you despise the other.
3] But Shakespeare’s magic could not copied be;
Within that circle none durst walk but he.
4] He was naturally learned; he needed not the
spectacles of books to read nature. He looked inwards, and found her there.
John Dryden (1631–1700) Essay of Dramatic Poesy
XXII.
‘Delight is the chief, if not the only end of Poesy; instruction can be
admitted but in the second place; for poesy only instructs as it delights.’
According to whom is
this the function of poetry?
A) Philip Sydney B) John Dryden
C) Joseph Addison D) Dr. Johnson
Ans-B)
John Dryden--To Plato the function of poetry was to ‘instruct', to Aristotle
'to delight', to Horace both 'to instruct and to delight' and to Longinus 'to
transport'. Considering all these views Dryden was led to conclude that
the final end of poetry was 'to delight and transport' rather than to teach and
instruct. Dryden writes: "Delight is the chief, if not the
only end of poetry; instruction can be admitted but in the second place; for
poesy only instructs as it delights".
XXIII. In Dryden’s Essay of Dramatic Poesy (1668),
who opens the discussion on behalf of the ancients ?
(A) Lisideius
(B) Crites
(C) Eugenius
(D) Neander
Ans-The
four occupants of Dryden’s Platonic barge are usually identified with
contemporary figures. The three “persons [of] Wit and Quality” are Sir Robert
Howard (Crites), Charles Sackville, Lord Buckhurst (Eugenius), and Sir Charles
Sedley (Lisideius), and it seems reasonable to assume that the fourth
character, Neander, is Dryden himself,
XXIV. S T Coleridge’s Biographia Literaria is a reply to :
(A) Shelley’s Defence of Poetry
(B) Lamb’s Tales From Shakespeare
(C) Wordsworth’s ‘Preface’ to The
Lyrical Ballads
(D) Johnson’s Preface to
Shakespeare
Ans: Biographia Literaria is concerned primarily
with Coleridge's response to Wordsworth,
xxv. The phrase ‘the willing suspension of
disbelief ’ occurs in
(A) Biographia Literaria
(B) Preface to Lyrical Ballads
(C) In Defence of Poetry
(D) Poetics
Ans: A
In
Chapter XIV of his Biographia Literaria, Coleridge writes:
[M]y endeavours should be directed to persons
and characters supernatural … so as to transfer from our inward nature a human
interest and a semblance of truth sufficient to procure for these shadows of
imagination that willing suspension of disbelief for the moment, which
constitutes poetic faith.
Suspension of disbelief, or willing suspension
of disbelief, is an important element in drama and storytelling. It refers to
an audience becoming emotionally invested in the story despite their sure
knowledge that it is not actually happening. In effect, the audience implicitly
agrees to pretend the story’s reality is the only reality. To help achieve this
effect, the storyteller must create convincing characters and gripping plots.
The overall story may be fantastic or even impossible, but as long as it
remains entertaining and internally consistent, the audience will eagerly
accept it as plausible.
Storytelling demands a certain license from its
audience. No matter how realistic the media used to portray the story, all but
the smallest children know it is a creative work. Engaging the imagination
requires a conscious decision on the part of the audience to ignore the usual
skepticism of the rational mind. In 1817, the poet Samuel Taylor Coleridge
coined the phrase “willing suspension of disbelief” to describe this
phenomenon. While it may seem obvious, the successful creation of art and
entertainment depends on its existence.
Alexander Pope
XXVI. Who gives the following advice ?
Be Homer’s works your study, and delight,
Read them by Day, and meditate by
Night ...
(A) John Dryden
(B) Alexander Pope
(C) Samuel Johnson
(D) Thomas Carlyle
Ans-(B)
In Pope’s “An Essay on Critisicm,
You then whose judgment the right course would
steer,
Know well each ancient’s proper character;
His fable, subject, scope in every page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticize.
Be Homer’s works your study and delight,
Read them by day, and meditate by night;
Thence form your judgment, thence your maxims
bring,
And trace the Muses upward to their spring.
Still with itself compared, his text peruse;
And let your comment be the Mantuan Muse.
(Pope, 117-129)
The sentence “A little learning
is a dangerous thing !” is
from :
(A) Essay of Dramatick Poesie
(B) An Essay on Criticism
(C) An Essay on Man
(D) An Essay Concerning Human
Understanding
Ans;(B) An Essay on Criticism
'A little knowledge is a dangerous thing' and 'a
little learning is a dangerous thing' have been used synonymously since the
18th century
Alexander Pope - A little knowledge is a
dangerous thingThe version 'a little learning' is widely attributed to Alexander
Pope (1688 - 1744). It is found in An Essay on Criticism, 1709, and
meaning A small amount of knowledge can mislead people into thinking that
they are more expert than they really are.
A little learning is a dangerous thing;
drink deep, or taste not the Pierian spring:
there shallow draughts intoxicate the brain,
and drinking largely sobers us again.
The similarity of the two phrases is
demonstrated by what appears to be an impromptu coining of 'a little knowledge
is a dangerous thing' in a piece in The monthly miscellany; or Gentleman and
Lady's Complete Magazine, Vol II, 1774, in which the writer misquoted Pope:
Mr. Pope says, very truly, "A little
knowledge is a dangerous thing."
Both Pope's original verse and the misquotation
of it were predated by an anonymous author, signing himself 'A B', in the
collection of letters published in 1698 as The mystery of phanaticism:
"Twas well observed by my Lord Bacon, That
a little knowledge is apt to puff up, and make men giddy, but a greater share
of it will set them right, and bring them to low and humble thoughts of
themselves.
A little knowledge is a dangerous thingAgain,
there is a degree of misquotation here; what 'my Lord Bacon', the English
politician and philosopher Francis Bacon, Viscount St Alban, actually said, in
The Essays: Of Atheism, 1601, was:
"A little philosophy inclineth man’s mind
to atheism; but depth in philosophy bringeth men’s minds about to
religion."So, who coined the phrase? It appears to have been a group
effort. Bacon can be credited with the idea, Pope with the 'learning' version
and the mysterious 'A B' with the 'knowledge' version
(A) Essay of Dramatic Poesy by John Dryden was
published in 1668. It was probably written during the plague year of 1666
C) An Essay on Man is a poem published by
Alexander Pope in 1734. It is a rationalistic effort to use philosophy in order
to "vindicate the ways of God to man"
(D) An Essay Concerning Human
Understanding First appearing in 1689 with the
printed title An Essay Concerning Humane Understanding, An Essay Concerning
Human Understanding by John Locke concerns the foundation of human knowledge
and understanding.
Mathew Arnold
70. Who considers “truth and high
seriousness” qualities of great poetry ?
(A) Matthew Arnold
(B) Alexander Pope
(C) Sir Philip Sidney
(D) Thomas Gray
Ans-(A)
Matthew Arnold
9. “All great literature is, at bottom, a
criticism of life” – this statement is
attributed to
(A) Thomas Carlyle
(B) Matthew Arnold
(C) J.S. Mill
(D) John Ruskin
Ans:B
“Poetry is a criticism of life”, says :
(A) Philip Sidney
(B) Matthew Arnold
(C) Willian Wordsworth
(D) S.T. Coleridge
Ans;)
Matthew Arnold define his view on poetry in his essay "The Study of
Poetry" (1880) as ''In poetry, as in criticism of life under the
conditions fixed for such a criticism by the laws of poetic truth and poetic
beauty, the spirit of our race will find, we have said, as time goes on and as
other helps fail, its consolation and stay. But the consolation and stay will
be of power in proportion to the power of the criticism of life. And the
criticism of life will be of power in proportion as the poetry conveying it is
excellent rather than inferior, sound rather than unsound or half-sound, true
rather than untrue on half-true"
Matthew Arnold on poetry:
Matthew Arnold defines poetry "as a
criticism of life under the conditions fixed for such a criticism by the laws
of poetic truth and poetic beauty." He adds by saying that the
future of poetry is immense because in poetry we will find an ever surer and
surer stay. The strongest part of our religion today is its unconscious
poetry.
Quoting Wordsworth, he says that poetry is "the impassioned expression
which is in the countenance of all science." But these observations
apply to the high and sublime poetry of high excellence. High poetry has
a power of 'forming, sustaining, and delighting us as nothing else can.' This
kind of poetry is, therefore, essentially moral, not in the narrow didactic
sense, but in the larger sense of conforming to the highest ideals of truth,
goodness, and beauty. In his essay on Wordsworth he says, "A poetry
of revolt against moral ideas is a poetry of revolt against life; a poetry of
indifference towards moral ideas is a poetry of indifference towards
life." But the term 'moral' should be used in its broadest sense,
bearing upon the question 'how to live?'
Matthew Arnold's Touchstone Method:
Matthew Arnold's Touchstone Method of Criticism
was really a comparative system of criticism. Arnold was basically a
classicist. He admired the ancient Greek, Roman and French authors as the
models to be followed by the modern English authors. The old English like
Shakespeare, Spenser or Milton were also to be taken as models. Arnold took
selected passages from the modern authors and compared them with selected
passages from the ancient authors and thus decided their merits. This method
was called Arnold's Touchstone Method.
However, this system of judgement has its own
limitations. The method of comparing passage with a passage is not a sufficient
test for determining the value of a work as a whole. Arnold himself insisted
that we must judge a poem by the 'total impression' and not by its fragments.
But we can further extend this method of comparison from passages to the poems
as whole units. The comparative method is an invaluable aid to appreciation of
any kind of art. It is helpful not merely thus to compare the masterpiece and
the lesser work, but the good with the not so good, the sincere with the not
quite sincere, and so on.
Those who do not agree with this theory of
comparative criticism say that Arnold is too austere, too exacting in comparing
a simple modern poet with the ancient master poet. It is not fair to expect
that all hills may be Alps. The mass of current literature is much better
disregarded. By this method we can set apart the alive, the vital, the sincere
from the shoddy, the showy and the insincere.
Matthew Arnold's Concept of Grand Style.
Discussing the essential ingredients of Grand
style, Arnold says that Grand Style 'arises in poetry when a noble nature,
poetically gifted, treats with simplicity or severity a serious subject'. The
grand style issues from rapidity of movement, plainness and directness of
language, nobility of nature and simple lucidity of mind. It is the same thing
that Longinus calls sublimity. There can be no sublimity without sublime
thoughts, and sublime emotions issuing from a sublime heart. There can be no
sublimity without the sublimity of the soul.
Great thoughts and great words issue only from
great minds. At the same time the subject treated therein also should be
serious and grand enough to bear the weight of the grand style. A trivial
subject cannot bear the weight of grand style. The subjects fit for treatment
in grand style must "powerfully appeal to the great primary human
affections; to those elementary feelings which subsist permanently in the race,
and which are independent of time". There are universal subjects that
cannot be bound down by any limits of time or place. They are fundamental with
human nature sublimely elevated. The action or situation to be treated under
grand style must have the power 'to please, to move, to elevate'. The greatest
practitioners of grand style are Homer in Greek, Dante in Latin, and Milton in
English. Arnold advises the modern poets to study and analyse their style and
subject matter if they seek to develop grand style in their own writings.
Who considered poetry to be “the
best and highest fruit of human
culture” ?
(A) Sidney
(B) Dr. Johnson
(C) Wordsworth
(D) Arnold
Ans;Arnold,
in his book Culture and Anarchy Chapter 1
(C) There can be no more useful help for
discovering what
poetry belongs to the class of the truly
excellent, and can
therefore do us most good, than to have always
in one’s
mind lines and expressions of the great masters,
and to
apply them as a touchstone to other poetry. . .
. Short
passages, even single lines, will serve our turn
quite
sufficiently.
..(A) Sidney
(B) Dr. Johnson
(C) Wordsworth
(D) Arnold
Ans-Arnold
T S Eliot
74. According to whom is poetry “not a turning
loose of emotion, but an escape from
emotion” ?
(A) S.T.Coleridge
(B) Allen Tate
(C) John Dryden
(D) T.S. Eliot
Ans-(D)
T.S. Eliot
Eliot’s phrase ‘objective correlative’
occurs in his essay on :
(A) Metaphysical poets
(B) Hamlet
(C) ‘Tradition and the Individual
Talent’
(D) ‘Milton
Ans:Hamlet
Objective correlative: In his essay Hamlet
and His problem T. S. Eliot used this term to explain how emotion is best
expressed in poetry. " objective correlative is a set of objects , a
situation , a chain of events which shall be the formula of that particular
emotion , such that when the external facts , which must terminate in sensory
experience are given , the emotion is immediately evoked " . According to
T. S. Eliot the poet should transfer his emotions in a set of objects, a
situation, a chain of events. The only way of expressing emotion in the form of
art is by finding an objective co - relative.
Exp: T. S. Eliot in his famous poem the waste
Land depicts the spiritual sterility of modern man though the objective
correlative of Waste Land.
Eliot speaks of “dissociation of
sensibility” in his essay :
(A) ‘The Metaphysical Poets’
(B) ‘Tradition and the Individual
Talent’
(C) ‘The Function of Criticism’
(D) ‘Use of Poetry and Use of
Criticism’
Ans;(A)
‘The Metaphysical Poets’
T.S. Eliot first coined the phrase in his essay,
'The Metaphysical Poets' which was a literary criticism. The argument that he
put forth was that cultivation of emotion and thought separately as divorced
from one another was a broken way to deal with experiences that evoked both
thought and emotion.
We may express the difference by the following
theory: The poets of the seventeenth century, the successors of the dramatists
of the sixteenth, possessed a mechanism of sensibility which could devour any
kind of experience. They are simple, artificial, difficult, or fantastic, as
their predecessors were; no less nor more than Dante, Guido Cavalcanti,
Guinicelli, or Cino. In the seventeenth century a dissociation of sensibility
set in, from which we have never recovered; and this dissociation, as is
natural, was aggravated by the influence of the two most powerful poets of the
century, Milton and Dryden (Eliot, "The Metaphysical Poets").
F. R. Leavis
40. Who, amongst the following, does
not belong to the ‘Great Tradition’,
enunciated by F. R. Leavis ?
(A) Joseph Conrad
(B) James Joyce
(C) Jane Austen
(D) George Eliot
Ans:(B)
James Joyce
The Great Tradition:
'The great English novelists are Jane Austen,
George Eliot, Henry James and Joseph Conrad...' So begins what is arguably F.R.
Leavis' most controversial book, The Great Tradition, an uncompromising
critical and polemical survey of English fiction that was first published in
1948. Leavis' central criterion for great writing, that it has "a vital
capacity for experience, a kind of reverent openness before life, and a marked
moral intensity" is a clear reaction to an age characterised by the
ideologies of fascism and communism. Where they sought to define, control and
close down, literature creates, explores and opens up.He offers a close reading
of four novelists, half of whom are women, continue to rouse such ire? The
answer lies in the opening sentence. "The great English novelists are Jane
Austen, George Eliot, Henry James and Joseph Conrad."We are introduced
through his writings to The Great Tradition: Chaucer, Dante, Shakespeare,
Milton, Wordsworth, Jane Austen, George Eliot, William Blake, Charles Dickens,
Joseph Conrad, Ezra Pound, Gerard Manley Hopkins, Henry James, D.H. Lawrence,
T.S. Eliot.
106. Name the author of New Bearings in English
Poetry.
A) F.R. Leavis B) Edmund Gosse
C) John F. Danby D) F.W. Bateson
Ans-A)
F.R. Leavis, In New Bearings in English Poetry (1932) he attacked English late
Victorian poetry and proclaimed the importance of the work of T.S. Eliot, Ezra
Pound, and Gerard Manley Hopkins, emphasizing wit and the play of intellect
rather than late-Romantic...
47. “On the Knocking at the Gate in
Macbeth” is a longer essay by
(A) G. Wilson Knight
(B) A. C. Bradley
(C) Thomas De Quincey
(D) F. R. Leavis
Ans:(C)
Thomas De Quincey- “On the Knocking at the Gate in
Macbeth”
A]Wilson Knight was a mid-century critic
probably most known for an infamous little essay on Hamlet he wrote in 1930
called “The Embassy of Death:An Essay on Hamlet." The Wheel of Fire:
Interpretations of Shakespearian Tragedy. London:
B]Shakespearean Tragedy: Lectures on Hamlet,
Othello, King Lear and Macbeth In This Book Bradley Approaches The Major
Tragedies Of Shakespeare Through An Extended Study Of The Characters.
D] T. S. Eliot and F. R. Leavis. In “Shakespeare
and the Stoicism of Seneca” (1927), ...
I.A. Richard
105. With whom did I.A. Richards co-author the
Foundation of Aesthetics.
A) James Wood and F.R. Leavis
B) C.K. Ogden and C.S. Lewis
C) C.K. Ogden and James Wood
D) C.K. Ogden and F.R. Leavis
Ans-C)
C.K. Ogden and James Wood
In Foundations of Aesthetics (co-authored by
Richards, Ogden & James Woods), Richards maps out the principles of aesthetic
reception which lay at the root of Richards' literary theory (the principle of
"harmony," or balance of competing psychological impulses).
Additionally, the structure of the work (surveying multiple, competing
definitions of the term "aesthetic") prefigures his work on multiple
definition in Coleridge on Imagination, in Basic Rules of Reason and in Mencius
on the Mind.
105. With whom did I.A. Richards co-author the
The Meaning of Meaning: A Study of the Influence of Language upon Thought and
of the Science of Symbolism,.
A) James Wood and F.R. Leavis
B) C.K. Ogden and C.S. Lewis
C) C.K. Ogden and James Wood
D) C.K. Ogden
Ans-C.K.
Ogden
49. The term ‘Practical Criticism’ is
coined by
(A) William Empson
(B) W. K. Wimsatt, Jr.
(C) I.A. Richards
(D) F. R. Leavis
Ans:(C)
I.A. Richards
I.A. Richards used Coleridge's phrase
"practical criticism" to describe the method of his interpretation,
because Richards' sense of "practical" cannot translate into
Coleridge's so easily. This is because it is very specifically tied to a notion
of communication that is more technical and more reified than Coleridge's. For
Coleridge, language is logos, the revelatory word. For Richards, it is a thing,
a medium.Well-known works by Richards include The Meaning of Meaning, Principles
of Literary Criticism and Practical Criticism.
New Criticism
12. New Criticism Explained ----
A)Beginning in the 1920's and coalescing in the
1940's,
B)These "New Critics" opposed the
traditional critical practice of using historical or biographical data to
interpret literature
C)From the 1940's through the 1960's formalist
principles defined the mainstream standards of good criticism.y (roughly from
the
1920s to the 1970s)
D)All the above
Ans-D)All
the above
15. New Criticism Occurred Partially in
Response To:
A) Biographical Criticism that understood
art primarily as a reflection of the author's life (sometimes to the
point that the texts themselves weren't even
read!).
B) Competition for dollars and students from
sciences in academia.
C)New forms of mass literature and literacy, an
increasingly consumerist society and the increasingly visible
role of commerce, mass media, and advertising in
people's lives.
D) ALL
Ans-D)
ALL
132) ‘the text itself’,‘objective’, ‘scientific’,
‘disinterested’ (Arnold’s word),(‘scrutiny’ leading to
‘discrimination’,‘depersonalization’, ‘catalyst’ these phrases become origion
of--
A) New Criticism
B) STRUCTURALISM
C) feminism
D) NONE
Ans-A)
New Criticism
21) American New Criticism is ---
A) emerging in the 1920s and especially dominant
in the 1940s and 1950s
B) New Criticism is John Crowe Ransom’s (editor
of the Kenyon Review 1939–59) ‘Criticism, Inc.’ (1937). (His book on Eliot,
Richards and others, entitled The New Criticism, 1941, gave the movement its
name.)
C)criticism should become ‘more scientific, or
precise and systematic’; students should ‘study literature, and not merely
about literature’
D) All
Ans-D)
All
213) Ransom suggests, a poem may be divided into
two parts: I) “central logic or situation or ‘paraphrasable core’ / an
“ostensible substance/ “logical structure” . By ‘logical core,’ Ransom means
what we normally call the ‘meaning’ of the poem, that is, what the poem is
basically about. Such a paraphrasable ‘core’ to the poem might include, for
example, “an ethical situation, a passion, a train of thought, a flower or
landscape, a thing” [459]). II) “context of lively local details /
“poetic increment / “local texture” .Ransom characterises ‘local texture’ as
--------
I) “excursions into particularity” which
give a “sense of the real density and contingency of the world” .
II ) Ransom is referring here to the poem’s
stylistic features, i.e. the diction (the choice of imagery, etc.), metre, and
rhyme which are not merely so much polyfilla or padding designed to fill out a
poem(ornate, superficial decorations, as it were).
III) Rather, they cannot be ignored precisely
because local texture (e.g a particular choice of metaphor) significantly
inflects, even
though almost always subtly, the meaning of the
poem (what he calls the ‘logical core’).
IV) Form is, therefore, not merely a vehicle for
content: form and content are, rather, inseparablefrom each other, two sides of
the same coin. He argues that the “house” (462) is a useful“trope under which
to construe the poem” (462): a poem is a logical structure having a local
texture.
V)All
Ans-V)All
11) statement is incorrect--
1.Cleanth Brooks, himself a ‘Fugitive’,
professional academic, editor of the Southern Review
2.‘The Intentional Fallacy’ (1946) and ‘The
Affective Fallacy’ (1949), written by W. K. Wimsatt – a professor of English at
Yale University and author of the symptomatically titled book, The Verbal Icon:
Studies in the Meaning of Poetry (1954) – in collaboration with Monroe C.
Beardsley, a philosopher of aesthetics.
3. the personal input of the writer
(‘intention’) and the emotional effect on the reader (‘affect’) in order purely
to study the ‘words on the page’ and how the artefact ‘works
4.ransom belong to structuralism
Ans-4.ransom
belong to structuralism
32) New Criticism focused principally ---
A) on poetry, but two essays by Mark
Schorer, ‘Technique as Discovery’ (1948) and ‘Fiction and the Analogical
Matrix’ (1949), mark the attempt to deploy New Critical practice in relation to
prose Fiction.
b) in the study of fiction: the so-called
‘Chicago School’ of ‘Neo-Aristotelians’.
C) Theoretically offering a challenge to the New
Critics but in fact often seen as only a New Critical ‘heresy’
D) None
Ans-A)
on poetry, but two essays by Mark Schorer, ‘Technique as Discovery’
(1948) and ‘Fiction and the Analogical Matrix’ (1949), mark the attempt to
deploy New Critical practice in relation to prose Fiction.
32) Statement is correct---
A)Neo-Aristotelians were centred, from the later
1930s through the
1940s and 1950s, on R. S. Crane at the
University of Chicago. Establishing a theoretical basis derived principally
from Aristotle’s Rhetoric and Poetics,
b) in the study of fiction: the so-called
‘Chicago School’ of ‘Neo-Aristotelians’.
C) Theoretically offering a challenge to the New
Critics but in fact often seen as only a New Critical ‘heresy’
d)The anthology Critics and Criticism: Ancient
and Modern (1952; abridged edition with Preface by Crane, 1957) contains many
examples of their approach, including Crane’s own exemplary reading of
Fielding’s Tom Jones, ‘The Concept of Plot and the Plot of Tom Jones’.
e) All
Ans-e)
All
21) Neo-Aristotelians were centred,studay of
narrative structure in the novel particularly---
1)Wayne C. Booth Chicago Aristotelian His book
The Rhetoric of Fiction (1961) , N. Friedman and N. Frye,
2)Mark Schorer, ‘Technique as Discovery’ (1948)
and ‘Fiction and the Analogical Matrix’ (1949),
3.‘The Intentional Fallacy’ (1946) and ‘The
Affective Fallacy’ (1949) by wimsatt
4.None
Ans-1)Wayne
C. Booth Chicago Aristotelian His book The Rhetoric of Fiction (1961)N.
Friedman and N. Frye,
21.Booth's criticism can be viewed as distinct
from traditional biographical criticism (still practiced, especially among
popular critics), the new criticism that argued that one can talk only about
what the text says, and the modern criticism that argues for the
"eradication" of authorial presence. Booth claimed that it is
impossible to talk about a text without talking about an author, because the
existence of the text implies the existence of an author. THE BOOK IS---
1.The Rhetoric of Fiction
2.1974's The Rhetoric of Irony,
3.The Craft of Research
4.Rhetoric of Rhetoric: The Quest for Effective
Communication
Ans-1.The
Rhetoric of Fiction
F R Leavis
100)
leavis influenced--
A), both Raymond Williams in Politics and
Letters (1979) and Terry Eagleton in Literary Theory: An Introduction (1983)
b)profoundly influenced by Matthew Arnold and by
T. S. Eli (Leavis’s New Bearings in English Poetry (1932) in effect first taught
the Englishhow to ‘read’ The Waste Land)
C) Richards and Empson
D)All
Ans-D)All
Russian formalism and
1)the organic unity of the text might expect to
feel at home,Both kinds of criticism aim to explore what is specifically
literary in texts, and both reject the limp spirituality of late Romantic
poetics in favour of a detailed and empirical approach to reading.
A)Russian formalism and New Criticism
B)Russian formalism and structuralism
c)Russian formalism and feminism
D)None
Ans-A)Russian
formalism and New Criticism
21)---1--- were much more interested in
‘method’, much more concerned to establish a ‘scientific’ basis for the theory
of literature.--2----combined attention to the specific verbal ordering of texts
with an emphasis on the non-conceptual nature of literary meaning:despite the
emphasis on close reading of texts,The first --1----- on the other hand
considered that human ‘content’ (emotions, ideas and‘reality’ in general)
possessed no literary significance in itself, but merely provided a context for
the functioning of literary ‘devices’.----2--- tendency to endow aesthetic form
with moral and cultural significance---1--- aimed rather to outline models and
hypotheses (in a scientific spirit) to explain how aesthetic effects are
produced by literary devices, and how the ‘literary’is distinguished from and
related to the ‘extra-literary’.-----2--- literature as a form of human
understanding, the Formalists
thought of it as a special use of language
A)Russian formalism and New Criticism
B)Russian formalism and structuralism
c)Russian formalism and feminism
D)None
Ans-Russian
formalism and New Criticism
31)Russian formalism is ---
A)established before the 1917 Revolution – in
the Moscow Linguistic Circle, founded 1915, and in Opojaz (the letters stand
for ‘The Society for the Study of Poetic Language’), started in 1916.the
leading figures of the former group were Roman Jakobson and Petr Bogatyrev,
b) Prague Linguistic Circle in 1926 founded by
Viktor Shklovsky, Yury Tynyanov and Boris Eikhenbaum were prominent in Opojaz
c) They derided the mystical posturing of
futurist poets
d)treat literature as a special use of language
it is ‘speech organized in its entire phonic texture’.
e)‘Defamiliarization’ and ‘laying bare’ are
notions which directly affect Bertolt Brecht’s famous ‘alienation effect’ ,only
‘plot’ (sjuzet) is strictly literary, while ‘story’ (fabula) is merely raw
material
f) all
ANS-f)
all
the Bakhtin School
2) The Bakhtin School is ---
A)The Bakhtin School was not interested in
abstract linguistics of the kind which later formed the basis of structuralism
B)They were concerned with language or discourse
as a social phenomenon.
C)He attacked synchronic (unhistorical) and
abstract system and rejected the whole notion of ‘The isolated, fininished,
monologic utterance,
D) ALL
Ans-D) ALL
21) ‘Heteroglossia’ in his The Dialogical
Imagination ,is a fundamental concept,defined in Bakhtin’s ‘Discourse in the
Novel’ (written 1934–5). refers to the basic condition governing the production
of meaning in all discourse
A). It asserts the way in which context defines
the meaning of utterances, which are multiplicity of social voices and their
individual expressions.A single voice may give the impression of unity and
closure, but the utterance is constantly (and to some extent unconsciously)
producing a plenitude of meanings,which stem from social interaction
(dialogue).
B)the combination of existing statements or
speech-genres to construct a text. Each novel is constructed from a diversity
of styles and voices, assembled into a structured artistic system which
arranges difference in a particular way.
C) A novel can become a site of heteroglossia
because it can represent multiple speech-genres.
D) All
Ans-D)
All
11)In Rabelais and his World, Bakhtin discusses
carnivalesque (or ‘folk-humour’,) ‘Carnival’ is -----
A) The festivities associated with
Carnival are collective and popular; hierarchies are turned on their heads
(fools become wise, kings become beggars)
B)the carnival is not a performance, and does
not differentiate the spectator from the performer. All people who take part in
the carnival "live it" but it is not an extension of the "real
world" or "real life" but rather, "the world standing on
its head", the world upside down. The carnival is an event in which
all rules, inhibitions, restrictions and regulations which determine the course
of everyday life are suspended, and especially all form of hierarchy in
society.
C); opposites are mingled (fact and fantasy,
heaven and hell); the sacred is profaned. The ‘jolly relativity’ of all things
is proclaimed.Everything authoritative, rigid or serious is subverted, loosened
and mocked.
D) ‘Carnivalization’ is the term
Bakhtin uses to describe the shaping effect of
Carnival on literary genres.
E)All
Ans-E)All
Phenomenology: Husserl, Heidegger, Gadamer
1)Phenomenology is----
A)A modern philosophical tendency which stresses
the perceiver’s central role in determining meaning
B) the study of structures of consciousness as
experienced from the first-person point of view. The central structure of an
experience is its intentionality, its being directed toward something, as it is
an experience of or about some object. An experience is directed toward an
object by virtue of its content or meaning (which represents the object) together
with appropriate enabling conditions.
C)as a discipline is distinct from but related
to other key disciplines in philosophy, such as ontology, epistemology, logic,
and ethics.
D)Practiced Husserl, Heidegger, Sartre,
Merleau-Ponty and others.
e)All
Ans-e)All
12. Which of the following thinker concept pair
is correctly matched?
(A) I.A. Richards – Archetypal Criticism
(B) Christopher Frye– Mysticism
(C) Jacques Derrida– Deconstruction
(D) Terry Eagleton– Psychological Criticism
< I.A. Richards – New Criticism
Christopher Frye– Archtypal
Jacques Derrida– Deconstruction
Terry Eagleton–political Criticism>
23. ------- insisted that the author’s
intentions in writing, even if
they could be recovered, were of no relevance to
the interpretation
of the text. Neither were the emotional
responses of
particular readers to be confused with the
poem’s meaning:
the poem meant what it meant, regardless of the
poet’s intentions
or the subjective feelings of the reader.
Meaning was
public and objective, inscribed in the very
language of the
literary text.indicate which of the following
terms correctly completes the statement.--
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-Critics
broke boldly with the Great Man theory of literature, insisting that the
author’s intentions in writing, even if they could be recovered, were of no
relevance to the interpretation
of the text. Neither were the emotional
responses of
particular readers to be confused with the poem’s
meaning:
the poem meant what it meant, regardless of the
poet’s intentions
or the subjective feelings of the reader.
Meaning was
public and objective, inscribed in the very
language of the
literary text.
The title, The New Criticism, published in 1941,
was written by
(A) Cleanth Brooks
(B) John Crowe Ransom
(C) Robert Penn Warren
(D) Allan Tate
John Crowe Ransom (1888–1974) The New Criticism,
published in 1941, was a teacher, poet, founder of the Kenyon Review, and
a father of the New Criticism. From 1937 to 1959, Ransom served as a professor
at Kenyon College and his distinguished students included Donald Davidson,
Randall Jarrell, Robert Lowell, Andrew Lytle, Allen Tate, Peter Taylor, Robert
Penn Warren, and E. L. Doctorow.
Which one of the following best
describes the basic principle of New
Criticism ?
(A) an emphasis on the distinctive
style and personality of the
authors.
(B) stressing the virtues of
discipline, order and the ethical
mean.
(C) locating the meaning of a
literary work in the internal
relations of the language that
constitute a text.
(D) evaluating a literary text
against a backdrop of historical
events.
Ans:(C)
locating the meaning of a
literary work in the internal
relations of the language that
constitute a text.
Which of the following belongs to the
school of New Criticism ?
(A) Cleanth Brooks
(B) John Dryden
(C) Murray Krieger
(D) W.H. Auden
Ans: Cleanth Brooks
, post-World War I school of Anglo-American
literary critical theory that insisted on the intrinsic value of a work of art
and focused attention on the individual work alone as an independent unit of
meaning. It was opposed to the critical practice of bringing historical or
biographical data to bear on the interpretation of a work.
The primary technique employed in the New
Critical approach is close analytic reading of the text, a technique as old as
Aristotle’s Poetics. The New Critics, however, introduced refinements into the
method. Early seminal works in the tradition were those of the English critics
I.A. Richards (Practical Criticism, 1929) and William Empson (Seven Types of
Ambiguity, 1930). English poet T.S. Eliot also made contributions, with his
critical essays “Tradition and the Individual Talent” (1917) and “Hamlet and
His Problems” (1919). The movement did not have a name, however, until the
appearance of John Crowe Ransom’s The New Criticism (1941), a work that loosely
organized the principles of this basically linguistic approach to literature.
Other figures associated with New Criticism include Cleanth Brooks, R.P.
Blackmur, Robert Penn Warren, and W.K. Wimsatt, Jr., although their critical
pronouncements, along with those of Ransom, Richards, and Empson, are somewhat
diverse and do not readily constitute a uniform school of thought. New
Criticism was eclipsed as the dominant mode of Anglo-American literary
criticism by the 1970s.
To the New Critics, poetry was a special kind of
discourse, a means of communicating feeling and thought that could not be
expressed in any other kind of language. It differed qualitatively from the
language of science or philosophy, but it conveyed equally valid meanings. Such
critics set out to define and formalize the qualities of poetic thought and
language, utilizing the technique of close reading with special emphasis on the
connotative and associative values of words and on the multiple functions of
figurative language—symbol, metaphor, and image—in the work. Poetic form and
content could not be separated, since the experience of reading the particular
words of a poem, including its unresolved tensions, is the poem’s “meaning.” As
a result, any rewording of a poem’s language alters its content, a view
articulated in the phrase “the heresy of paraphrase,” which was coined by
Brooks in his The Well Wrought Urn (1947).
Wimsatt and Beardsley
73. ‘Affective fallacy’ is defined as the error
of
judging :
(A) a work by its effects on the reader
(B) a work by the intention of the author
(C) inanimate objects as animate
(D) a work by affections aroused
Ans-(A)
a work by its effects on the reader
The term ‘Intentional Fallacy’ is
first used by
(A) William Empson
(B) Northrop Frye
(C) Wellek and Warren
(D) Wimsatt and Beardsley
Ans;(D)
Wimsatt and Beardsley
intentional fallacy, term used in 20th-century
literary criticism to describe the problem inherent in trying to judge a work
of art by assuming the intent or purpose of the artist who created it.
Introduced by W.K. Wimsatt, Jr., and Monroe C.
Beardsley in The Verbal Icon (1954), the approach was a reaction to the popular
belief that to know what the author intended—what he had in mind at the time of
writing—was to know the correct interpretation of the work. Although a
seductive topic for conjecture and frequently a valid appraisal of a work of
art, the intentional fallacy forces the literary critic to assume the role of
cultural historian or that of a psychologist who must define the growth of a
particular artist’s vision in terms of his mental and physical state at the
time of his creative act.
affective fallacy, according to the
followers of New Criticism, the misconception that arises from judging a poem
by the emotional effect that it produces in the reader. The concept of
affective fallacy is a direct attack on impressionistic criticism, which argues
that the reader’s response to a poem is the ultimate indication of its value.
Those who support the affective criterion for
judging poetry cite its long and respectable history, beginning with
Aristotle’s dictum that the purpose of tragedy is to evoke “terror and pity.”
Edgar Allan Poe stated that “a poem deserves its title only inasmuch as it
excites, by elevating the soul.” Emily Dickinson said, “If I feel physically as
if the top of my head were taken off, I know that is poetry.” Many modern
critics continue to assert that emotional communication and response cannot be
separated from the evaluation of a poem. See also New Criticism.
3. Which of the following statements on
Pathetic Fallacy is NOT TRUE ?
(A) This term applies to
descriptions that are not true
but imaginary and fanciful.
(B) Pathetic Fallacy is generally
understood as human traits
being applied or attributed to
non-human things in nature.
(C) In its first use, the term was
used with disapproval because
nature cannot be equated with
the human in respect of
emotions and responses.
(D) The term was originally used
by Alexander Pope in his
Pastorals (1709).
Ans-(D)--
Cleanth Brooks
With whose theory are the
terms “irony” and “paradox”
associated ?
(A) Roland Barthes
(B) Mikhail Bakhtin
(C) Cleanth Brooks
(D) Allen Tate
Ans;Cleanth
Brooks introduced to new criticism in his book ' "Language of
Paradox
and ' The Well Wrought Urn: Studies in the
Structure of Poetry (1947) ''
Russian Formalism
50. Victor Shklovsky’s name is
associated with
(A) Post-modernism
(B) New Historicism
(C) Reader Response Theory
(D) Russian Formalism
Ans:Russian
Formalism
“Deautomatisation” is a term used
by :
(A) The Prague School
(B) Russian Formalists
(C) French Deconstructionists
(D) American New Critics
Ans;
(B) Russian Formalists
the defamiliarisation or deautomatisation
which we associate with the Russian Formalists and the Linguistic Circle of
Prague. The term “defamiliarization” was first coined in 1917 by Viktor
Shklovsky in his essay “Art as Device” (“Art as Technique”) It refers to
stylistics literary theory of the Russian formalists defined by Viktor
Shklovsky . According to the theory, art prevents automatization by confronting
the reader with the difficulty of poetic devices. It makes perception an active
process which restores clarity of perception. Formalists have argued for the
centrality of rhetorical devices including parallelism, archaism, and metaphor,
which cause deautomization
structuralism
Ferdinand de Saussure
44. Who propounded the terms Langue and
Parole ?
(A) Ferdinand de Saussure
(B) Paul de Man
(C) Roland Barthe
(D) Northrop Frye
Ans-(A)
Ferdinand de Saussure
9. Which literary theory flourished in the
1960s as an attempt to apply to literature
the methods and insights of modern
linguistics and anthropology ?
(A) Reception theory
(B) Symbolism
(C) Structuralism
(D) Phenomenological criticism
ANS-(C)
Structuralism
In Words Upon Words, Saussure
says, “The actual birth of a new
language has never reported in the
world” because “we have never
known of a language which was not
spoken the day before or which was
not spoken in the same way the day
before”. What does he mean ?
(A) Old languages die making way
for new ones.
(B) The birth and death of a
language are not subject to
human laws.
(C) Languages do not get borne,
they evolve out of previously
existing linguistic situations.
(D) Old speech patterns trigger the
birth of a new language.
Ans;(C)
Languages do not get borne,
they evolve out of previously
existing linguistic situations.
Structuralism owes its origin to :
(A) Jacques Lacan
(B) Noam Chomsky
(C) Ferdinand de Saussure
(D) Homi Bhabha
Ans:Ferdinand de Saussure
Structuralism owes its origin to the work of
Saussure in linguistics, and one form of the doctrine holds that all sign
systems are linguistic in nature in his book
25. ------- flourished in the 1960s as an
attempt to apply to
literature the methods and insights of modern
linguistics and
anthropology. It largely ignored what signs
actually “say” and
concentrated instead on their internal relations
to one another.
You can view a poem, a wrestling match, a system
of tribal
kinship, or a restaurant menu as a system of
signs: the aim is
to isolate the underlying set of laws by which
these signs are
combined into meanings.indicate which
of the following terms correctly completes the
statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(C)
Structuralism
Roland barth
“The birth of the reader must be at
the cost of the death of the author”
is an assertion made by :
(A) Julia Kristeva
(B) Raymond Ticard
(C) Roland Barthes
(D) Z. Todorov
Ans;;(C)
Roland Barthes in essay" death of author''
34. The structural analysis of signs was
practised by
(A) Michel Foucault (B) Jacques Lacan
(C) Julia Kristeva (D) Roland Barthes
Ans:Barths
post-stucturalist phase is characterised by a movement away from the idea of
scientific and objective methodology,semiotics and stucturalism as practised by
barths in works such as Writing Degree Zero, Mythologies and Critical
Essays through the semiotics of Elements of Semiology, The Fashion System, and
Introduction to the Structural Analysis of Narrative, are now viewed as
dependent on a questionable idea of the
sign------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------u
must write
Gayatri Spivak
Who has translated Derrida’s Of
Grammatology into English ?
(A) Ranjit Guha
(B) Homi Bhabha
(C) Gayatri Spivak
(D) Aijaz Ahmed
Ans;Gayatri
Spivak
52. Intertextuality refers to
(A) Close reading
(B) Comparison between two texts
(C) The conditioning of the meaning of a
text by other texts
(D) The reading of the intention of the
author
Ans-(C)
The conditioning of the meaning of a
text by other texts
43) Several intellectuals have also come out in
defense of the attacks against Gayatri Chakravorty Spivak style of writing.they
are--.........
I) Terry Eagleton who had referred to Gayatri
Chakravorty Spivak’s writing as “inaccessible”
II) Judith Butler has pointed out that Spivak’s
so-called unapproachable prose has actually touched and deeply altered the
thinking of “thousands of activists and scholars.”
III)Both
IV) None
Ans-III)Both
reader response theroy
Stanly Fish
“Is There a Text in This Class ?” is
written by ?
(A) Paul Ricoeur
(B) J. Hillis Miller
(C) Julia Kristeva
(D) Stanley Fish
Ans: stanly Fish
Fish reports the episode in his Is there a
Text in this Class?: THIS ESSAY, an early manifesto, was written in the summer
of 1970 in response to a letter from Ralph Cohen, editor of the recently
founded New Literary History s
New Historicism & Cultural Materialism
New Historicism: a term applied to a trend
in American academic literary studies in the 1980s that emphasized the
historical nature of literary texts and at the same time (in contrast with
older historicisms) the ‘textual’ nature of history.“The historicity of the
text and the texttuality of history.”The phrase was coined by Stephen
Greenblatt around 1980.Stephen Greenblatt drew new connections between literary
and non-literary texts, breaking down the familiar distinctions between a text
and its historical ‘background’ as conceived in established historical forms of
criticism.Inspiring by Michel Foucault's concepts of discourse and power and
also panoptic state,New historicism acknowledges and then explores various
versions of "history," sensitizing us to the fact that the history on
which we choose to focus is colored by being reconstructed from our present
circumstances.Stephen] Greenblatt's books Renaissance Self-Fashioning (1980)
and Shakespearean Negotiations (1988) are the exemplary models. Other scholars
of Early Modern (‘Renaissance’) culture associated with him include Jonathan
Goldberg, Stephen Orgel, Lisa Jardine, and Louis Montrose,J.W. Lever. Jonathan
Dollimore.Stephen Greenblattin his" Renaissance
Self-Fashioning"indicate the role of the New Historicist is to create a
"more cultural or anthropological criticism" which will be
"conscious of its own status as interpretation and intent upon
understanding literature as part of a system of signs that constitutes a given
culture." Literary criticism and cultural critique are integrated, with
the critic's role being to investigate "both the social presence to the
world of the literary text and the social presence of the world in the literary
text."
Simple Definition: a method based on the parallel
reading of literary and non-literary texts, usually of the same time period. It
refuses to privilege literary text.
* It is no longer a matter of literature
maintaining the foreground and history the background, instead it is a matter
of literature and history occupying the same area and given the same weight.
Reading all of the textual traces of the past, fiction or non.
* Places the literary text within the frame of a
non-literary text.
* A historical anecdote is given, relating the
text to the time.
* Context is replaced by “co-text”, that is an
interrelated non-literary text from the same time period. Greenblatt: “Will of
the World.”
Differences between old and new historicism:
* Old: hierarchical, with literature being the
“jewel,” and history the background
* New: Parallel readings, no more hierarchy.
* Old: A historical movement: creates a
historical framework in which to place the text
* New: a historicist movement. Interested in
history as represented and recorded in written documents—history as text.
* “The word of the past replaces the world of
the past.”
* “The aim is not to represent the past as it
really was, but to present a new reality by re- situating it.”
Foucault and New Historicism:
* New Historicism is always anti-establishment,
on the side of liberal ideas and personal freedoms.
* Believe in Michel Foucault’s idea of an
all-seeing—panoptic—surveillance State.
* The panoptic state exerts power through
discursive practices, circulating ideology through the body-politic.
* The State is seen as a monolithic structure
and change is nearly impossible.
Advantages.
* Written in a far more accessible way than
post-structuralist theory.
* It presents its data and draws its conclusions
in a less dense way
* Material is often fascinating and distinctive.
* New territory.
* Political edge is always sharp, avoids
problems of straight Marxist criticism.
Barry’s example, Montrose’s essay on Fantasies,
reinforces the idea that literature plays off reality and reality plays off literature.
"New Historicism focuses on the way
literature expresses-and sometimes disguises-power relations at work in the
social context in which the literature was produced, often this involves making
connections between a literary work and other kinds of texts. Literature is
often shown to “negotiate” conflicting power interests. New historicism has
made its biggest mark on literary studies of the Renaissances and Romantic
periods and has revised motions of literature as privileged, apolitical
writing. Much new historicism focuses on the marginalization of subjects such
as those identified as witches, the insane, heretics, vagabonds, and political
prisoners."
Stephen Greenblatt
The terms ‘resonance’ and
‘wonder’ are associated with
(A) Stephen Greenblatt
(B) Terence Hawkes
(C) Terry Eagleton
(D) Ronald Barthes
Ans;Stephen
Greenblatt
In his essay “Resonance and Wonder,” Stephen
Greenblatt writes about two powers permeating the works of art in museums:
By resonance I mean the power of the displayed
object to reach out beyond it formal boundaries to a larger world, to evoke in
the viewer the complex, dynamic cultural forces from which it has emerged and
for which it make be taken by a viewer to stand. By wonder I mean the power of
the displayed object to stop the viewer in his or her tracks, to convey an
arresting sense of uniqueness, to evoke an exalted attention.
When you first encounter an object — especially
one you instantly are wowed by — you stand in wonder. There’s something really
personal about that experience. You feel delight, surprise, enchantment. It’s
an oh my god! moment. Greenblatt says that museums like MoMA amplify wonder
with tactics they use to display objects, with boutique lighting, for example,
which throws a pool of light around objects in a dimmed room, in the same way
that jewelry stores and designer clothing shops do. Lighting isolates an object
and hold it up for display. That isolation is important: it intensifies your
wonder. It’s immediate, with no past or future; it’s love at first sight.
An object with resonance, though, is not
isolated. In fact, an object with resonance is loaded with associations, not
just in our minds, but by its very existence. A resonant object reaches back in
time and forward. Furthermore, it is not only resonant with associations
(historical moments, other artifacts), it can vibrate with its own experience
as an object. In a museum, wear and tear signal that other viewers have
experienced an object. Greenblatt is fascinated by the signs of “alteration,
tampering, and even deliberate damage” that museums attempt to efface from its
exhibits, and he finds “wounded artifacts” even more resonant. (I love that
term: wounded artifacts.) They have been used, and they continue to be in use.
This makes me think of science and children’s museums and shabby little local
museums, too, where the objects — placed there deliberately — can be touched.
31. The New Historicists include
(A) Greenblatt, Showalter, Montrose (B)
Greenblatt, Sinfield, Butler
(C) Greenblatt, Montrose, Goldberg (D) Williams,
Greenblatt, Belsey
Stephen Greenblatt ,Jonathan Goldberg, Stephen
Orgel, Lisa Jardine, and Louis Montrose are the notable New Historicists.
Cultural Materialism
Cultural Materialism
Cultural materialism is “a politicized form of
historiography.”
-Graham
Holderness
Raymond Williams coined the term Cultural
Materialism. Jonathan Dollimore and Allen Sinfield made current and defined
Cultural materialism as “designating a critical method which has four
characteristics:
Historical Context: what was happening at the
time the text was written.
Theoretical Method: Incorporating older methods
of theory—Structuralism, Post-structuralism etc.
Political Commitment: Incorporating
non-conservative and non-Christian frameworks—such as Feminist and Marxist
theory.
Textual Analysis: building on theoretical
analysis of mainly canonical texts that have become “prominent cultural icons.”
Culture: Culture in this sense does not limit
itself to “high culture” but includes all forms of culture like TV and pop
music.
Materialism: Materialism is at odds with
idealism. Idealists believe in the transcendent ability of ideas while
materialist believe that culture cannot transcend its material trappings.
an offshoot of Marxist criticism. History,
to a cultural materialist, is what has happened and what is happening now. In
other words, Cultural Materialists not only create criticism of a text by
contextualizing it with its own time period, but with successive generations
including our own. Cultural Materialism bridges the gap between Marxism and
Post-Modernism.
Some things that Cultural Materialist might look
at when analyzing Shakespeare:
Elizabethan Drama during its own time period
The publishing history of Shakespeare through
the ages
That weird movie version of Romeo and Juliet
with Leonardo D. in it
The tourism and kitsch surrounding Shakespeare
today
Raymond Williams
Raymond Williams added to the outlook of
Cultural Materialism by employing “structures of feeling.” These are values
that are changing and being formed as we live and react to the material world
around us. They challenge dominant forms of ideology and imply that values are
organic and non-stagnant.
Cultural Materialism embraces change and gives
us different (changing) perspectives based on what we chose to suppress or
reveal in readings from the past.
Shakespeare is one example of how Cultural
Materialism can change our point of view, and even our values, in regard to
past texts. Many Cultural Materialist have challenged the fetishistic
relationship conservative Britain has with Shakespeare.
"Raymond William's term for the theory of
culture he develops in the course of a long dialogue with Marxism, and which
ascribes a central importance to the role of structures of feeling. Williams is
critical of the base/structure model so often used by Marxists to analyze
cultural phenomena on the grounds that it makes, for example, the literature
dependent, secondary and superstructural, or subsumes it into the wider
category of ideology. Cultural Materialism stresses that culture is a
constitutive social process which actively creates different ways of life.
Similarly, signification or the creation of meaning is viewed as a practical
material activity which cannot be consigned to a secondary lever or explained
in terms of a primary level of economic activity. Consciousness itself is not a
reflection of a basic or more material level of existence, but an active mode
of social being. Williams is also critical of the technological determinism of
theorists such as Mcluhan who argues that communications media have independent
properties that impose themselves automatically ('the medium is the message').
He does not deny that the function of the media is determined, but insists that
its determination is social and always bound up with sociocultural
practices."
--David Macey
"Britain's reply to new historicism was the
rather different creed of cultural materialism, which-appropriately for a
society with more vigorous socialist traditions-displayed a political cutting
edge largely lacking in its transatlantic counterpart. The phrase “cultural
materialism,” had been coined in the 1980s by Britain's premier socialist
critic, Raymond Williams, to describe a form of analysis which examined culture
less as a set of isolated artistic monuments then as a material formation,
complete with its own modes of production, power-effects, social relation,
identifiable audiences, historically conditioned thought forms. It was a way of
bringing an unashamedly materialist analysis to bear on that realm of social
existence-'culture'-which was thought by conventional criticism to be the very
antithesis of the material; and its ambition was less to relate 'culture' to
'society,' in William's own earlier style, than to examine culture as
always-already social and material in its roots. It could be seen either as an
enrichment or a dilution of classical Marxism: enrichment, because it carried
materialism boldly through to the 'spiritual' itself; dilution, because in
doing so it blurred the distinction, vital to orthodox Marxism, between the
economic and the cultural. The method was, so Williams himself announced,
'compactible' with Marxism, but it took issue with the kind of Marxism which
had relegated culture to secondary, 'superstructural' status, and resembled the
new historicist in its refusal to enforce such hierarchies. It also paralleled
the new historicism on taking on board a whole range of topics-notably,
sexuality, feminism, ethnic and post-colonial questions-to which Marxist
criticism had traditionally given short shrift. To this extent, cultural
materialism formed a kind of bridge between Marxism and postmodernism,
radically revising the former while wary of the more modish, uncritical,
unhistorical aspects of the latter. This, indeed, might be said to be roughly
the stand to which most British left cultural critics nowadays take up."
--Terry Eagleton
Differences
Differences Between New Historicism and Cultural
Materialism
As we have seen and read in Barry, New Historicism
and Cultural Materialism have a significant overlap. In fact the main
difference is politics. There are three main differences:
1. Cultural Materialists concentrate on the the
interventions whereby men and women make their own history, where New Historicists
focus on the the power of social and ideological structures which restrain
them. A contrast between political optimism and political pessimism.
2. Cultural Materialists view New Historicists
as cutting themselves off from effective political positions by their
acceptance of a particular version of post-structuralism.
3. New Historicists will situate the literary
text in the political situation of its own day, while the Cultural Materialists
situate it within that of our own
18. Which literary theory advocates “the
historical context as a co-text” ?
(A) Historicism
(B) New Historicism
(C) Anti-Historicism
(D) Archetypal criticism
ANS-(B)
New Historicism
18. The term ‘Cultural Materialism’ is
associated with
(A) Stephen Greenblatt
(B) Raymond Williams
(C) Matthew Arnold
(D) Richard Hoggart
Ans:(B)
Raymond Williams
( Raymond Williams (1921 - 1988) British critic
and novelist. notable work :Culture and Society)
Michel Foucault
“Panopticism” is the title of a
chapter in a well-known book by
(A) Roman Jakobson
(B) Jacques Lacan
(C) Michel Foucault
(D) Jacques Derrida
Ans:Michel
Foucault. “Panopticism ” in Rethinking Architecture: A Reader in Cultural
is the organization of power in terms of space. He argues that since the
early 19th century two different concepts of structuring power merged, thus
creating a control device that he compares to the Panopticon, an architectural
concept developed by Bentham in the late 18th century. The Panopticon is a type
of prison building. The principle of the Panopticon was that prisoners could be
observed night and day, without realizing that they were being observed. The
structure consisted of tiers of prison cells, arranged in a circular design. In
the very centre of the circular structure was an observation tower, tall enough
for the observer to be able to see the interior of each cell. The windows of
the observation tower were masked so that it was not possible for prisoners to
know if anyone was in the tower.The image of the Panopticon underlines
Foucault’s notion of the individualization of the masses. The Panopticon serves
as a metaphor for “defining power relations in terms of the everyday life of
men.” Foucault’s concept of the Panopticon as a way of describing power
relations offers interesting possibilities for analyses of cultural landscapes.
He points out that hospitals, prisons, or schools are organized along the
Panopticon structure. Thus, his model is extremely useful in order to describe
the distribution of power in specific landscapes. The concept of the Panopticon
stresses the self-motivation of many power structures that discipline both
small and large bodies of people, meaning that certain power structures operate
without actual control by another person. For the analysis of cultural
landscapes, the conceptual framework of the Panopticon can serve as a
descriptive model in order to describe how power structures operate in a
cultural landscape
39. “The Panopticon is a machine for
dissociating
the see/being seen dyad: in the peripheric ring,
one is totally seen, without ever seeing; in the
central tower, one sees everything without ever
being seen.”
From which of the theoretical paradigms listed
below does the preceding statement derive?
(A) Laura Mulvey’s notion of visual pleasure
in the cinema
(B) Jacques Lacan’s idea of “mirror stage”
(C) Michel Foucault’s theory of discipline
(D) Jacques Derrida’s conception of “spacing”
(E) Judith Butler’s conception of “drag”
Ans-Michel
Foucault’s theory of discipline
psychological criticism
Which of the following psychoanalysts
rewrote Descarte’s dictum : “I think
therefore I am’ as ‘I am not where I
think, and I think where I am not’ ?
(A) Lacan
(B) Freud
(C) Jung
(D) Cixous
Ans;(A)
Lacan
The conception of the mirror stage. . .
In the opening paragraph of the essay Lacan
makes reference to his presentation on the mirror stage at the (congress). The
concept continues to be important for psychoanalysis, Lacan argues, because it
accounts for characteristics of the central focus of psychoanalytic practice--the
"I" which presents itself to the analyst (and, of course, the
"I" of the analyst as well). In the Freudian model of the psyche,
which Lacan, as a Freudian, takes as a point of departure for his ideas, the
"ego" is not fully self-aware or in control of itself; the ego's
perception of itself and of the world is shaped, in part, by the desires and
fears arising from the id and from the injunctions imposed by the superego.
Lacan's concept of the mirror stage tries to dramatize how the ego itself
becomes divided.
At the outset, it is important to grasp two
points.
Lacan's version of psychoanalysis takes for
granted that the human mind is not a unified whole, governed by
reason--represented here by the reference to Descartes's Cogito--but that any
self-knowledge is to some degree an illusion. Lacan frequently finds ways to
contort Descartes's famous line "I think, therefore I am" (cogito
ergo sum). He was also a harsh critic of American-style ego-psychology, which
attempts to help the patient develop a strong ego, and which, in Lacan's view,
compels the subject to conform to social conventions.
The mirror stage is not only a passing phase of
human psychological development but also a model for the relationship between
the "I" and its image of itself. In a 1954 seminar, Lacan stresses
the ongoing nature of the mirror stage (Seminar I 74).
The fact that human beings, unlike animals,
recognize themselves in the reflected images of their bodies forms the basis
for Lacan's speculations on the role of the image in the development of the
human psyche. Lacan discusses this idea further in another 1954 seminar
(Seminar I170). In the field of developmental psychology, one's awareness of
one's own position within the physical world and the ability to imagine that
position in relation to other physical objects is called "situational
apperception".
3
An animal, even one as intelligent as a
chimpanzee, will quickly lose interest in its reflection. A human infant,
however, takes delight in relationship between her own movements and the
movements of the image in the mirror. Long before the child can articulate the
thought "that's me," her sense of being situated in the world (in
Heidegger's terms, her sense of "being a being") develops when a
image of her physical self establishes itself in her psyche in relation to the
images of other elements of the world. This image doesn't necessarily have to
be put in place by way of an experience with an actual mirror; other
experiences--the attention of the mother to the child, for example--can give
rise to the image of the self as a separate entity.
40. Which of the following is an essentially
Freudian concept?
(A) Archetype (B) The Uncanny
(C) The Absurd (D) The Imaginary
Ans:“In
his essay on the uncanny, Das Unheimliche, Freud said that the uncanny is the
only feeling which is more powerfully experienced in art than in life. If the
genre required any justification, I should think this alone would serve as its
credentials.” – Stanley Kubrick
Freud described his theory of the uncanny as such,
“This class is frightening things would then
constitute the uncanny; and it must be a matter of indifference whether what is
uncanny was itself originally frightening or whether it carried some other
affect...for this uncanny is in reality nothing new or alien, but something
that is familiar and old fashioned in the mind and which has become alienated
from it through process of repression”
“The uncanny is something which is secretly
familiar, which has undergone repression and then returned from it. Everything
that is uncanny fulfils this condition.” “There is no question, therefore, of
any intellectual uncertainty here: we know now that we are not supposed to be
looking on at the products of a madman's imagination, behind which we, with the
superiority of rational minds, are able to detect the sober truth; and yet this
knowledge does not lessen the impression of uncanniness in the least degree.
The theory of intellectual uncertainty is thus incapable of explaining that
impression.” – “Towards the end of the book the reader is told the facts,
hitherto concealed from him, from which the action springs; with the result,
not that he is at last enlightened, but that he falls into a state of complete
bewilderment. The author has piled up too much material of the same kind. In
consequence one’s grasp of the story as a whole suffers, though not the
impression it makes.” – “The Uncanny is something hidden which ought to have
remained missed but which is brought to light.” – Freud
This boils down to the fact that the things that
we find to be frightening are things that we have had contact with before,
things that are part of our society already. Once something that we are
familiar with undergoes change, and appears to be estranged from its original
meaning or contexts, that is when we become afraid, or at least wary, of it.
This experience of being attracted to something,
yet repulsed by it at the same time, creates a dissonance that often times
leads to rejection of the uncanny object or notion. This reaction warrants the
formation of subcultures; those who come to embrace the uncanny aspects that
dominant culture has rejected and removed from the considered normal traits of
society. Uncanniness often times becomes its own culture
Jacques Lacan
Jacques Lacan posits three ‘orders’
which structure human existence. In
the list that follows : Identify the one
that is not included by Lacan :
(A) Imaginary (B) Unconscious
(C) Real (D) Symbolic
Ans:(B)
Unconscious
S (the Symbolic Order) = There is difference
(and repetition)
I (the Imaginary Order) = There is similarity
(and dissimilarity)
R (the Real) = There is . . .
Parallel to Freud’s three agencies ( the id, the
ego, and the superego), Lacan develops the three orders that structure the
human subject. There are significant nuances between the two systems. Freud’s
agencies have the implication that they are internal, that they reside somehow
inside (or is formed within) the human subject (like aspects of a personality,
dimensions of being). Lacan’s orders, on the other hand, while pertaining to
the agencies, are analogous to mathematical sets, like realms or worlds, i.e.
aspects or dimensions of the world or life itself (the way we live), whose
structure has a corresponding effect on the human subject (hence forming the
three agencies). Lacan himself, while staying true to the injunction to “Return
to Freud!” points out this difference. He says in the Écrits, “My three orders
are not Freud’s”
The Symbolic order is the realm of language,
primary, external (to the human subject), determinant. It is the set of
signifiers, interpreted by Saussure as a system where “language is but a sum of
negative differences, and signification and meaning are produced by the
comparison of those differences without content” . This is extended by Lacan
(comparable to, but different from, Derrida’s deconstruction) to all objects as
he asserts that “any object in the human sphere is marked by the pregnancy of
language and thus must be conceived as a signifier” . The Symbolic order is the
Other, marked by a radical otherness “external to [the] subject” . Hence it is
the set that can be defined by the statement “There is difference” . It is,
however, “interiorized [. . .] determin[ing] the subject by its signifying
chains, undermining the ego’s autonomy” .
The Imaginary order is the realm of images,
where the ego has autonomy. Given that language is determinant, the ego (who
likes to think that, like language, it has autonomy) imitates that
determination, tries to define itself (by itself). However, it can only do so
in the Imaginary, i.e. by the use of images (in contrast to the authentic
determination of language); hence the autonomy and identity it creates is also
only an image. The ego determines itself, constructs its identity through projections
and identifications, “build[ing] a world of representations and objects by
actualizing the possibility of representing [set into motion by] the Symbolic
order” . The Imaginary order, relying as it does on similar (and dissimilar)
images, is thus the set defined by “There is similarity”.
The Real is there, “There is . . .” but is
unknown. More precisely, “the Real is not an agency or an order; it is a set
whose contents are unknown” (16). “There are meaning and truth in the [Real . .
.], but they are out of the reach of our consciousness” (16-7). There is logic
in the Real, but it is pulverized, surrounded by something that is not sense.
“What there is, we don’t know, because it remains hidden from us in the
unconscious” (16). The Real is thus the realm of the unconscious. It is not a
being (17). As Lacan says, “it is because we could not say what it is that we
have given it the name of [it]” (18). “The unconscious is a pure locus without
the derived properties attributable to a being” (18). It also therefore “cannot
be reduced [merely] to what is not consciousness” (18). For the most part, the
unconscious consists in what has been repressed—but is not merely that: in it
is also found the unknowable, the incomprehensible, the inexpressible.
post sructuralism
Which of the following thinkerconcept
pair is correctly matched ?
(A) I.A. Richards – Archetypal
Criticism
(B) Christopher
Frye
– Mysticism
(C) Jacques
Derrida
– Deconstruction
(D) Terry
Eagleton
– Psychological
Criticism
Ans:(C)
Jacques Derrida– Deconstruction
114. Jacques Derrida’s early essay “Structure,
Sign,
and Play in the Discourse of the Human Sciences”
responds most immediately to which of the
following?
(A) Einstein’s theory of relativity
(B) Marx’s theory of labor
(C) Heidegger’s theory of being
(D) Levi-Strauss’s study of myth
(E) Heisenberg’s uncertainty principle
Ans-(D)
Levi-Strauss’s study of myth---Derrida’s essay, ‘Structure, sign and play in
the discourse of the human sciences’, overthrows Claude Levi-Strauss’ study of
myth in favour of his own semiotic analysis, known as deconstruction , first
introduced in Derrida’s initial text on the deconstructive criticism , Of
Grammatology. A philosopher rather than a literary theorist , Jacques
Derrida quotes Levi-Strauss to aid his own argument and to share his notion “an
event” (Derrida, 89) which involves the change of structuralism , from which
something new has emerged and has been replicated in what he declares to be “ a
redoubling” (Derrida ,89). The ‘event’ which Derrida refers to is the
problematic critique of the now historical tradition of structuralism,
supporting the movement of post-structuralism employing the technique of
deconstructing a text to find meaning.
26. This form of criticism was in part a
movement away from
seeing the work as a closed entity, equipped
with definite
meanings, toward seeing it as irreducibly
plural, an endless
play of signifiers which can never finally be
nailed down to
a single center, essence, or meaning. Rather
than carve up a
text into binary oppositions, ------- tries to
show how such
oppositions, in order to hold themselves in
place, are sometimes
betrayed into inverting or collapsing
themselves. The
niggling and self-contradictory details once
banished to the
text’s margins return to plague the
critic.indicate which
of the following terms correctly completes the
statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(B)
Deconstruction
39. What does the term episteme signify ?
(A) Knowledge
(B) Archive
(C) Theology
(D) Scholarship
Ans-(A)
Knowledge
Michel Foucault used the term épistème is the
Greek word most often translated as knowledge, while technê is translated as
either craft or art.This term, which Foucault introduces in his book The Order
of Things, refers to the orderly 'unconscious' structures underlying the
production of scientific knowledge in a particular time and place. It is the
'epistemological field' which forms the conditions of possibility for knowledge
in a given time and place. It has often been compared to T.S Kuhn's notion of
paradigm.But it was in The Archaeology of Knowledge (Foucault, 1972) that
Foucault provided an explicit definition. Foucault developed his definition
tentatively. After acknowledging that his project involved “the analysis of the
episteme ,” Foucault (1972) wrote, This episteme may be suspected of being
something like a worldview, a slice of history common to all branches of
knowledge, which imposes on each one the same norms and postulates, a general
stage of reason, a certain structure of thought that
Derrida
“There is nothing outside the text”
is a key statement emanating from
(A) Feminism
(B) New Historicism
(C) Deconstruction
(D) Structuralism
Ans:(C)
Deconstruction
Presence and Absence
The metaphysical tradition (or philosophy) can
be characterised by two basic desires or trends, admittedly manifested in
various different forms. there is a consistent desire to reconstruct the
transcendental realm, which is otherwise radically absent. The lost
origin of our finite or fallen state drives us to continuously reconstruct our
beginnings. Second, the ideal of presence turns up everywhere. All
aspects of experience and/or existence are relegated to a moment called the
present. But the ideal of presence always implies more than one moment:
1. Presence, we assume,
describes an original state, a state that must have come first. As I gaze
out into the world I can say the world is present to my observing eye. If
that is the case, then my observing consciousness must be present to my own
self-reflection. It thus follows that meaning, in its most pure sense, as
conscious thought, must be present to me as I gaze out onto the world.
Presence is, therefore, the main predicate for a text’s meaning (its
sense or its reference), despite the fact that this meaning is always absent
and in need of reconstruction through reading or interpretation.
2. For this reason, a
second moment of presence invades consciousness as absence--the disappearance
of the world behind the veils of language, consciousness going astray, the
reign of death, non-sense. In this way gaps, absences and deficiencies of
all imaginable kinds are subordinate to a principle of presence. Is it
possible to imagine an absence without reference to the principle of presence?
It would be a radical absence, something always and from the beginning
absent, missing, lost to experience. If there was such an absence, how
could we glimpse it?
3. We glimpse it
between repetitions as their repeatability. If the present moment can be
repeated (i.e. remembered) then, preceding the present moment, is the
possibility of its being repeated in memory (i.e., memory itself as
repeatability). So memory precedes and exceeds the present moment, which
we will have remembered. Memory, as traditional accounts make clear, gets
associated with death and the memorialising of the dead, or mourning, in a way
that gets us back, always and from the beginning, to the second moment
(absence).
Derrida’s much-cited statement, “there is
nothing outside the text,” suggests an absence that has never been, nor could
ever be, present. This is what we must try to think with regard to the
sign, and with the notion of text:
1) The sign
is irreducibly secondary. It always refers to something else.
Sometimes the something else that a sign refers to is actually itself
(e.g., this sign here) but this doesn’t mean that the sign’s meaning (its
reference to itself by virtue of its sense—sign = signifying unit) is primary.
What is primary is the signifying aspect of it. The sign comes
before its referent (sign) in so far as this sign means this sign. And
that, of course, is secondary. It also illustrates that signs are
necessarily always divided. Their principle is the repeatability that
allows them to apparently jump out of themselves to refer back. However,
in the repetition the sign is irremediably changed. It is no longer the
sign it was. Disconcertingly, this kind of punning cannot be dismissed as
a kind of sophistic rhetorical game. Or rather, it can be dismissed.
But the principle of your ability to dismiss it (your ability to ignore
basic rhetorical processes and pass over them in silence) is in fact the same
principle that allows meaning to arise in the first place, cancelling out the
rhetorical dimension, the secondary text (vehicle or coat).
2) So the
sign is at the beginning. We never arrive at a meaning independently of
some aspect of text, through which we must pass before cancelling it out as
unwanted rhetoric (vehicle or coat). Therefore there is no beginning.
23.Which of the following statements
best describes the term
‘deconstruction’ ?
(A) It seeks to expose the problematic
nature of ‘centered’ discourses.
(B) It advocates ‘subjective’ or
‘free’ interpretation.
(C) It emphasizes the importance
of historical context.
(D) It is a method of critical
analysis.
Ans;
(A) It seeks to expose the problematic nature of ‘centered’ discourses.
Derrida uses the term différance to denote
neither a word nor a concept but rather the gap that is the difference between
signifiers and the movement that is the deferral of the hypothetical signified.
Presence is never present but always deferred. Différance, therefore, is the
condition of possibility for experiencing the absence of the presence of the
signified. Différance is the freeplay of signifiers that creates a trace of the
other which is n(ever) absent. The experience that there is too much, more than
one can say, is not due, argues Derrida, to the empirical impossibility of
knowing language in its totality. Language excludes totalization because it is
a field of play (play of signifiers in differential relations), of différance
that permits the lack that creates the movement of supplementarity--the move to
supplement a lack on the part of the signifying (and thus a lack
"perceived" in the elusive/illusive signified). As Murfin notes in
commenting on Derrida’s critique of Rousseau’s privileging of speech over
writing, “writing is a supplement to speech that is at the same time necessary.
Barbara Johnson, sounding like Derrida, puts it this way: ‘Recourse to writing
. . . is necessary to recapture a presence whose lack has not been preceded by
any fullness’ (Derrida, Dissemination xii). Thus, Derrida shows that one strand
of Rousseau’s discourse made writing seem a secondary, even treacherous
supplement, while another made it seem necessary to communication”
23.Which of the following statements is
not applicable to Derrida’s rejection
of the notion of the ‘Metaphysics of
Presence’ ?
(A) The desire for immediate
access to meaning privileges
presence over absence.
(B) All presences are necessarily
metaphysical and, therefore,
are to be rejected.
(C) A fleeting meaning of the text
is created through the play of
‘difference’ and ‘differance’.
(D) Metaphysics involves installing
hierarchies and orders of
subordination in the various
dualisms that it encounters.
Ans;
23. Aporia means---
1.an irresolvable internal contradiction or
logical disjunction in a text, argument, or theory.
2.. A figure of speech in which the speaker
expresses or purports to be in doubt about a question.
3. An insoluble contradiction or paradox in a
text's meanings.
4.the technical term applied to logical or
rhetorical perplexities, impassable difficulties, logical paradoxes, and
puzzlements. When understood in relation to deconstruction of literature,
aporia demarcates a point where a text exhibits deconstruction characteristics:
the text dismantles itself, deconstructs itself, or undermines its own
rhetorical foundations.
5. all the above
Ans-5.
all the above
Which of the following is not true of
post-structuralism ?
(A) It seeks to undermine the idea
that meaning pre-exists its
linguistic expression.
(B) There can be no meaning
which is not formulated and no
language formulation reaches
anywhere beyond language.
(C) There is no a-textual ‘origin’ of
a text.
(D) Every sign refers to every other
sign adequately.
Given below are two statements, one
labelled as Assertion (A) and the
other labelled as Reason (R).
Assertion (A) : Deconstructive
reading is apolitical.
Reason (R) : Because it focuses
exclusively on language. It
primarily holds that all texts or
linguistic structures contain
within them a principle of
destabilisation and hence it is
difficult to pin down meaning.
Such a reading, therefore, is
unable to assign historical
agency.
In this context above statements,
identify which one of the following is
correct ?
(A) (A) is correct but (R) is wrong.
(B) Both (A) and (R) are correct.
(C) (A) is wrong but (R) is correct.
(D) Both (A) and (R) are wrong.
Ans:(B)
Both (A) and (R) are correct.[confusion]
Harold Bloom
8. Theorist who divided poets into ‘strong’ and
‘weak’; poupularized practice of misreading.
A. Alan Bloom
B. Harold Bloom
C. Geoffrey Hartman
D. Stanley Fish
Ans-B.
Harold Bloom in his, A Map of Misreading (1975) , divided poets into
‘strong’ and ‘weak’; poupularized practice of misreading.—( yale critic-Harold
Bloom, Geoffrey Hartman, Paul de Man, and J. Hillis Miller}
Mikhail Bakhtin
22. Who is the author of The Dialogic
Imagination,
Problems of Dostoevsky’s Poetics, and Rabelais
and His World ?
(A) Mikhail Bakhtin
(B) Roland Barthes
(C) Jean-François Lyotard
(D) Michel Foucault
(E) Edward W. Said
ANS-Mikhail
Bakhtin
Feminism
63. Laura Mulvey’s pioneering essay,
“Visual Pleasure and Narrative
Cinema” is an instance of the
feminist appropriation of
psychoanalysis. It particularly uses
(A) Freud’s concept of sublimation
(B) Jung’s concept of collective
unconscious
(C) Lacan’s concept of the gaze
(D) Lacan’s notion of the
fragmented body
Ans-(C)
Lacan’s concept of the gaze
35. Which writer remarks : “One is not born,
but rather becomes a women” ?
(A) Elaine Showalter
(B) Sigmund Freud
(C) Terry Eagleton
(D) Simone de Beauvoir
Ans-(D)
Simone de Beauvoir
7. The earliest tract on feminism is
(A) Simone de Beauvoir’s The Second Sex
(B) Virginia Woolf’s A Room of One’s Own
(C) Mary Wollstonecraft’s A Vindication of the
Rights of Woman
(D) Mary Astell’s A Serious Proposal to the
Ladies
Ans(C)
Mary Wollstonecraft’s A Vindication of the Rights of Woman
-In the late 17th century Mary Astell , the
women writer in England, challenged patriarchal structures in their lives and
writings. Her A Serious Proposal to the Ladies, for the Advancement of Their
True and Greatest Interest (1694) was calling for improvements in women’s
education. However modern Scholars have pointed out inconsistencies in her
views.even though she is epitheted "the first English feminist.", her
tract on feminism is still disputable.
Mary Wollstonecraft (1759-1797)’s A Vindication
of the Rights of Woman (1792), asserts that intellectual companionship is the
ideal of marriage and pleads for equality of education and opportunity between
the sexes.
Virginia Woolf, a fervent supporter of women’s
rights, considers the difficulties of the woman artist in A Room Of One’s Own
(1929) is an extended essay by Virginia Woolf. First published on 24 October
1929, the essay was based on a series of lectures she delivered at Newnham
College and Girton College
French novelist and existentialist writer Simone
de Beauvoir’s Le deuxième sexe (The Second Sex, 1953) examines the low status
of women in society and allowing French women to vote was little more
than a year old.In one of her most interesting chapters, “The Married Woman” (a
chapter Parshley particularly savaged), she offers numerous quotations from the
novels and diaries of Virginia Woolf, Colette, Edith Wharton, Sophia Tolstoy
and others. She also scrutinizes the manner in which various male authors, from
Montaigne to Stendhal to D. H. Lawrence, have represented women (and, in many
cases, how they treated their wives)
12) Code :
I. The relationship between the
sexes is one of inequality and
oppression.
II. There should be an end to all
wars.
III. Women need financial
independence.
IV. All men are prone to violence.
The correct combination according to
the code is :
(A) I and II are correct.
(B) III and IV are correct.
(C) I and III are correct.
(D) II and IV are correct.
Ans;
(C) I and III are correct.
152-154 are based on the following
passage.
There is, to be sure, a powerful literary
tradition
that shows women failing to exact some form of
revenge, failing to strike back, acting as the
schoolmarm
against the cowboy. In such works, whenever
there’s a woman around, violence must be
repressed
and civilization prevail. But an equally strong
countertradition
shows many women who have acted out
violent forms of retaliation: (1) , in George
Eliot’s
Adam Bede, who murders her newborn child because
its father has abandoned her; (2) , who “dies
beautifully”
by putting a bullet through her head because
she cannot bear to be manipulated by someone
with
power over her; and (3) , who murders her two
children by Jason when he repudiates her to
marry
the daughter of Creon.
152. Which of the following will correctly
complete
the passage at 1 ?
(A) Hedda Gabler
(B) Emma Bovary
(C) Anna Karenina
(D) Hetty Sorrel
(E) Clarissa Dalloway
Ans-(D)
Hetty Sorrel
153. Which of the following will correctly
complete
the passage at 2 ?
(A) Hedda Gabler
(B) Emma Bovary
(C) Anna Karenina
(D) Hetty Sorrel
(E) Clarissa Dalloway
Ans-(A)
Hedda Gabler
154. Which of the following will correctly
complete
the passage at 3 ?
(A) Clytemnestra
(B) Helen
(C) Medea
(D) Cassandra
(E) Electra
Ans-(C)
Medea
33. The author of Gender Trouble is
(A) Elaine Showalter (B) Helene Cixous
(C) Michele Barrett (D) Judith Butler
46. Who amongst the following belongs
to the group of radical feminists ?
(A) Helene Cixous
(B) Monica Wittig
(C) Simone de Beauvoir
(D) Luce Irigaray
Ans:(A)
Helene Cixous
Radical feminism aims to challenge and to
overthrow patriarchy by opposing standard gender roles and the male oppression
of women, and calls for a radical reordering of society. Early radical
feminism, arising within second-wave feminism in the 1960s,typically viewed
patriarchy as a "transhistorical phenomenon"[3] prior to or deeper
than other sources of oppression, "not only the oldest and most universal
form of domination but the primary form" and the model for all
others.Later politics derived from radical feminism ranged from cultural
feminism to more syncretic politics that placed issues of class, economics,
etc. on a par with patriarchy as sources of oppression.
Radical feminists locate the root cause of
women's oppression in patriarchal gender relations, as opposed to legal systems
(as in liberal feminism) or class conflict (as in socialist feminism and
Marxist feminism.)
110. Which book is said to have inaugurated the
feminist school of criticism?
A) Harold Bloom’s The Anxiety of Influence
B) Simon de Beauvoir’s The Second Sex
C) Terry Eagleton’s Criticism and Ideology
D) Gayatri Spivak’s In Other Worlds
Ans-B)
Simon de Beauvoir’s The Second Sex
6. Important examples of works by radical
feminists:
Jewish-Algerian-French writer Hélène Cixous -
"The Laugh of the Medusa" sortis
Shulamith Firestone's The Dialectic of Sex
Kate
Millett's Sexual Politics
Mary
Daly's Beyond God the Father
Catherine MacKinnon's Feminism Unmodified: Discourses on Life and Law
Susan
Brownmiller's Against Our Will: Men, Women, and Rape
Marilyn French’s The Women’s Room (novel)
Audre Lord’s Zami: A New Spelling of My Name – A
Biomythography (autobiographical fiction)
Adrienne Rich’s Of Woman Born: Motherhood as
Experience and Institution and The Dream of a Common Language (poet
96. Listen to a woman speak at a public
gathering
(if she hasn’t painfully lost her wind). She
doesn’t
“speak,” she throws her trembling body forward;
she lets go of herself, she flies; all of her
passes
into her voice, and it’s with her body that she
vitally supports the “logic” of her speech. Her
flesh speaks true. She lays herself bare. In
fact,
she physically materializes what she is
thinking;
she signifies it with her body. In a certain way
she
inscribes what she’s saying, because she doesn’t
deny her drives the intractable and impassioned
part they have in speaking. Her speech, even
when “theoretical” or political, is never simple
or linear or “objectified,” generalized: she
draws
her story into history.
—Hélène Cixous, “The Laugh of the Medusa”
The passage supports the view that
(A) a woman speaks through her gendered body
(B) the body is a measure of historical power
(C) the theoretical is an inscription of desire
(D) oratory has traditionally been a woman’s
source of power
(E) women speakers are typically unaffected by
the dominant ideology
Ans-(A)
a woman speaks through her gendered body
Friedan
12 )"[Friedan] demands that all women find
a life purpose or career which will give them an independent identity and what
she calls fulfillment. In that, she surely goes too far."The sicknesses
that Betty Friedan describes with so much penetration and courage are the
products of a diseased social organism."Friedan tends to set up a
counter-mystique; that all women must have creative interests outside the home
to realize themselves.""The average girl will continue to stay home
and cream her face as long as society sanctions it." THE BOOK IS ----
A) The Feminine Mystique arrived in
1963.(the first edition )
B)MARRIAGE AND FAMILY LIVING, August 1963
C) A and B
D) None
Ans-A)
The Feminine Mystique arrived in 1963.
13) "Any single pattern for women, or
anyone else for that matter, is bound to be wrong for many."which later
became the Journal of Marriage and Family, which still publishes today. THE
BOOK IS--
A) The Feminine Mystique arrived in
1963.(the first edition )
B)MARRIAGE AND FAMILY LIVING, August 1963
C) A and B
D) None
Ans-B)MARRIAGE
AND FAMILY LIVING, August 1963
Bakhtin
According to Bakhtin the idea of the
Carnivalesque represents the
following characteristics except :
(A) a liberation from the prevailing
truth and established order
(B) a harking back to the past
(C) emphasis on play, parody,
pleasure and the body
(D) the suspension of all
hierarchical rank, principles,
norms and prohibitions
Ans;
(A) a liberation from the prevailing truth and established order
because;
Carnival is a profane celebration tolerate
by the Church that takes place before Lent, in which people feast and dress in
costume and when “the world turned upside down”. It used to challenge the
Church morale. The traditional carnival has inspired through time and spaces
different variations. Carnival and the grotesque are anti-hegemonic strategies
to escape the hierarchy, the church, or other power like capitalism.
Carnivalesque
For the literary theorist and philosopher Mikhail Bakhtin the Carnivalesque
is both the description of a historical phenomenon and the name he gives
to a certain literary tendency. Historically speaking, Bakhtin was
interested in great carnivals of Medieval Europe. He saw them as
occasions in which the political, legal and ideological authority of both the
church and state were inverted — albeit temporarily — during the anarchic
and liberating period of the carnival. The carnival was not only
liberating because - for that short period - the church and state had little or
no control over the lives of the revelers, although Terry Eagleton points out
this would probably be “licensed” transgression at best. But, its true
liberating potential can be seen in the fact that set rules and beliefs were
not immune to ridicule or reconception at carnival time; it “cleared the
ground” for new ideas to enter into public discourse. Bakhtin goes so far as to
suggest that the European Renaissance itself was made possible by the spirit of
free thinking and impiety that the carnivals engendered. Bakhtin recognizes
that the tradition of carnival dwindled in Europe following the Renaissance and
the eventual replacement of feudalism with capitalism. As a result, he says,
the public spirit of the carnival metamorphosed into the “carnivalesque”: that
is, the spirit of carnival rendered into literary form. The person who,
existing on the cusp of this social upheaval, most fully represented this
spirit was François Rabelais, and the book which holds the greatest purchase on
Bakhtin’s imagination is Rabelais” Gargantua and Pantagruel. The comic
violence, bad language, exaggeration, satire, and shape-shifting which fill
this book are, for Bakhtin, the greatest example of carnivalesque literature.
Ever concerned with the liberation of the human spirit, Bakhtin claimed that
carnivalesque literature — like the carnivals themselves — broke apart
oppressive and moldy forms of thought and cleared the path for the imagination
and the never-ending project of emancipation. Bakhtin suggests that carnivalesque
literature also became less common as the increasingly privatized world of
modern, individualistic capitalism took hold. Instances of the Carnivalesque?
o Reality TV
o Spring Break
o Girls Gone Wild
o Homecoming
o Costume parties
o Saturday Night Live
o Halloween
o Super Bowl
o Mardi Gras
Therefore, According to Bakhtin the idea of the
Carnivalesque represents the a harking back to the past, emphasis on play,
parody,
pleasure and the body, the suspension of all
hierarchical rank, principles,norms and prohibitions
post-modernism
“From a Second Space perspective
city space becomes more of a mental
and ideational field, conceptualised
in imagery, reflexive thought and
symbolic representation, a conceived
space of the imagination or what I
will henceforth describe as the urban
imagery.”
(Edward Soja, Postmetropolis)
Which of the following statements
cannot be applied to Soja’s
proposition on the Second Space ?
(A) Second Space perspective tends
to be more subjective.
(B) Second Space perspective is
concerned with symbolic
representation of reality.
(C) Second Space perspective is
concerned with the
fundamentally materialist
approach.
(D) Second Space perspective deals
with ‘thoughts about space’.
Ans:
(C) Second Space perspective is concerned with the fundamentally materialist
approach.
Questions 65-68 are based on the following
passage.
Orientalism is a style of thought based upon an
ontological and epistemological distinction made
between “the Orient” and (most of the time) “the
Occident.” . . . Orientalism can be discussed
and
5 analyzed as the corporate institution for
dealing with
the Orient—dealing with it by making statements
about it, authorizing views of it, describing
it, by
teaching it, settling it, restructuring, and
having
authority over the Orient. . . . Without
examining
10 Orientalism as a discourse one cannot
possibly
understand the enormously systematic discipline
by
which European culture was able to manage—and
even produce—the Orient politically,
sociologically,
militarily, ideologically, scientifically, and
imagi15
natively during the post-Enlightenment period.
65. The passage argues that
(A) the Orient and the Occident are exact
opposites of each other
(B) Orientalism as a discipline does not receive
sufficient corporate funding
(C) European scholars have focused on the
sociopolitical realities of the Orient
(D) European universities do not have enough
classes in Eastern culture
(E) Europeans remake the Orient in attempting
to understand it
66. The term “Orientalism” is most closely associated
with the theories of
(A) structuralism
(B) deconstruction
(C) Marxism
(D) new historicism
(E) postcolonialism
ANS=(E)
postcolonialism
11. The Empire Writes Back has been jointly
authored by
(i) Helen Tiffin
(ii) Bill Ashcroft
(iii) Helen Gardner
(iv) Garreth Griffiths
(A) (i) (ii) (iv)
(B) (ii) (iii) (iv)
(C) (ii) (i) (iii)
(D) (i) (iii) (iv)
Ans-(A)
(i) (ii) (iv)
67. In calling Orientalism a “discourse” (line
10), the
author draws on the terminology most closely
associated with
(A) Michel Foucault
(B) Jacques Lacan
(C) Jacques Derrida
(D) Gayatri Spivak
(E) Julie Kristeva
Ans-(D)
Gayatri Spivak
68. The author is
(A) Stanley Fish
(B) Luce Irigaray
(C) Sara Suleri
(D) Edward Said
(E) Wolfgang Iser
ANS-(D)
Edward Said
6. “Provincializing Europe” is a concept
propounded by
(A) Edward Said (B) Paul Gilroy
(C) Abdul R. Gurnah (D) Dipesh Chakravarty
Ans-First
published in 2000, Dipesh Chakrabarty's influential Provincializing Europe
addresses the mythical figure of Europe that is often taken to be the original
site of modernity in many histories of capitalist transition in non-Western
countries. This imaginary Europe, Dipesh Chakrabarty argues, is built into the
social sciences. The very idea of historicizing carries with it some peculiarly
European assumptions about disenchanted space, secular time, and sovereignty.
Measured against such mythical standards, capitalist transition in the third
world has often seemed either incomplete or lacking. Provincializing Europe
proposes that every case of transition to capitalism is a case of translation
as well--a translation of existing worlds and their thought--categories into
the categories and self-understandings of capitalist modernity. Now featuring a
new preface in which Chakrabarty responds to his critics, this book globalizes
European thought by exploring how it may be renewed both for and from the
margins.
(A) Edward Said--oriantalism
(B) Paul Gilroy--Against Race
C)Paradise, Desertion and By the Sea, by Abdul
R. Gurnah is a Tanzanian novelist based in the United Kingdom.
28. In which of his essays does Homi Bhabha
discuss the ‘discovery’ of English in colonial India ?
(A) “Signs taken for Wonders”
(B) “Mimicry”
(C) Nation and Narration
(D) “The Commitment to Theory”
Ans-(A)
“Signs taken for Wonders”
23. The author of Nation and Narration
is
(A) Edward Said
(B) Gayatri Chakravorty Spivak
(C) Frantz Fanon
(D) Homi Bhabha
Ans:(D)
Homi Bhabhas books-Nation and Narration, The Location of Culture,
Edward Said Continuing the Conversation,
"Cosmopolitanisms" in Public Culture
22. Imagined Communities is a book by
(A) Aijaz Ahmad
(B) Edward Said
(C) Perry Anderson
(D) Benedict Anderson
marxism
16. Ideology and Ideological State Apparatuses
is an essay by
(A) Terry Eagleton
(B) Karl Marx
(C) Raymond Williams
(D) Louis Althusser
( Louis Althusser (1918-1990), French
philosopher, is best known for his contributions to the debate over the origins
and development of the theories of German philosopher Karl Marx.His Ideology
and Ideological State Apparatuses was first published: in La Pensée, 1970 in
French)
45. The term homology means a correspondence
between two or more structures. Who of the following developed a theory of
relations between literary works and social classes in terms of homologies ?
(A) Raymond Williams
(B) Christopher Caudwell
(C) Lucien Goldmann
(D) Antonio Gramsci
Ans-(C)
Lucien Goldmann
21) who had referred to Gayatri Chakravorty
Spivak’s writing as “inaccessible”
(A) Raymond Williams
(B) Christopher Caudwell
(C) Lucien Goldmann
D) Terry Eagleton
Ans-D)
Terry Eagleton
archetypal criticism
20. Who among the following is a Canadian critic
?
(A) I.A. Richards
(B) F.R. Leavis
(C) Cleanth Brooks
(D) Northrop Frye
(Northrop Frye (1912-1991), Canadian literary
critic, best known as a major proponent of archetypal criticism, has most
important work, Anatomy of Criticism (1957), introducing archetypal criticism,
identifying and discussing basic archetypal patterns as found in myths,
literary genres, and the reader’s imagination.)
Speech Act Theroy
The book Speech Acts is written by
(A) John Austin
(B) John Searle
(C) Jacques Derrida
(D) Ferdinand de Saussure
(John Searle's The book Speech Acts is an essay
in the Philosophy of Language.)
s t colridge
56. ‘The design of the collaborators was to
include in it two different kinds of poetry;
in the one ‘the incidents and agents were to be
in part at least, supernatural’, in the
other, ‘subjects were to be chosen from ordinary
life’. Who made this comment
and on which book?
A) Wordsworth on The Lyrical Ballads
B) Coleridge on The Lyrical Ballads
C) Coleridge on The Ancient Mariner
D) Wordsworth on The Prelude
Ans-B)
Coleridge on The Lyrical Ballads
78. The IMAGINATION, then, I consider either as
primary, or secondary. The primary IMAGINATION
I hold to be the living power and prime
agent of all human perception, and as a
repetition
in the finite mind of the eternal act of
creation in
the infinite I AM. The secondary I consider as
an
echo of the former, coexisting with the
conscious
will, yet still as identical with the primary in
the
kind of its agency, and differing only in
degree,
and in the mode of its operation. It dissolves,
diffuses,
dissipates, in order to re-create; or where
this process is rendered impossible, yet still,
at all
events, it struggles to idealize and to unify.
It is
essentially vital, even as all objects (as
objects)
are essentially fixed and dead.identify the
author
(A) Coleridge
(B) Addison
(C) Dryden
(D) Arnold
(E) Eliot
Ans-Coleridge
literary biographia
post modernism
64. Name the author of the book The Postmodern
Condition
A) Habermas B) Derrida
C) Foucault D) Lyotard
Ans-D)
Lyotard
reader responce theroy
24. In ------- there is no “objective” work of
literature lying on the
seminar table: Bleak House is simply the
assorted accounts of
the novel that have been given or will be given.
The true writer
is the reader. Reading is not a matter of
discovering what the
text means, but a process of experiencing what
it does to you.indicate which
of the following terms correctly completes the
statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(E)
Reception Theory
James Russell Lowell
Questions 177-180 are based on the following
passage.
For the god being one day too warm in his
wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she
shrunk,
And, Ginevra-like, shut herself up in a trunk;
5 And, though ’twas a step into which he had
driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he’d play the
Byronic,
And I can’t count the obstinate nymphs that he brought
over
10 By a strange kind of smile he put on when he
thought of her.
“My case is like Dido’s,” he sometimes remarked;
“When I last saw my love, she was fairly
embarked.”
—James Russell Lowell, A Fable for Critics
177. The lines comment on the story of
(A) Apollo and Daphne
(B) Venus and Adonis
(C) Jason and Medea
(D) Zeus and Europa
(E) Orpheus and Eurydice
Ans-(A)
Apollo and Daphne
178. In this context, to “play the Byronic”
(line 8) is to
emulate the
(A) criminal despair of Cain
(B) athletic prowess of Leander
(C) curious passivity of Don Juan
(D) self-dramatizing suffering of Childe Harold
(E) selfless nobility of the Prisoner of Chillon
Ans-(D)
self-dramatizing suffering of Childe Harold
179. By the line “My case is like Dido’s” (line
11), the
speaker means that both he and Dido
(A) became promiscuous in an attempt to forget
their loved ones
(B) intended to renounce love because of an
unhappy love affair
(C) provisioned the ships carrying their loved
ones away
(D) escaped from their importunate lovers
(E) experienced the flight of someone they loved
Ans-(E)
experienced the flight of someone they loved
180. In line 12, “embarked” reinforces the pun
in
(A) “warm in his wooing” (line 1)
(B) “shut herself up in a trunk” (line 4)
(C) “Her memory he nursed” (line 7)
(D) “he’d play the Byronic” (line 8)
(E) “nymphs that he brought over” (line 9)
Ans-(B)
“shut herself up in a trunk” (line 4)
post colonialism
49. In calling orientalism a “discourse,” Said
draws on the terminology most closely
associated with
(A) Michel Foucault
(B) Jacques Lacan
(C) Jacques Derrida
(D) Gayatri Spirak
Ans-(A)
Michel Foucault
hybridity is the straddling of two
cultures and the consequent ability to negotiate the difference. it describe
the construction of culture and identity within conditions of colonial
antagonism and inequality. hybridity is the process by which the colonial
governing authority tries to convert the identity of the colonized within a
singular universal framework. The colonizers would look at the colonized in
their own environment and judge their behavior and practices from their own
frame of reference. he contends that a new hybrid identity or subject-position
emerges from the interweaving of elements of the colonizer and colonized
challenging the validity of any essentialist cultural identity. Hybridity is
positioned as an antidote to essentialism, or the belief in invariable and
fixed properties which define the ‘whatness’ of a given entity
1.bhabha
2.bharta
3.soykan
4.rushdie
ans-1.bhabha
indian criticism
48. Who was the first art critic to define
‘Rasa’ ?
(A) Valmiki
(B) Dandin
(C) Bharata
(D) Mahimbhatta
Ans-(C)
Bharata
Bharat was first art critic to define rasa us. He must have
had in mined Natyasastra and drama when he defined art emotion. He said that
rasa is achieved as a result of the functioning of the:
1) Vibhavas the objective condition
causing an emotion,
2) The anubhavas bodily gestures
by which the emotion is expressed.
3) Vyabhichari bhavas- secondly
emotion and sensations which feed the dominant emotion.
4) Vibhavas include person as well
the circumstances that cause or excite the emotion.
What the ancients thought about the name and
nature of poetry may be had from the Riks of the Vedas and the of the
Upanishads. The Vedic texts declared that the poets were ‘gods’ Kavi was the
term they employed. While invoking the foremost of the Gods Ganpati they
addressed him as poet’s poet. A human being could become a poet only in so for
as he attained to the nature a sates of a god.
The vedic kavi was also a Yogi in the sense that
he was absolutely conscious of the process of creation .Apart from the normal
consciousll’jagrat’ (the waking states) the Upanishads spoke of subtler states
such as swapana (the dream states) susupti (deep sleep) and turiya (the
transcendental states) not to mention infraconscious levels. The Upanishadic
seer poet could withdraw, ingather or collect, contain and concentrate his
consciousness and come out to express his vision and experious. His mental and
other instrumental faculties could receive the inspiration in a state of wise
passiveness and transcribe it without distortion. He could thus give us the
vision and he knew the way to get back to the source and transcript.
Bharat gives us eight kinds of sentiments,
(1) Erotic
(2) Comic
(3) Pathetic
(4) Furious
(5) Heroic
(6) Terrible
(7) Odious
(8) Marvelous
These Eight are sentiments named by Brahman, I
shall now speak of
(1)Dominant
(2)Transitory
(3)Temperamental states.
Ø The Erotic sentiments:-
The Erotic sentiment proceeds from the Dominant
states of love and it has its basis bright attire, for whatever in this word is
white, pure, bright and beautiful is appreciated in terms of Dominant state of
love.
For Exam:
One who is elegantly dressed is called a lovely
person. Just as person persons are named ,after the custom of their father or
mother or family in accordance with the traditional authority, so sentiments,
the states and other objects connected with drama are given names in pursuance
of custom and the traditional authority. It owes its origin to men .Now the
terrible sentiment has as its basis the dominant state of fear. And women and
relates to the fullness of youth.
Ø The comic sentiment:-
Now the comic sentiment has as its basis the
Dominant emotion of laugher. This is created by Determinants such as showing
unseemly dress or irrelevant words, mentioning of different faults, and similar
other things. This is to be represented on the stage by consequents like the
eyes wide or contracting them, perspiration ,color of the face ,and taking hold
of the sides. Transitory states in it are indolence, dissimulation, drowsiness,
sleep, like. This (sentiment) is of two kinds:
(1) Self-centered
(2)centered in others.
When person himself laughs it relates to the
self-centered, but when he makes others laugh it is centered others.
The pathetic sentiment:-
Now the pathetic sentiment arises from the
Dominant state of sorrow. It grows from Determinants such as affliction under a
curse, separation from dear ones, loss of wealth, death, captivity, flight,
accidents or any other misfortune. This is to be represented on the stage by
means of consequents such as, shedding tears, lamentation, dryness of the
mouth, change of color, dropping limbs, being out of breath, loss of memory and
the like. Transitory states connected with it bare indifference, languor,
anxiety like.
Ø The Furious sentiment:-
Now the furious sentiment has as its basis the
Dominant state of anger .It owes its origin to Raksasas, Danavas and haughty
men, and is caused by fights. This is created Determinants such as anger, rape,
abuse, insult, untrue allegation, exorcizing like, its actions are beating,
breaking, crushing, cutting, piercing, taking up arms, and other similar deeds.
This is to be represented on the stage by means of consequents such as red
eyes, knitting of eyebrows, defiance, biting of the lips, movement of the
cheeks, and the like.
The Heroic sentiment:-
Now the Heretic sentiment relates to the
superior type of persons and has energy as its basis. This is created by
Determinants such as presence of mind, perseverance, diplomacy, discipline,
military strength, like. It is to be represented on the stage by consequents
such as firmness, patience, heroism, charity, diplomacy and the like.
The heroic sentiment arises from energy, absence
of surprise,
This heroic sentiment is to be properly
represented on the stage by firmness, patience.
Ø The Terrible sentiment
Now the terrible sentiment has as its basis the
dominant state of fear. This is created by Determinants like hideous noise,
sight of ghost, panic and anxiety due to jackals and owls, staying in a simply
house or forest, sight of death or captivity of dear ones, or news of it, or
discussion about it. It is to be represented on the feet, horrpilation, and
change of color and loss of voice. Its
Transitory states are paralysis,
The marvelous sentiment:-
The marvelous sentiment has as its basis the dominant states of
astonishment. It is created by determinants such as sight of heavenly
beings or event’s attainment of desired objects, entrance into a superior
mansion, temple, audience hall, and a seven- storied palace and illusory and
magical. Acts. It is to be represented on the stage by consequents such as wide
opening of eyes, looking with fixed gaze.
The marvelous sentiment is which arises from
words chapter, deed and personal beauty.
Ø The odious sentiment
Now the odious sentiment has as its basis the
dominant state of disgust. Zit is created by determinants like hearing of
unpleasant, offensive, impure and harmful things or seeing them or discussing
them. It is to be represented on the stage by consequents such as stopping the
movement of all limbs, narrowing down of the mouth vomiting, spiting like.
Transitory states in it are epilepsy, delusion, agitation.
The odious sentiment arises. In many ways from
disgusting sight, taste, smell, touch a sound which causes uneasiness.
6. ‘Aucitya’ refers to :
I. Decorum
II. Propriety
III. Proportion
IV. Accuracy
(A) I and IV are correct.
(B) I and III are correct.
(C) II is correct.
(D) II and IV are correct.
Ans-II.
Propriety
X. English Critical Texts is edited by
(A) David Daiches
(B) D. J. Enright and Ernest Chickera
(C) Nagarajan and Seturaman
(D) Rene Wellak
Ans-(B) D. J. Enright and Ernest Chickera and Oxford University Press (1 December 1962)
Shelley's 'A Defence of Poetry' is a rejoinder to Love Peacock's charges levelled against poetry and poets in his four Ages of Poetry. Peacock called poets 'semi-barbarians in a civilized community' and condemned Shelley's own poetry as "querulous egotistical rhapsodies."
Defending poetry, Shelley says that poetry is on embodiment of "beautiful idealism of moral excellence." The poet "excites a generous impulse, an ardent thirst for excellence." He calls the poet a nightingale , who sits in darkness and sings to cheer its own solitude, with sweet sound." He says that poetry is the creative impulse in man. Poets are "not only the authors of language and of music, of the dance and architecture, and statutory, and painting, they are the institutors of laws, and founders of a civil society, and the inventors of the arts of life." They are men of the most spotless virtue, the most consummate prudence, the most fortunate of men." They are "philosophers of the very loftiest power." Poetry is the record of the best and happiest moments of the happiest and best minds."
Poetry is 'the centre and circumference of knowledge and it comprehends all science.' Consequently, Shelley calls the poets "unacknowledged legislators of the world." The poet reveals 'those forms which are common to universal nature and existence.' Hence a poem is "the very image of life expressed in its eternal truth."
Thus "a poet, as he is the author of the highest wisdom, pleasure virtue and glory, so he ought personally to be the happiest, the best the wisest and the most illustrious of men." So the poet is the legislator of the moral, spiritual and intellectual life in the world.
the superiority of poetry over all other branches of learning
Sidney says that poetry is the most ancient source of learning and wisdom. It is "the first light giver to ignorance, and first nurse, whose milk by little and little enabled them to feed afterwards of tougher knowledge." Poetry is the better and nobler source of wisdom than even history and philosophy which are believed to be the richest source of knowledge and wisdom. Even philosophy was first taught in verse. Wise Solomon was directly a poet. Plato's 'DIALOGUES' are in spirit poetical because they are imaginative and emotional. The Bible itself is written in poetical prose and its sayings are called 'verses'. Sidney says, "And even Historiographers, although their lips sound of things done,... have been glad to borrow both fashion and perchance weight of poets."
STEPHEN GOSSON (1554-1624). —Poet, actor, and satirist wrote The School of Abuse (1579), directed against "poets, pipers, players, jesters, and such-like Caterpillars of a Commonwealth." Dedicated to Sir P. Sidney, it was not well received by him, and is believed to have evoked his Apologie for Poetrie (1595).
Sidney defends various kinds or forms or species of poetry. The various popular forms of poetry are the Pastoral, Elegy, Satire, Comedy, Tragedy, Lyric and Epic. Sidney defends each type on its own merit.
He admires the Pastorals because they bring into light the miseries of the poorest section of society—the shepherds, peasants, cottagers and the like living with their flocks of sheep and goats. The Pastorals show the generosity of the poet’s heart.
The Elegy expresses human compassion accompanied with the causes of lamentation. The Elegies exhibit tender human feelings
The Satire humourously exposes human follies and vanities without hurting anybody’s personal feelings. The satirist functions as a reformer.
The Comedy is an imitation of the common errors of our lives, so that no spectator will dare act that way or do such a folly. Nothing can more open our eyes than to find our own actions so contemptibly exhibited.
Tragedies make the kings and tyrrants realize their tyrannies and thier outcome. Sidney says, “with stirring the effects of admiration and commiseration, Tragedy teacheth uncertainty of this world, and upon how weak foundations golden roofs are builded.”
The Lyric praises virtue in sweet tunes and pleasantly gives moral precepts.
And finally, the Epic unrolls before us the heroic exploits and victories of our great ancestors and fills us with pride
Summarize the views of Sydney on the use of verse and metre in Poetry.
In the use of verse and metre in poetry, Sidney oscillated between the classical concept and Elizabethan practices.
According to the classical concept verse or metre is not indispensable for poetry, but according to Elizabethan practices metre was desirable, if not indispensable.
Sidney seems to reconcile the two extremes, holding the classical view he says that metre is “but an ornament and no cause to poetry, since there have been many most excellent poets that never versified, and now swarm many versifiers that need never answer to the name of poets.”
Invention is the soul of poetry, and in this sense if prose is inventive, it should be classed with poetry.
Then comes on him the Elizabethan influence. This attracts him to favour the use of verse or metre in poetry, though on other grounds.
He says that verse being sweeter and more appealing to our aesthetic sense should be used in poetry. Verse is a superior form of expression to ordinary prose.
He further says that on account of its sweetness and orderliness verse is fitted for memory, and memory is the treasure-house of knowledge.Musical verse can be more easily remembered and retained in the mind than prose.Therefore it s advisable to write poetry in verse and metre. Sidney’s views on the three Dramatic Unities.Sidney was a strong advocate of the THREE DRAMATIC UNITIES OF TIME, PLACE AND ACTION. These three unities must be observed if a play is believed to be a true copy of life. Sidney regretted that, none of the English plays except “Gorboduck” to some extent observed the three dramatic unities.
1) The Unity of Time: requires that the plot or action of a play should not exceed the limit of one natural day of twenty-four hours. If the action exceeds this limit, the play would appear to be highly unnatural. But English dramatists have most hideously violated this unity. The events extend for a long time period are packed in two hours space. Nothing could be more absurd than this.
2) The Unity of Place: requires that the action of the play should not shift frequently from one distant place top another. The English dramatists violated the unity of place equally grossly. “You shall have Asia of the one side, and Africa of the other, and so many other under-kingdoms, that the player must ever begin with telling where he is, or else the tale will not be conceived.” Also the same stage has to be taken for a garden, a graveyard, a place or an island where there is a shipwreck, or a battlefield. This is straining the imagination of the spectator to the breaking point. This should be equally avoided.
3) The Unity of Action: requires that there should be no admixture of the comic and tragic scenes in the most unnatural way. A comedy should be a comedy, and a tragedy should be a tragedy from the beginning to the end. The tragic and comic scenes and situations should not be mixed up. The king and clown should not be mixed up on the stage. It is on this ground that Sidney harshly condemns the vogue of tragi-comedies coming up in English drama
(XIII) So that the ending end of all earthly learning being
virtuous action, those skills that most serve to bring forth
that have a most just title to be princes over all the rest;
wherein, if we can show, the poet is worthy to have it
before any other competitors.
a]sidney
b]wordsworth
c]arnold
d]shelley
Ans-a] Sidney
XIV. Assertion (A) : Dr Johnson’s The Lives of the Poets carries critical and biographical studies of poets he admired. It does not, however, carry a life of
William Wordsworth.
Reason (R) : Dr. Johnson singled out poets whom he not only admired but also
adored. This explains his omission of Wordsworth.
(A) (A) is wrong but (R) is correct.
(B) (A) is true but (R) is false.
(C) (A) and (R) are true.
(D) Neither (A) nor (R) is true.
Johnson's last major work, The Lives of the English Poets, was begun in 1778, when he was nearly 70 years old, and completed—in ten volumes—in 1781. It comprises short biographies and critical appraisals of 52 poets, most of whom lived during the eighteenth century. It is arranged, approximately, by date of death. On the other hand, Wordsworth’s Lifetime (1770-1850) does not focus Johnson’s critical era.
XV. Dr. Johnson’s “The Vanity of Human Wishes” expresses
(A) Epicureanism (B) Humanism (C) Stoicism (D) Cynicism
Ans; cynicism--- The Vanity of Human Wishes:The Tenth Satire of Juvenal, Imitated was published on January 9, 1749, when Johnson was thirty-nine years old. From Boswell's Life:
XVI. The first major English Dictionary was compiled by :
(A) Dr. Johnson
(B) Ben Jonson
(C) Addison
(D) Richard Steele
Ans;(A) Dr Johnson's House was built in 1700 and has retained many original features. It was the home and workplace for Samuel Johnson from 1748-1759, and was where he compiled the first comprehensive English dictionary in 1755 Preface to a Dictionary of the English Language -A Dictionary of the English Language
XVII. Which romantic poet coined the famous phrase ‘spots of time’ ?
(A) John Keats
(B) William Wordsworth
(C) S.T. Coleridge
(D) Lord Byron
(William Wordsworth, English romantic poet, wrote about the concept of "spots of time"
There are in our existence spots of time,
That with distinct pre-eminence retain
A renovating virtue, whence, depressed
By false opinion and contentious thought,
Or aught of heavier or more deadly weight,
In trivial occupations, and the round
Of ordinary intercourse, our minds
Are nourished and visibly repaired...
-William Wordsworth, from The Prelude, Book Twelfth )
(XVIII) I do not doubt that it may safely be affirmed, that there
neither is, nor can be, any essential difference between
the language of prose and metrical composition. . . . They
both speak by and to the same organs; the bodies in
which both of them are clothed may be said to be of the
same substance, their affections are kindred and almost
identical, not necessarily differing even in degree.
(A) John Keats
(B) William Wordsworth
(C) S.T. Coleridge
(D) Lord Byron
Ans-Preface to Lyrical Ballads.
XIX. Which of the following statements about The Lyrical Ballads is NOT
true ?
(A) It carried only one ballad
proper, which was Coleridge’s
The Rime of the Ancient
Mariner.
(B) It also carried pastoral and other poems.
(C) It carried a “Preface” which
Wordsworth added in 1800.
(D) It also printed from Gray’s
Elegy Written in a Country
Churchyard.
Ans;) It carried only one ballad proper, which was Coleridge’s The Rime of the Ancient Mariner.
XX. In “An Essay of Dramatic Poesy” the participants are
I. Crites and Neander
II. Lisideius and Eugenius
III. Sedley and Howard
IV. Sackille and Dryden
(A) I and II
(B) II and III
(C) III and IV
(D) I and IV
Ans-(A) I and II
XXI. “Of all modern, and perhaps ancient poets,
Shakespeare had the largest and most
comprehensive soul.” The author of the
statement is
(A) Henry Fielding (B) Thomas Rymer
(C) Samuel Johnson (D) John Dryden
Ans-John Dryden (1631–1700)----
2] He is the very Janus of poets; he wears almost everywhere two faces; and you have scarce begun to admire the one, ere you despise the other.
3] But Shakespeare’s magic could not copied be;
Within that circle none durst walk but he.
4] He was naturally learned; he needed not the spectacles of books to read nature. He looked inwards, and found her there.
John Dryden (1631–1700) Essay of Dramatic Poesy
XXII. ‘Delight is the chief, if not the only end of Poesy; instruction can be admitted but in the second place; for poesy only instructs as it delights.’ According to whom is
this the function of poetry?
A) Philip Sydney B) John Dryden
C) Joseph Addison D) Dr. Johnson
Ans-B) John Dryden--To Plato the function of poetry was to ‘instruct', to Aristotle 'to delight', to Horace both 'to instruct and to delight' and to Longinus 'to transport'. Considering all these views Dryden was led to conclude that the final end of poetry was 'to delight and transport' rather than to teach and instruct. Dryden writes: "Delight is the chief, if not the only end of poetry; instruction can be admitted but in the second place; for poesy only instructs as it delights".
XXIII. In Dryden’s Essay of Dramatic Poesy (1668), who opens the discussion on behalf of the ancients ?
(A) Lisideius
(B) Crites
(C) Eugenius
(D) Neander
Ans-The four occupants of Dryden’s Platonic barge are usually identified with contemporary figures. The three “persons [of] Wit and Quality” are Sir Robert Howard (Crites), Charles Sackville, Lord Buckhurst (Eugenius), and Sir Charles Sedley (Lisideius), and it seems reasonable to assume that the fourth character, Neander, is Dryden himself,
XXIV. S T Coleridge’s Biographia Literaria is a reply to :
(A) Shelley’s Defence of Poetry
(B) Lamb’s Tales From Shakespeare
(C) Wordsworth’s ‘Preface’ to The
Lyrical Ballads
(D) Johnson’s Preface to
Shakespeare
Ans: Biographia Literaria is concerned primarily with Coleridge's response to Wordsworth,
xxv. The phrase ‘the willing suspension of disbelief ’ occurs in
(A) Biographia Literaria
(B) Preface to Lyrical Ballads
(C) In Defence of Poetry
(D) Poetics
Ans: A
[M]y endeavours should be directed to persons and characters supernatural … so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith.
Suspension of disbelief, or willing suspension of disbelief, is an important element in drama and storytelling. It refers to an audience becoming emotionally invested in the story despite their sure knowledge that it is not actually happening. In effect, the audience implicitly agrees to pretend the story’s reality is the only reality. To help achieve this effect, the storyteller must create convincing characters and gripping plots. The overall story may be fantastic or even impossible, but as long as it remains entertaining and internally consistent, the audience will eagerly accept it as plausible.
Storytelling demands a certain license from its audience. No matter how realistic the media used to portray the story, all but the smallest children know it is a creative work. Engaging the imagination requires a conscious decision on the part of the audience to ignore the usual skepticism of the rational mind. In 1817, the poet Samuel Taylor Coleridge coined the phrase “willing suspension of disbelief” to describe this phenomenon. While it may seem obvious, the successful creation of art and entertainment depends on its existence.
Alexander Pope
XXVI. Who gives the following advice ?
Be Homer’s works your study, and delight,
Read them by Day, and meditate by
Night ...
(A) John Dryden
(B) Alexander Pope
(C) Samuel Johnson
(D) Thomas Carlyle
Ans-(B)
In Pope’s “An Essay on Critisicm,
You then whose judgment the right course would steer,
Know well each ancient’s proper character;
His fable, subject, scope in every page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticize.
Be Homer’s works your study and delight,
Read them by day, and meditate by night;
Thence form your judgment, thence your maxims bring,
And trace the Muses upward to their spring.
Still with itself compared, his text peruse;
And let your comment be the Mantuan Muse.
(Pope, 117-129)
The sentence “A little learning
is a dangerous thing !” is
from :
(A) Essay of Dramatick Poesie
(B) An Essay on Criticism
(C) An Essay on Man
(D) An Essay Concerning Human
Understanding
Ans;(B) An Essay on Criticism
'A little knowledge is a dangerous thing' and 'a little learning is a dangerous thing' have been used synonymously since the 18th century
Alexander Pope - A little knowledge is a dangerous thingThe version 'a little learning' is widely attributed to Alexander Pope (1688 - 1744). It is found in An Essay on Criticism, 1709, and meaning A small amount of knowledge can mislead people into thinking that they are more expert than they really are.
A little learning is a dangerous thing;
drink deep, or taste not the Pierian spring:
there shallow draughts intoxicate the brain,
and drinking largely sobers us again.
The similarity of the two phrases is demonstrated by what appears to be an impromptu coining of 'a little knowledge is a dangerous thing' in a piece in The monthly miscellany; or Gentleman and Lady's Complete Magazine, Vol II, 1774, in which the writer misquoted Pope:
Mr. Pope says, very truly, "A little knowledge is a dangerous thing."
Both Pope's original verse and the misquotation of it were predated by an anonymous author, signing himself 'A B', in the collection of letters published in 1698 as The mystery of phanaticism:
"Twas well observed by my Lord Bacon, That a little knowledge is apt to puff up, and make men giddy, but a greater share of it will set them right, and bring them to low and humble thoughts of themselves.
A little knowledge is a dangerous thingAgain, there is a degree of misquotation here; what 'my Lord Bacon', the English politician and philosopher Francis Bacon, Viscount St Alban, actually said, in The Essays: Of Atheism, 1601, was:
"A little philosophy inclineth man’s mind to atheism; but depth in philosophy bringeth men’s minds about to religion."So, who coined the phrase? It appears to have been a group effort. Bacon can be credited with the idea, Pope with the 'learning' version and the mysterious 'A B' with the 'knowledge' version
(A) Essay of Dramatic Poesy by John Dryden was published in 1668. It was probably written during the plague year of 1666
C) An Essay on Man is a poem published by Alexander Pope in 1734. It is a rationalistic effort to use philosophy in order to "vindicate the ways of God to man"
(D) An Essay Concerning Human
Understanding First appearing in 1689 with the printed title An Essay Concerning Humane Understanding, An Essay Concerning Human Understanding by John Locke concerns the foundation of human knowledge and understanding.
Mathew Arnold
70. Who considers “truth and high
seriousness” qualities of great poetry ?
(A) Matthew Arnold
(B) Alexander Pope
(C) Sir Philip Sidney
(D) Thomas Gray
Ans-(A) Matthew Arnold
9. “All great literature is, at bottom, a
criticism of life” – this statement is
attributed to
(A) Thomas Carlyle
(B) Matthew Arnold
(C) J.S. Mill
(D) John Ruskin
Ans:B
“Poetry is a criticism of life”, says :
(A) Philip Sidney
(B) Matthew Arnold
(C) Willian Wordsworth
(D) S.T. Coleridge
Ans;) Matthew Arnold define his view on poetry in his essay "The Study of Poetry" (1880) as ''In poetry, as in criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty, the spirit of our race will find, we have said, as time goes on and as other helps fail, its consolation and stay. But the consolation and stay will be of power in proportion to the power of the criticism of life. And the criticism of life will be of power in proportion as the poetry conveying it is excellent rather than inferior, sound rather than unsound or half-sound, true rather than untrue on half-true"
Matthew Arnold on poetry:
Matthew Arnold defines poetry "as a criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty." He adds by saying that the future of poetry is immense because in poetry we will find an ever surer and surer stay. The strongest part of our religion today is its unconscious poetry.
Quoting Wordsworth, he says that poetry is "the impassioned expression which is in the countenance of all science." But these observations apply to the high and sublime poetry of high excellence. High poetry has a power of 'forming, sustaining, and delighting us as nothing else can.' This kind of poetry is, therefore, essentially moral, not in the narrow didactic sense, but in the larger sense of conforming to the highest ideals of truth, goodness, and beauty. In his essay on Wordsworth he says, "A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life." But the term 'moral' should be used in its broadest sense, bearing upon the question 'how to live?'
Matthew Arnold's Touchstone Method:
Matthew Arnold's Touchstone Method of Criticism was really a comparative system of criticism. Arnold was basically a classicist. He admired the ancient Greek, Roman and French authors as the models to be followed by the modern English authors. The old English like Shakespeare, Spenser or Milton were also to be taken as models. Arnold took selected passages from the modern authors and compared them with selected passages from the ancient authors and thus decided their merits. This method was called Arnold's Touchstone Method.
However, this system of judgement has its own limitations. The method of comparing passage with a passage is not a sufficient test for determining the value of a work as a whole. Arnold himself insisted that we must judge a poem by the 'total impression' and not by its fragments. But we can further extend this method of comparison from passages to the poems as whole units. The comparative method is an invaluable aid to appreciation of any kind of art. It is helpful not merely thus to compare the masterpiece and the lesser work, but the good with the not so good, the sincere with the not quite sincere, and so on.
Those who do not agree with this theory of comparative criticism say that Arnold is too austere, too exacting in comparing a simple modern poet with the ancient master poet. It is not fair to expect that all hills may be Alps. The mass of current literature is much better disregarded. By this method we can set apart the alive, the vital, the sincere from the shoddy, the showy and the insincere.
Matthew Arnold's Concept of Grand Style.
Discussing the essential ingredients of Grand style, Arnold says that Grand Style 'arises in poetry when a noble nature, poetically gifted, treats with simplicity or severity a serious subject'. The grand style issues from rapidity of movement, plainness and directness of language, nobility of nature and simple lucidity of mind. It is the same thing that Longinus calls sublimity. There can be no sublimity without sublime thoughts, and sublime emotions issuing from a sublime heart. There can be no sublimity without the sublimity of the soul.
Great thoughts and great words issue only from great minds. At the same time the subject treated therein also should be serious and grand enough to bear the weight of the grand style. A trivial subject cannot bear the weight of grand style. The subjects fit for treatment in grand style must "powerfully appeal to the great primary human affections; to those elementary feelings which subsist permanently in the race, and which are independent of time". There are universal subjects that cannot be bound down by any limits of time or place. They are fundamental with human nature sublimely elevated. The action or situation to be treated under grand style must have the power 'to please, to move, to elevate'. The greatest practitioners of grand style are Homer in Greek, Dante in Latin, and Milton in English. Arnold advises the modern poets to study and analyse their style and subject matter if they seek to develop grand style in their own writings.
Who considered poetry to be “the
best and highest fruit of human
culture” ?
(A) Sidney
(B) Dr. Johnson
(C) Wordsworth
(D) Arnold
Ans;Arnold, in his book Culture and Anarchy Chapter 1
(C) There can be no more useful help for discovering what
poetry belongs to the class of the truly excellent, and can
therefore do us most good, than to have always in one’s
mind lines and expressions of the great masters, and to
apply them as a touchstone to other poetry. . . . Short
passages, even single lines, will serve our turn quite
sufficiently.
..(A) Sidney
(B) Dr. Johnson
(C) Wordsworth
(D) Arnold
Ans-Arnold
T S Eliot
74. According to whom is poetry “not a turning
loose of emotion, but an escape from
emotion” ?
(A) S.T.Coleridge
(B) Allen Tate
(C) John Dryden
(D) T.S. Eliot
Ans-(D) T.S. Eliot
Eliot’s phrase ‘objective correlative’
occurs in his essay on :
(A) Metaphysical poets
(B) Hamlet
(C) ‘Tradition and the Individual
Talent’
(D) ‘Milton
Ans:Hamlet
Objective correlative: In his essay Hamlet and His problem T. S. Eliot used this term to explain how emotion is best expressed in poetry. " objective correlative is a set of objects , a situation , a chain of events which shall be the formula of that particular emotion , such that when the external facts , which must terminate in sensory experience are given , the emotion is immediately evoked " . According to T. S. Eliot the poet should transfer his emotions in a set of objects, a situation, a chain of events. The only way of expressing emotion in the form of art is by finding an objective co - relative.
Exp: T. S. Eliot in his famous poem the waste Land depicts the spiritual sterility of modern man though the objective correlative of Waste Land.
Eliot speaks of “dissociation of
sensibility” in his essay :
(A) ‘The Metaphysical Poets’
(B) ‘Tradition and the Individual
Talent’
(C) ‘The Function of Criticism’
(D) ‘Use of Poetry and Use of
Criticism’
Ans;(A) ‘The Metaphysical Poets’
T.S. Eliot first coined the phrase in his essay, 'The Metaphysical Poets' which was a literary criticism. The argument that he put forth was that cultivation of emotion and thought separately as divorced from one another was a broken way to deal with experiences that evoked both thought and emotion.
We may express the difference by the following theory: The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a mechanism of sensibility which could devour any kind of experience. They are simple, artificial, difficult, or fantastic, as their predecessors were; no less nor more than Dante, Guido Cavalcanti, Guinicelli, or Cino. In the seventeenth century a dissociation of sensibility set in, from which we have never recovered; and this dissociation, as is natural, was aggravated by the influence of the two most powerful poets of the century, Milton and Dryden (Eliot, "The Metaphysical Poets").
F. R. Leavis
40. Who, amongst the following, does
not belong to the ‘Great Tradition’,
enunciated by F. R. Leavis ?
(A) Joseph Conrad
(B) James Joyce
(C) Jane Austen
(D) George Eliot
Ans:(B) James Joyce
The Great Tradition:
'The great English novelists are Jane Austen, George Eliot, Henry James and Joseph Conrad...' So begins what is arguably F.R. Leavis' most controversial book, The Great Tradition, an uncompromising critical and polemical survey of English fiction that was first published in 1948. Leavis' central criterion for great writing, that it has "a vital capacity for experience, a kind of reverent openness before life, and a marked moral intensity" is a clear reaction to an age characterised by the ideologies of fascism and communism. Where they sought to define, control and close down, literature creates, explores and opens up.He offers a close reading of four novelists, half of whom are women, continue to rouse such ire? The answer lies in the opening sentence. "The great English novelists are Jane Austen, George Eliot, Henry James and Joseph Conrad."We are introduced through his writings to The Great Tradition: Chaucer, Dante, Shakespeare, Milton, Wordsworth, Jane Austen, George Eliot, William Blake, Charles Dickens, Joseph Conrad, Ezra Pound, Gerard Manley Hopkins, Henry James, D.H. Lawrence, T.S. Eliot.
106. Name the author of New Bearings in English Poetry.
A) F.R. Leavis B) Edmund Gosse
C) John F. Danby D) F.W. Bateson
Ans-A) F.R. Leavis, In New Bearings in English Poetry (1932) he attacked English late Victorian poetry and proclaimed the importance of the work of T.S. Eliot, Ezra Pound, and Gerard Manley Hopkins, emphasizing wit and the play of intellect rather than late-Romantic...
47. “On the Knocking at the Gate in
Macbeth” is a longer essay by
(A) G. Wilson Knight
(B) A. C. Bradley
(C) Thomas De Quincey
(D) F. R. Leavis
Ans:(C) Thomas De Quincey- “On the Knocking at the Gate in
Macbeth”
A]Wilson Knight was a mid-century critic probably most known for an infamous little essay on Hamlet he wrote in 1930 called “The Embassy of Death:An Essay on Hamlet." The Wheel of Fire: Interpretations of Shakespearian Tragedy. London:
B]Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth In This Book Bradley Approaches The Major Tragedies Of Shakespeare Through An Extended Study Of The Characters.
D] T. S. Eliot and F. R. Leavis. In “Shakespeare and the Stoicism of Seneca” (1927), ...
I.A. Richard
105. With whom did I.A. Richards co-author the Foundation of Aesthetics.
A) James Wood and F.R. Leavis
B) C.K. Ogden and C.S. Lewis
C) C.K. Ogden and James Wood
D) C.K. Ogden and F.R. Leavis
Ans-C) C.K. Ogden and James Wood
In Foundations of Aesthetics (co-authored by Richards, Ogden & James Woods), Richards maps out the principles of aesthetic reception which lay at the root of Richards' literary theory (the principle of "harmony," or balance of competing psychological impulses). Additionally, the structure of the work (surveying multiple, competing definitions of the term "aesthetic") prefigures his work on multiple definition in Coleridge on Imagination, in Basic Rules of Reason and in Mencius on the Mind.
105. With whom did I.A. Richards co-author the The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism,.
A) James Wood and F.R. Leavis
B) C.K. Ogden and C.S. Lewis
C) C.K. Ogden and James Wood
D) C.K. Ogden
Ans-C.K. Ogden
49. The term ‘Practical Criticism’ is
coined by
(A) William Empson
(B) W. K. Wimsatt, Jr.
(C) I.A. Richards
(D) F. R. Leavis
Ans:(C) I.A. Richards
I.A. Richards used Coleridge's phrase "practical criticism" to describe the method of his interpretation, because Richards' sense of "practical" cannot translate into Coleridge's so easily. This is because it is very specifically tied to a notion of communication that is more technical and more reified than Coleridge's. For Coleridge, language is logos, the revelatory word. For Richards, it is a thing, a medium.Well-known works by Richards include The Meaning of Meaning, Principles of Literary Criticism and Practical Criticism.
New Criticism
12. New Criticism Explained ----
A)Beginning in the 1920's and coalescing in the 1940's,
B)These "New Critics" opposed the traditional critical practice of using historical or biographical data to interpret literature
C)From the 1940's through the 1960's formalist principles defined the mainstream standards of good criticism.y (roughly from the
1920s to the 1970s)
D)All the above
Ans-D)All the above
15. New Criticism Occurred Partially in Response To:
A) Biographical Criticism that understood art primarily as a reflection of the author's life (sometimes to the
point that the texts themselves weren't even read!).
B) Competition for dollars and students from sciences in academia.
C)New forms of mass literature and literacy, an increasingly consumerist society and the increasingly visible
role of commerce, mass media, and advertising in people's lives.
D) ALL
Ans-D) ALL
132) ‘the text itself’,‘objective’, ‘scientific’, ‘disinterested’ (Arnold’s word),(‘scrutiny’ leading to ‘discrimination’,‘depersonalization’, ‘catalyst’ these phrases become origion of--
A) New Criticism
B) STRUCTURALISM
C) feminism
D) NONE
Ans-A) New Criticism
21) American New Criticism is ---
A) emerging in the 1920s and especially dominant in the 1940s and 1950s
B) New Criticism is John Crowe Ransom’s (editor of the Kenyon Review 1939–59) ‘Criticism, Inc.’ (1937). (His book on Eliot, Richards and others, entitled The New Criticism, 1941, gave the movement its name.)
C)criticism should become ‘more scientific, or precise and systematic’; students should ‘study literature, and not merely about literature’
D) All
Ans-D) All
213) Ransom suggests, a poem may be divided into two parts: I) “central logic or situation or ‘paraphrasable core’ / an “ostensible substance/ “logical structure” . By ‘logical core,’ Ransom means what we normally call the ‘meaning’ of the poem, that is, what the poem is basically about. Such a paraphrasable ‘core’ to the poem might include, for example, “an ethical situation, a passion, a train of thought, a flower or landscape, a thing” [459]). II) “context of lively local details / “poetic increment / “local texture” .Ransom characterises ‘local texture’ as --------
I) “excursions into particularity” which give a “sense of the real density and contingency of the world” .
II ) Ransom is referring here to the poem’s stylistic features, i.e. the diction (the choice of imagery, etc.), metre, and rhyme which are not merely so much polyfilla or padding designed to fill out a poem(ornate, superficial decorations, as it were).
III) Rather, they cannot be ignored precisely because local texture (e.g a particular choice of metaphor) significantly inflects, even
though almost always subtly, the meaning of the poem (what he calls the ‘logical core’).
IV) Form is, therefore, not merely a vehicle for content: form and content are, rather, inseparablefrom each other, two sides of the same coin. He argues that the “house” (462) is a useful“trope under which to construe the poem” (462): a poem is a logical structure having a local texture.
V)All
Ans-V)All
11) statement is incorrect--
1.Cleanth Brooks, himself a ‘Fugitive’, professional academic, editor of the Southern Review
2.‘The Intentional Fallacy’ (1946) and ‘The Affective Fallacy’ (1949), written by W. K. Wimsatt – a professor of English at Yale University and author of the symptomatically titled book, The Verbal Icon: Studies in the Meaning of Poetry (1954) – in collaboration with Monroe C. Beardsley, a philosopher of aesthetics.
3. the personal input of the writer (‘intention’) and the emotional effect on the reader (‘affect’) in order purely to study the ‘words on the page’ and how the artefact ‘works
4.ransom belong to structuralism
Ans-4.ransom belong to structuralism
32) New Criticism focused principally ---
A) on poetry, but two essays by Mark Schorer, ‘Technique as Discovery’ (1948) and ‘Fiction and the Analogical Matrix’ (1949), mark the attempt to deploy New Critical practice in relation to prose Fiction.
b) in the study of fiction: the so-called ‘Chicago School’ of ‘Neo-Aristotelians’.
C) Theoretically offering a challenge to the New Critics but in fact often seen as only a New Critical ‘heresy’
D) None
Ans-A) on poetry, but two essays by Mark Schorer, ‘Technique as Discovery’ (1948) and ‘Fiction and the Analogical Matrix’ (1949), mark the attempt to deploy New Critical practice in relation to prose Fiction.
32) Statement is correct---
A)Neo-Aristotelians were centred, from the later 1930s through the
1940s and 1950s, on R. S. Crane at the University of Chicago. Establishing a theoretical basis derived principally from Aristotle’s Rhetoric and Poetics,
b) in the study of fiction: the so-called ‘Chicago School’ of ‘Neo-Aristotelians’.
C) Theoretically offering a challenge to the New Critics but in fact often seen as only a New Critical ‘heresy’
d)The anthology Critics and Criticism: Ancient and Modern (1952; abridged edition with Preface by Crane, 1957) contains many examples of their approach, including Crane’s own exemplary reading of Fielding’s Tom Jones, ‘The Concept of Plot and the Plot of Tom Jones’.
e) All
Ans-e) All
21) Neo-Aristotelians were centred,studay of narrative structure in the novel particularly---
1)Wayne C. Booth Chicago Aristotelian His book The Rhetoric of Fiction (1961) , N. Friedman and N. Frye,
2)Mark Schorer, ‘Technique as Discovery’ (1948) and ‘Fiction and the Analogical Matrix’ (1949),
3.‘The Intentional Fallacy’ (1946) and ‘The Affective Fallacy’ (1949) by wimsatt
4.None
Ans-1)Wayne C. Booth Chicago Aristotelian His book The Rhetoric of Fiction (1961)N. Friedman and N. Frye,
21.Booth's criticism can be viewed as distinct from traditional biographical criticism (still practiced, especially among popular critics), the new criticism that argued that one can talk only about what the text says, and the modern criticism that argues for the "eradication" of authorial presence. Booth claimed that it is impossible to talk about a text without talking about an author, because the existence of the text implies the existence of an author. THE BOOK IS---
1.The Rhetoric of Fiction
2.1974's The Rhetoric of Irony,
3.The Craft of Research
4.Rhetoric of Rhetoric: The Quest for Effective Communication
Ans-1.The Rhetoric of Fiction
F R Leavis
100) leavis influenced--
A), both Raymond Williams in Politics and Letters (1979) and Terry Eagleton in Literary Theory: An Introduction (1983)
b)profoundly influenced by Matthew Arnold and by T. S. Eli (Leavis’s New Bearings in English Poetry (1932) in effect first taught the Englishhow to ‘read’ The Waste Land)
C) Richards and Empson
D)All
Ans-D)All
Russian formalism and
1)the organic unity of the text might expect to feel at home,Both kinds of criticism aim to explore what is specifically literary in texts, and both reject the limp spirituality of late Romantic poetics in favour of a detailed and empirical approach to reading.
A)Russian formalism and New Criticism
B)Russian formalism and structuralism
c)Russian formalism and feminism
D)None
Ans-A)Russian formalism and New Criticism
21)---1--- were much more interested in ‘method’, much more concerned to establish a ‘scientific’ basis for the theory of literature.--2----combined attention to the specific verbal ordering of texts with an emphasis on the non-conceptual nature of literary meaning:despite the emphasis on close reading of texts,The first --1----- on the other hand considered that human ‘content’ (emotions, ideas and‘reality’ in general) possessed no literary significance in itself, but merely provided a context for the functioning of literary ‘devices’.----2--- tendency to endow aesthetic form with moral and cultural significance---1--- aimed rather to outline models and hypotheses (in a scientific spirit) to explain how aesthetic effects are produced by literary devices, and how the ‘literary’is distinguished from and related to the ‘extra-literary’.-----2--- literature as a form of human understanding, the Formalists
thought of it as a special use of language
A)Russian formalism and New Criticism
B)Russian formalism and structuralism
c)Russian formalism and feminism
D)None
Ans-Russian formalism and New Criticism
31)Russian formalism is ---
A)established before the 1917 Revolution – in the Moscow Linguistic Circle, founded 1915, and in Opojaz (the letters stand for ‘The Society for the Study of Poetic Language’), started in 1916.the leading figures of the former group were Roman Jakobson and Petr Bogatyrev,
b) Prague Linguistic Circle in 1926 founded by Viktor Shklovsky, Yury Tynyanov and Boris Eikhenbaum were prominent in Opojaz
c) They derided the mystical posturing of futurist poets
d)treat literature as a special use of language it is ‘speech organized in its entire phonic texture’.
e)‘Defamiliarization’ and ‘laying bare’ are notions which directly affect Bertolt Brecht’s famous ‘alienation effect’ ,only ‘plot’ (sjuzet) is strictly literary, while ‘story’ (fabula) is merely raw material
f) all
ANS-f) all
the Bakhtin School
2) The Bakhtin School is ---
A)The Bakhtin School was not interested in abstract linguistics of the kind which later formed the basis of structuralism
B)They were concerned with language or discourse as a social phenomenon.
C)He attacked synchronic (unhistorical) and abstract system and rejected the whole notion of ‘The isolated, fininished, monologic utterance,
D) ALL
Ans-D) ALL
21) ‘Heteroglossia’ in his The Dialogical Imagination ,is a fundamental concept,defined in Bakhtin’s ‘Discourse in the Novel’ (written 1934–5). refers to the basic condition governing the production of meaning in all discourse
A). It asserts the way in which context defines the meaning of utterances, which are multiplicity of social voices and their individual expressions.A single voice may give the impression of unity and closure, but the utterance is constantly (and to some extent unconsciously) producing a plenitude of meanings,which stem from social interaction (dialogue).
B)the combination of existing statements or speech-genres to construct a text. Each novel is constructed from a diversity of styles and voices, assembled into a structured artistic system which arranges difference in a particular way.
C) A novel can become a site of heteroglossia because it can represent multiple speech-genres.
D) All
Ans-D) All
11)In Rabelais and his World, Bakhtin discusses carnivalesque (or ‘folk-humour’,) ‘Carnival’ is -----
A) The festivities associated with Carnival are collective and popular; hierarchies are turned on their heads (fools become wise, kings become beggars)
B)the carnival is not a performance, and does not differentiate the spectator from the performer. All people who take part in the carnival "live it" but it is not an extension of the "real world" or "real life" but rather, "the world standing on its head", the world upside down. The carnival is an event in which all rules, inhibitions, restrictions and regulations which determine the course of everyday life are suspended, and especially all form of hierarchy in society.
C); opposites are mingled (fact and fantasy, heaven and hell); the sacred is profaned. The ‘jolly relativity’ of all things is proclaimed.Everything authoritative, rigid or serious is subverted, loosened and mocked.
D) ‘Carnivalization’ is the term
Bakhtin uses to describe the shaping effect of Carnival on literary genres.
E)All
Ans-E)All
Phenomenology: Husserl, Heidegger, Gadamer
1)Phenomenology is----
A)A modern philosophical tendency which stresses the perceiver’s central role in determining meaning
B) the study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions.
C)as a discipline is distinct from but related to other key disciplines in philosophy, such as ontology, epistemology, logic, and ethics.
D)Practiced Husserl, Heidegger, Sartre, Merleau-Ponty and others.
e)All
Ans-e)All
12. Which of the following thinker concept pair is correctly matched?
(A) I.A. Richards – Archetypal Criticism
(B) Christopher Frye– Mysticism
(C) Jacques Derrida– Deconstruction
(D) Terry Eagleton– Psychological Criticism
< I.A. Richards – New Criticism
Christopher Frye– Archtypal
Jacques Derrida– Deconstruction
Terry Eagleton–political Criticism>
23. ------- insisted that the author’s intentions in writing, even if
they could be recovered, were of no relevance to the interpretation
of the text. Neither were the emotional responses of
particular readers to be confused with the poem’s meaning:
the poem meant what it meant, regardless of the poet’s intentions
or the subjective feelings of the reader. Meaning was
public and objective, inscribed in the very language of the
literary text.indicate which of the following terms correctly completes the statement.--
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-Critics broke boldly with the Great Man theory of literature, insisting that the author’s intentions in writing, even if they could be recovered, were of no relevance to the interpretation
of the text. Neither were the emotional responses of
particular readers to be confused with the poem’s meaning:
the poem meant what it meant, regardless of the poet’s intentions
or the subjective feelings of the reader. Meaning was
public and objective, inscribed in the very language of the
literary text.
The title, The New Criticism, published in 1941, was written by
(A) Cleanth Brooks
(B) John Crowe Ransom
(C) Robert Penn Warren
(D) Allan Tate
John Crowe Ransom (1888–1974) The New Criticism, published in 1941, was a teacher, poet, founder of the Kenyon Review, and a father of the New Criticism. From 1937 to 1959, Ransom served as a professor at Kenyon College and his distinguished students included Donald Davidson, Randall Jarrell, Robert Lowell, Andrew Lytle, Allen Tate, Peter Taylor, Robert Penn Warren, and E. L. Doctorow.
Which one of the following best
describes the basic principle of New
Criticism ?
(A) an emphasis on the distinctive
style and personality of the
authors.
(B) stressing the virtues of
discipline, order and the ethical
mean.
(C) locating the meaning of a
literary work in the internal
relations of the language that
constitute a text.
(D) evaluating a literary text
against a backdrop of historical
events.
Ans:(C) locating the meaning of a
literary work in the internal
relations of the language that
constitute a text.
Which of the following belongs to the
school of New Criticism ?
(A) Cleanth Brooks
(B) John Dryden
(C) Murray Krieger
(D) W.H. Auden
Ans: Cleanth Brooks
, post-World War I school of Anglo-American literary critical theory that insisted on the intrinsic value of a work of art and focused attention on the individual work alone as an independent unit of meaning. It was opposed to the critical practice of bringing historical or biographical data to bear on the interpretation of a work.
The primary technique employed in the New Critical approach is close analytic reading of the text, a technique as old as Aristotle’s Poetics. The New Critics, however, introduced refinements into the method. Early seminal works in the tradition were those of the English critics I.A. Richards (Practical Criticism, 1929) and William Empson (Seven Types of Ambiguity, 1930). English poet T.S. Eliot also made contributions, with his critical essays “Tradition and the Individual Talent” (1917) and “Hamlet and His Problems” (1919). The movement did not have a name, however, until the appearance of John Crowe Ransom’s The New Criticism (1941), a work that loosely organized the principles of this basically linguistic approach to literature. Other figures associated with New Criticism include Cleanth Brooks, R.P. Blackmur, Robert Penn Warren, and W.K. Wimsatt, Jr., although their critical pronouncements, along with those of Ransom, Richards, and Empson, are somewhat diverse and do not readily constitute a uniform school of thought. New Criticism was eclipsed as the dominant mode of Anglo-American literary criticism by the 1970s.
To the New Critics, poetry was a special kind of discourse, a means of communicating feeling and thought that could not be expressed in any other kind of language. It differed qualitatively from the language of science or philosophy, but it conveyed equally valid meanings. Such critics set out to define and formalize the qualities of poetic thought and language, utilizing the technique of close reading with special emphasis on the connotative and associative values of words and on the multiple functions of figurative language—symbol, metaphor, and image—in the work. Poetic form and content could not be separated, since the experience of reading the particular words of a poem, including its unresolved tensions, is the poem’s “meaning.” As a result, any rewording of a poem’s language alters its content, a view articulated in the phrase “the heresy of paraphrase,” which was coined by Brooks in his The Well Wrought Urn (1947).
Wimsatt and Beardsley
73. ‘Affective fallacy’ is defined as the error of
judging :
(A) a work by its effects on the reader
(B) a work by the intention of the author
(C) inanimate objects as animate
(D) a work by affections aroused
Ans-(A) a work by its effects on the reader
The term ‘Intentional Fallacy’ is
first used by
(A) William Empson
(B) Northrop Frye
(C) Wellek and Warren
(D) Wimsatt and Beardsley
Ans;(D) Wimsatt and Beardsley
intentional fallacy, term used in 20th-century literary criticism to describe the problem inherent in trying to judge a work of art by assuming the intent or purpose of the artist who created it.
Introduced by W.K. Wimsatt, Jr., and Monroe C. Beardsley in The Verbal Icon (1954), the approach was a reaction to the popular belief that to know what the author intended—what he had in mind at the time of writing—was to know the correct interpretation of the work. Although a seductive topic for conjecture and frequently a valid appraisal of a work of art, the intentional fallacy forces the literary critic to assume the role of cultural historian or that of a psychologist who must define the growth of a particular artist’s vision in terms of his mental and physical state at the time of his creative act.
affective fallacy, according to the followers of New Criticism, the misconception that arises from judging a poem by the emotional effect that it produces in the reader. The concept of affective fallacy is a direct attack on impressionistic criticism, which argues that the reader’s response to a poem is the ultimate indication of its value.
Those who support the affective criterion for judging poetry cite its long and respectable history, beginning with Aristotle’s dictum that the purpose of tragedy is to evoke “terror and pity.” Edgar Allan Poe stated that “a poem deserves its title only inasmuch as it excites, by elevating the soul.” Emily Dickinson said, “If I feel physically as if the top of my head were taken off, I know that is poetry.” Many modern critics continue to assert that emotional communication and response cannot be separated from the evaluation of a poem. See also New Criticism.
3. Which of the following statements on
Pathetic Fallacy is NOT TRUE ?
(A) This term applies to
descriptions that are not true
but imaginary and fanciful.
(B) Pathetic Fallacy is generally
understood as human traits
being applied or attributed to
non-human things in nature.
(C) In its first use, the term was
used with disapproval because
nature cannot be equated with
the human in respect of
emotions and responses.
(D) The term was originally used
by Alexander Pope in his
Pastorals (1709).
Ans-(D)--
Cleanth Brooks
With whose theory are the
terms “irony” and “paradox”
associated ?
(A) Roland Barthes
(B) Mikhail Bakhtin
(C) Cleanth Brooks
(D) Allen Tate
Ans;Cleanth Brooks introduced to new criticism in his book ' "Language of Paradox
and ' The Well Wrought Urn: Studies in the Structure of Poetry (1947) ''
Russian Formalism
50. Victor Shklovsky’s name is
associated with
(A) Post-modernism
(B) New Historicism
(C) Reader Response Theory
(D) Russian Formalism
Ans:Russian Formalism
“Deautomatisation” is a term used
by :
(A) The Prague School
(B) Russian Formalists
(C) French Deconstructionists
(D) American New Critics
Ans; (B) Russian Formalists
the defamiliarisation or deautomatisation which we associate with the Russian Formalists and the Linguistic Circle of Prague. The term “defamiliarization” was first coined in 1917 by Viktor Shklovsky in his essay “Art as Device” (“Art as Technique”) It refers to stylistics literary theory of the Russian formalists defined by Viktor Shklovsky . According to the theory, art prevents automatization by confronting the reader with the difficulty of poetic devices. It makes perception an active process which restores clarity of perception. Formalists have argued for the centrality of rhetorical devices including parallelism, archaism, and metaphor, which cause deautomization
structuralism
Ferdinand de Saussure
44. Who propounded the terms Langue and
Parole ?
(A) Ferdinand de Saussure
(B) Paul de Man
(C) Roland Barthe
(D) Northrop Frye
Ans-(A) Ferdinand de Saussure
9. Which literary theory flourished in the
1960s as an attempt to apply to literature
the methods and insights of modern
linguistics and anthropology ?
(A) Reception theory
(B) Symbolism
(C) Structuralism
(D) Phenomenological criticism
ANS-(C) Structuralism
In Words Upon Words, Saussure
says, “The actual birth of a new
language has never reported in the
world” because “we have never
known of a language which was not
spoken the day before or which was
not spoken in the same way the day
before”. What does he mean ?
(A) Old languages die making way
for new ones.
(B) The birth and death of a
language are not subject to
human laws.
(C) Languages do not get borne,
they evolve out of previously
existing linguistic situations.
(D) Old speech patterns trigger the
birth of a new language.
Ans;(C) Languages do not get borne,
they evolve out of previously
existing linguistic situations.
Structuralism owes its origin to :
(A) Jacques Lacan
(B) Noam Chomsky
(C) Ferdinand de Saussure
(D) Homi Bhabha
Ans:Ferdinand de Saussure
Structuralism owes its origin to the work of Saussure in linguistics, and one form of the doctrine holds that all sign systems are linguistic in nature in his book
25. ------- flourished in the 1960s as an attempt to apply to
literature the methods and insights of modern linguistics and
anthropology. It largely ignored what signs actually “say” and
concentrated instead on their internal relations to one another.
You can view a poem, a wrestling match, a system of tribal
kinship, or a restaurant menu as a system of signs: the aim is
to isolate the underlying set of laws by which these signs are
combined into meanings.indicate which
of the following terms correctly completes the statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(C) Structuralism
Roland barth
“The birth of the reader must be at
the cost of the death of the author”
is an assertion made by :
(A) Julia Kristeva
(B) Raymond Ticard
(C) Roland Barthes
(D) Z. Todorov
Ans;;(C) Roland Barthes in essay" death of author''
34. The structural analysis of signs was practised by
(A) Michel Foucault (B) Jacques Lacan
(C) Julia Kristeva (D) Roland Barthes
Ans:Barths post-stucturalist phase is characterised by a movement away from the idea of scientific and objective methodology,semiotics and stucturalism as practised by barths in works such as Writing Degree Zero, Mythologies and Critical Essays through the semiotics of Elements of Semiology, The Fashion System, and Introduction to the Structural Analysis of Narrative, are now viewed as dependent on a questionable idea of the sign------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------u must write
Gayatri Spivak
Who has translated Derrida’s Of
Grammatology into English ?
(A) Ranjit Guha
(B) Homi Bhabha
(C) Gayatri Spivak
(D) Aijaz Ahmed
Ans;Gayatri Spivak
52. Intertextuality refers to
(A) Close reading
(B) Comparison between two texts
(C) The conditioning of the meaning of a
text by other texts
(D) The reading of the intention of the
author
Ans-(C) The conditioning of the meaning of a
text by other texts
43) Several intellectuals have also come out in defense of the attacks against Gayatri Chakravorty Spivak style of writing.they are--.........
I) Terry Eagleton who had referred to Gayatri Chakravorty Spivak’s writing as “inaccessible”
II) Judith Butler has pointed out that Spivak’s so-called unapproachable prose has actually touched and deeply altered the thinking of “thousands of activists and scholars.”
III)Both
IV) None
Ans-III)Both
reader response theroy
Stanly Fish
“Is There a Text in This Class ?” is
written by ?
(A) Paul Ricoeur
(B) J. Hillis Miller
(C) Julia Kristeva
(D) Stanley Fish
Ans: stanly Fish
Fish reports the episode in his Is there a Text in this Class?: THIS ESSAY, an early manifesto, was written in the summer of 1970 in response to a letter from Ralph Cohen, editor of the recently founded New Literary History s
New Historicism & Cultural Materialism
New Historicism: a term applied to a trend in American academic literary studies in the 1980s that emphasized the historical nature of literary texts and at the same time (in contrast with older historicisms) the ‘textual’ nature of history.“The historicity of the text and the texttuality of history.”The phrase was coined by Stephen Greenblatt around 1980.Stephen Greenblatt drew new connections between literary and non-literary texts, breaking down the familiar distinctions between a text and its historical ‘background’ as conceived in established historical forms of criticism.Inspiring by Michel Foucault's concepts of discourse and power and also panoptic state,New historicism acknowledges and then explores various versions of "history," sensitizing us to the fact that the history on which we choose to focus is colored by being reconstructed from our present circumstances.Stephen] Greenblatt's books Renaissance Self-Fashioning (1980) and Shakespearean Negotiations (1988) are the exemplary models. Other scholars of Early Modern (‘Renaissance’) culture associated with him include Jonathan Goldberg, Stephen Orgel, Lisa Jardine, and Louis Montrose,J.W. Lever. Jonathan Dollimore.Stephen Greenblattin his" Renaissance Self-Fashioning"indicate the role of the New Historicist is to create a "more cultural or anthropological criticism" which will be "conscious of its own status as interpretation and intent upon understanding literature as part of a system of signs that constitutes a given culture." Literary criticism and cultural critique are integrated, with the critic's role being to investigate "both the social presence to the world of the literary text and the social presence of the world in the literary text."
Simple Definition: a method based on the parallel reading of literary and non-literary texts, usually of the same time period. It refuses to privilege literary text.
* It is no longer a matter of literature maintaining the foreground and history the background, instead it is a matter of literature and history occupying the same area and given the same weight. Reading all of the textual traces of the past, fiction or non.
* Places the literary text within the frame of a non-literary text.
* A historical anecdote is given, relating the text to the time.
* Context is replaced by “co-text”, that is an interrelated non-literary text from the same time period. Greenblatt: “Will of the World.”
Differences between old and new historicism:
* Old: hierarchical, with literature being the “jewel,” and history the background
* New: Parallel readings, no more hierarchy.
* Old: A historical movement: creates a historical framework in which to place the text
* New: a historicist movement. Interested in history as represented and recorded in written documents—history as text.
* “The word of the past replaces the world of the past.”
* “The aim is not to represent the past as it really was, but to present a new reality by re- situating it.”
Foucault and New Historicism:
* New Historicism is always anti-establishment, on the side of liberal ideas and personal freedoms.
* Believe in Michel Foucault’s idea of an all-seeing—panoptic—surveillance State.
* The panoptic state exerts power through discursive practices, circulating ideology through the body-politic.
* The State is seen as a monolithic structure and change is nearly impossible.
Advantages.
* Written in a far more accessible way than post-structuralist theory.
* It presents its data and draws its conclusions in a less dense way
* Material is often fascinating and distinctive.
* New territory.
* Political edge is always sharp, avoids problems of straight Marxist criticism.
Barry’s example, Montrose’s essay on Fantasies, reinforces the idea that literature plays off reality and reality plays off literature.
"New Historicism focuses on the way literature expresses-and sometimes disguises-power relations at work in the social context in which the literature was produced, often this involves making connections between a literary work and other kinds of texts. Literature is often shown to “negotiate” conflicting power interests. New historicism has made its biggest mark on literary studies of the Renaissances and Romantic periods and has revised motions of literature as privileged, apolitical writing. Much new historicism focuses on the marginalization of subjects such as those identified as witches, the insane, heretics, vagabonds, and political prisoners."
Stephen Greenblatt
The terms ‘resonance’ and
‘wonder’ are associated with
(A) Stephen Greenblatt
(B) Terence Hawkes
(C) Terry Eagleton
(D) Ronald Barthes
Ans;Stephen Greenblatt
In his essay “Resonance and Wonder,” Stephen Greenblatt writes about two powers permeating the works of art in museums:
By resonance I mean the power of the displayed object to reach out beyond it formal boundaries to a larger world, to evoke in the viewer the complex, dynamic cultural forces from which it has emerged and for which it make be taken by a viewer to stand. By wonder I mean the power of the displayed object to stop the viewer in his or her tracks, to convey an arresting sense of uniqueness, to evoke an exalted attention.
When you first encounter an object — especially one you instantly are wowed by — you stand in wonder. There’s something really personal about that experience. You feel delight, surprise, enchantment. It’s an oh my god! moment. Greenblatt says that museums like MoMA amplify wonder with tactics they use to display objects, with boutique lighting, for example, which throws a pool of light around objects in a dimmed room, in the same way that jewelry stores and designer clothing shops do. Lighting isolates an object and hold it up for display. That isolation is important: it intensifies your wonder. It’s immediate, with no past or future; it’s love at first sight.
An object with resonance, though, is not isolated. In fact, an object with resonance is loaded with associations, not just in our minds, but by its very existence. A resonant object reaches back in time and forward. Furthermore, it is not only resonant with associations (historical moments, other artifacts), it can vibrate with its own experience as an object. In a museum, wear and tear signal that other viewers have experienced an object. Greenblatt is fascinated by the signs of “alteration, tampering, and even deliberate damage” that museums attempt to efface from its exhibits, and he finds “wounded artifacts” even more resonant. (I love that term: wounded artifacts.) They have been used, and they continue to be in use. This makes me think of science and children’s museums and shabby little local museums, too, where the objects — placed there deliberately — can be touched.
31. The New Historicists include
(A) Greenblatt, Showalter, Montrose (B) Greenblatt, Sinfield, Butler
(C) Greenblatt, Montrose, Goldberg (D) Williams, Greenblatt, Belsey
Stephen Greenblatt ,Jonathan Goldberg, Stephen Orgel, Lisa Jardine, and Louis Montrose are the notable New Historicists.
Cultural Materialism
Cultural Materialism
Cultural materialism is “a politicized form of historiography.”
-Graham Holderness
Raymond Williams coined the term Cultural Materialism. Jonathan Dollimore and Allen Sinfield made current and defined Cultural materialism as “designating a critical method which has four characteristics:
Historical Context: what was happening at the time the text was written.
Theoretical Method: Incorporating older methods of theory—Structuralism, Post-structuralism etc.
Political Commitment: Incorporating non-conservative and non-Christian frameworks—such as Feminist and Marxist theory.
Textual Analysis: building on theoretical analysis of mainly canonical texts that have become “prominent cultural icons.”
Culture: Culture in this sense does not limit itself to “high culture” but includes all forms of culture like TV and pop music.
Materialism: Materialism is at odds with idealism. Idealists believe in the transcendent ability of ideas while materialist believe that culture cannot transcend its material trappings.
an offshoot of Marxist criticism. History, to a cultural materialist, is what has happened and what is happening now. In other words, Cultural Materialists not only create criticism of a text by contextualizing it with its own time period, but with successive generations including our own. Cultural Materialism bridges the gap between Marxism and Post-Modernism.
Some things that Cultural Materialist might look at when analyzing Shakespeare:
Elizabethan Drama during its own time period
The publishing history of Shakespeare through the ages
That weird movie version of Romeo and Juliet with Leonardo D. in it
The tourism and kitsch surrounding Shakespeare today
Raymond Williams
Raymond Williams added to the outlook of Cultural Materialism by employing “structures of feeling.” These are values that are changing and being formed as we live and react to the material world around us. They challenge dominant forms of ideology and imply that values are organic and non-stagnant.
Cultural Materialism embraces change and gives us different (changing) perspectives based on what we chose to suppress or reveal in readings from the past.
Shakespeare is one example of how Cultural Materialism can change our point of view, and even our values, in regard to past texts. Many Cultural Materialist have challenged the fetishistic relationship conservative Britain has with Shakespeare.
"Raymond William's term for the theory of culture he develops in the course of a long dialogue with Marxism, and which ascribes a central importance to the role of structures of feeling. Williams is critical of the base/structure model so often used by Marxists to analyze cultural phenomena on the grounds that it makes, for example, the literature dependent, secondary and superstructural, or subsumes it into the wider category of ideology. Cultural Materialism stresses that culture is a constitutive social process which actively creates different ways of life. Similarly, signification or the creation of meaning is viewed as a practical material activity which cannot be consigned to a secondary lever or explained in terms of a primary level of economic activity. Consciousness itself is not a reflection of a basic or more material level of existence, but an active mode of social being. Williams is also critical of the technological determinism of theorists such as Mcluhan who argues that communications media have independent properties that impose themselves automatically ('the medium is the message'). He does not deny that the function of the media is determined, but insists that its determination is social and always bound up with sociocultural practices."
--David Macey
"Britain's reply to new historicism was the rather different creed of cultural materialism, which-appropriately for a society with more vigorous socialist traditions-displayed a political cutting edge largely lacking in its transatlantic counterpart. The phrase “cultural materialism,” had been coined in the 1980s by Britain's premier socialist critic, Raymond Williams, to describe a form of analysis which examined culture less as a set of isolated artistic monuments then as a material formation, complete with its own modes of production, power-effects, social relation, identifiable audiences, historically conditioned thought forms. It was a way of bringing an unashamedly materialist analysis to bear on that realm of social existence-'culture'-which was thought by conventional criticism to be the very antithesis of the material; and its ambition was less to relate 'culture' to 'society,' in William's own earlier style, than to examine culture as always-already social and material in its roots. It could be seen either as an enrichment or a dilution of classical Marxism: enrichment, because it carried materialism boldly through to the 'spiritual' itself; dilution, because in doing so it blurred the distinction, vital to orthodox Marxism, between the economic and the cultural. The method was, so Williams himself announced, 'compactible' with Marxism, but it took issue with the kind of Marxism which had relegated culture to secondary, 'superstructural' status, and resembled the new historicist in its refusal to enforce such hierarchies. It also paralleled the new historicism on taking on board a whole range of topics-notably, sexuality, feminism, ethnic and post-colonial questions-to which Marxist criticism had traditionally given short shrift. To this extent, cultural materialism formed a kind of bridge between Marxism and postmodernism, radically revising the former while wary of the more modish, uncritical, unhistorical aspects of the latter. This, indeed, might be said to be roughly the stand to which most British left cultural critics nowadays take up."
--Terry Eagleton
Differences
Differences Between New Historicism and Cultural Materialism
As we have seen and read in Barry, New Historicism and Cultural Materialism have a significant overlap. In fact the main difference is politics. There are three main differences:
1. Cultural Materialists concentrate on the the interventions whereby men and women make their own history, where New Historicists focus on the the power of social and ideological structures which restrain them. A contrast between political optimism and political pessimism.
2. Cultural Materialists view New Historicists as cutting themselves off from effective political positions by their acceptance of a particular version of post-structuralism.
3. New Historicists will situate the literary text in the political situation of its own day, while the Cultural Materialists situate it within that of our own
18. Which literary theory advocates “the
historical context as a co-text” ?
(A) Historicism
(B) New Historicism
(C) Anti-Historicism
(D) Archetypal criticism
ANS-(B) New Historicism
18. The term ‘Cultural Materialism’ is associated with
(A) Stephen Greenblatt
(B) Raymond Williams
(C) Matthew Arnold
(D) Richard Hoggart
Ans:(B) Raymond Williams
( Raymond Williams (1921 - 1988) British critic and novelist. notable work :Culture and Society)
Michel Foucault
“Panopticism” is the title of a
chapter in a well-known book by
(A) Roman Jakobson
(B) Jacques Lacan
(C) Michel Foucault
(D) Jacques Derrida
Ans:Michel Foucault. “Panopticism ” in Rethinking Architecture: A Reader in Cultural is the organization of power in terms of space. He argues that since the early 19th century two different concepts of structuring power merged, thus creating a control device that he compares to the Panopticon, an architectural concept developed by Bentham in the late 18th century. The Panopticon is a type of prison building. The principle of the Panopticon was that prisoners could be observed night and day, without realizing that they were being observed. The structure consisted of tiers of prison cells, arranged in a circular design. In the very centre of the circular structure was an observation tower, tall enough for the observer to be able to see the interior of each cell. The windows of the observation tower were masked so that it was not possible for prisoners to know if anyone was in the tower.The image of the Panopticon underlines Foucault’s notion of the individualization of the masses. The Panopticon serves as a metaphor for “defining power relations in terms of the everyday life of men.” Foucault’s concept of the Panopticon as a way of describing power relations offers interesting possibilities for analyses of cultural landscapes. He points out that hospitals, prisons, or schools are organized along the Panopticon structure. Thus, his model is extremely useful in order to describe the distribution of power in specific landscapes. The concept of the Panopticon stresses the self-motivation of many power structures that discipline both small and large bodies of people, meaning that certain power structures operate without actual control by another person. For the analysis of cultural landscapes, the conceptual framework of the Panopticon can serve as a descriptive model in order to describe how power structures operate in a cultural landscape
39. “The Panopticon is a machine for dissociating
the see/being seen dyad: in the peripheric ring,
one is totally seen, without ever seeing; in the
central tower, one sees everything without ever
being seen.”
From which of the theoretical paradigms listed
below does the preceding statement derive?
(A) Laura Mulvey’s notion of visual pleasure
in the cinema
(B) Jacques Lacan’s idea of “mirror stage”
(C) Michel Foucault’s theory of discipline
(D) Jacques Derrida’s conception of “spacing”
(E) Judith Butler’s conception of “drag”
Ans-Michel Foucault’s theory of discipline
psychological criticism
Which of the following psychoanalysts
rewrote Descarte’s dictum : “I think
therefore I am’ as ‘I am not where I
think, and I think where I am not’ ?
(A) Lacan
(B) Freud
(C) Jung
(D) Cixous
Ans;(A) Lacan
The conception of the mirror stage. . .
In the opening paragraph of the essay Lacan makes reference to his presentation on the mirror stage at the (congress). The concept continues to be important for psychoanalysis, Lacan argues, because it accounts for characteristics of the central focus of psychoanalytic practice--the "I" which presents itself to the analyst (and, of course, the "I" of the analyst as well). In the Freudian model of the psyche, which Lacan, as a Freudian, takes as a point of departure for his ideas, the "ego" is not fully self-aware or in control of itself; the ego's perception of itself and of the world is shaped, in part, by the desires and fears arising from the id and from the injunctions imposed by the superego. Lacan's concept of the mirror stage tries to dramatize how the ego itself becomes divided.
At the outset, it is important to grasp two points.
Lacan's version of psychoanalysis takes for granted that the human mind is not a unified whole, governed by reason--represented here by the reference to Descartes's Cogito--but that any self-knowledge is to some degree an illusion. Lacan frequently finds ways to contort Descartes's famous line "I think, therefore I am" (cogito ergo sum). He was also a harsh critic of American-style ego-psychology, which attempts to help the patient develop a strong ego, and which, in Lacan's view, compels the subject to conform to social conventions.
The mirror stage is not only a passing phase of human psychological development but also a model for the relationship between the "I" and its image of itself. In a 1954 seminar, Lacan stresses the ongoing nature of the mirror stage (Seminar I 74).
The fact that human beings, unlike animals, recognize themselves in the reflected images of their bodies forms the basis for Lacan's speculations on the role of the image in the development of the human psyche. Lacan discusses this idea further in another 1954 seminar (Seminar I170). In the field of developmental psychology, one's awareness of one's own position within the physical world and the ability to imagine that position in relation to other physical objects is called "situational apperception".
3
An animal, even one as intelligent as a chimpanzee, will quickly lose interest in its reflection. A human infant, however, takes delight in relationship between her own movements and the movements of the image in the mirror. Long before the child can articulate the thought "that's me," her sense of being situated in the world (in Heidegger's terms, her sense of "being a being") develops when a image of her physical self establishes itself in her psyche in relation to the images of other elements of the world. This image doesn't necessarily have to be put in place by way of an experience with an actual mirror; other experiences--the attention of the mother to the child, for example--can give rise to the image of the self as a separate entity.
40. Which of the following is an essentially Freudian concept?
(A) Archetype (B) The Uncanny
(C) The Absurd (D) The Imaginary
Ans:“In his essay on the uncanny, Das Unheimliche, Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If the genre required any justification, I should think this alone would serve as its credentials.” – Stanley Kubrick
Freud described his theory of the uncanny as such,
“This class is frightening things would then constitute the uncanny; and it must be a matter of indifference whether what is uncanny was itself originally frightening or whether it carried some other affect...for this uncanny is in reality nothing new or alien, but something that is familiar and old fashioned in the mind and which has become alienated from it through process of repression”
“The uncanny is something which is secretly familiar, which has undergone repression and then returned from it. Everything that is uncanny fulfils this condition.” “There is no question, therefore, of any intellectual uncertainty here: we know now that we are not supposed to be looking on at the products of a madman's imagination, behind which we, with the superiority of rational minds, are able to detect the sober truth; and yet this knowledge does not lessen the impression of uncanniness in the least degree. The theory of intellectual uncertainty is thus incapable of explaining that impression.” – “Towards the end of the book the reader is told the facts, hitherto concealed from him, from which the action springs; with the result, not that he is at last enlightened, but that he falls into a state of complete bewilderment. The author has piled up too much material of the same kind. In consequence one’s grasp of the story as a whole suffers, though not the impression it makes.” – “The Uncanny is something hidden which ought to have remained missed but which is brought to light.” – Freud
This boils down to the fact that the things that we find to be frightening are things that we have had contact with before, things that are part of our society already. Once something that we are familiar with undergoes change, and appears to be estranged from its original meaning or contexts, that is when we become afraid, or at least wary, of it.
This experience of being attracted to something, yet repulsed by it at the same time, creates a dissonance that often times leads to rejection of the uncanny object or notion. This reaction warrants the formation of subcultures; those who come to embrace the uncanny aspects that dominant culture has rejected and removed from the considered normal traits of society. Uncanniness often times becomes its own culture
Jacques Lacan
Jacques Lacan posits three ‘orders’
which structure human existence. In
the list that follows : Identify the one
that is not included by Lacan :
(A) Imaginary (B) Unconscious
(C) Real (D) Symbolic
Ans:(B) Unconscious
S (the Symbolic Order) = There is difference (and repetition)
I (the Imaginary Order) = There is similarity (and dissimilarity)
R (the Real) = There is . . .
Parallel to Freud’s three agencies ( the id, the ego, and the superego), Lacan develops the three orders that structure the human subject. There are significant nuances between the two systems. Freud’s agencies have the implication that they are internal, that they reside somehow inside (or is formed within) the human subject (like aspects of a personality, dimensions of being). Lacan’s orders, on the other hand, while pertaining to the agencies, are analogous to mathematical sets, like realms or worlds, i.e. aspects or dimensions of the world or life itself (the way we live), whose structure has a corresponding effect on the human subject (hence forming the three agencies). Lacan himself, while staying true to the injunction to “Return to Freud!” points out this difference. He says in the Écrits, “My three orders are not Freud’s”
The Symbolic order is the realm of language, primary, external (to the human subject), determinant. It is the set of signifiers, interpreted by Saussure as a system where “language is but a sum of negative differences, and signification and meaning are produced by the comparison of those differences without content” . This is extended by Lacan (comparable to, but different from, Derrida’s deconstruction) to all objects as he asserts that “any object in the human sphere is marked by the pregnancy of language and thus must be conceived as a signifier” . The Symbolic order is the Other, marked by a radical otherness “external to [the] subject” . Hence it is the set that can be defined by the statement “There is difference” . It is, however, “interiorized [. . .] determin[ing] the subject by its signifying chains, undermining the ego’s autonomy” .
The Imaginary order is the realm of images, where the ego has autonomy. Given that language is determinant, the ego (who likes to think that, like language, it has autonomy) imitates that determination, tries to define itself (by itself). However, it can only do so in the Imaginary, i.e. by the use of images (in contrast to the authentic determination of language); hence the autonomy and identity it creates is also only an image. The ego determines itself, constructs its identity through projections and identifications, “build[ing] a world of representations and objects by actualizing the possibility of representing [set into motion by] the Symbolic order” . The Imaginary order, relying as it does on similar (and dissimilar) images, is thus the set defined by “There is similarity”.
The Real is there, “There is . . .” but is unknown. More precisely, “the Real is not an agency or an order; it is a set whose contents are unknown” (16). “There are meaning and truth in the [Real . . .], but they are out of the reach of our consciousness” (16-7). There is logic in the Real, but it is pulverized, surrounded by something that is not sense. “What there is, we don’t know, because it remains hidden from us in the unconscious” (16). The Real is thus the realm of the unconscious. It is not a being (17). As Lacan says, “it is because we could not say what it is that we have given it the name of [it]” (18). “The unconscious is a pure locus without the derived properties attributable to a being” (18). It also therefore “cannot be reduced [merely] to what is not consciousness” (18). For the most part, the unconscious consists in what has been repressed—but is not merely that: in it is also found the unknowable, the incomprehensible, the inexpressible.
post sructuralism
Which of the following thinkerconcept
pair is correctly matched ?
(A) I.A. Richards – Archetypal
Criticism
(B) Christopher
Frye
– Mysticism
(C) Jacques
Derrida
– Deconstruction
(D) Terry
Eagleton
– Psychological
Criticism
Ans:(C) Jacques Derrida– Deconstruction
114. Jacques Derrida’s early essay “Structure, Sign,
and Play in the Discourse of the Human Sciences”
responds most immediately to which of the
following?
(A) Einstein’s theory of relativity
(B) Marx’s theory of labor
(C) Heidegger’s theory of being
(D) Levi-Strauss’s study of myth
(E) Heisenberg’s uncertainty principle
Ans-(D) Levi-Strauss’s study of myth---Derrida’s essay, ‘Structure, sign and play in the discourse of the human sciences’, overthrows Claude Levi-Strauss’ study of myth in favour of his own semiotic analysis, known as deconstruction , first introduced in Derrida’s initial text on the deconstructive criticism , Of Grammatology. A philosopher rather than a literary theorist , Jacques Derrida quotes Levi-Strauss to aid his own argument and to share his notion “an event” (Derrida, 89) which involves the change of structuralism , from which something new has emerged and has been replicated in what he declares to be “ a redoubling” (Derrida ,89). The ‘event’ which Derrida refers to is the problematic critique of the now historical tradition of structuralism, supporting the movement of post-structuralism employing the technique of deconstructing a text to find meaning.
26. This form of criticism was in part a movement away from
seeing the work as a closed entity, equipped with definite
meanings, toward seeing it as irreducibly plural, an endless
play of signifiers which can never finally be nailed down to
a single center, essence, or meaning. Rather than carve up a
text into binary oppositions, ------- tries to show how such
oppositions, in order to hold themselves in place, are sometimes
betrayed into inverting or collapsing themselves. The
niggling and self-contradictory details once banished to the
text’s margins return to plague the critic.indicate which
of the following terms correctly completes the statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(B) Deconstruction
39. What does the term episteme signify ?
(A) Knowledge
(B) Archive
(C) Theology
(D) Scholarship
Ans-(A) Knowledge
Michel Foucault used the term épistème is the Greek word most often translated as knowledge, while technê is translated as either craft or art.This term, which Foucault introduces in his book The Order of Things, refers to the orderly 'unconscious' structures underlying the production of scientific knowledge in a particular time and place. It is the 'epistemological field' which forms the conditions of possibility for knowledge in a given time and place. It has often been compared to T.S Kuhn's notion of paradigm.But it was in The Archaeology of Knowledge (Foucault, 1972) that Foucault provided an explicit definition. Foucault developed his definition tentatively. After acknowledging that his project involved “the analysis of the episteme ,” Foucault (1972) wrote, This episteme may be suspected of being something like a worldview, a slice of history common to all branches of knowledge, which imposes on each one the same norms and postulates, a general stage of reason, a certain structure of thought that
Derrida
“There is nothing outside the text”
is a key statement emanating from
(A) Feminism
(B) New Historicism
(C) Deconstruction
(D) Structuralism
Ans:(C) Deconstruction
Presence and Absence
The metaphysical tradition (or philosophy) can be characterised by two basic desires or trends, admittedly manifested in various different forms. there is a consistent desire to reconstruct the transcendental realm, which is otherwise radically absent. The lost origin of our finite or fallen state drives us to continuously reconstruct our beginnings. Second, the ideal of presence turns up everywhere. All aspects of experience and/or existence are relegated to a moment called the present. But the ideal of presence always implies more than one moment:
1. Presence, we assume, describes an original state, a state that must have come first. As I gaze out into the world I can say the world is present to my observing eye. If that is the case, then my observing consciousness must be present to my own self-reflection. It thus follows that meaning, in its most pure sense, as conscious thought, must be present to me as I gaze out onto the world. Presence is, therefore, the main predicate for a text’s meaning (its sense or its reference), despite the fact that this meaning is always absent and in need of reconstruction through reading or interpretation.
2. For this reason, a second moment of presence invades consciousness as absence--the disappearance of the world behind the veils of language, consciousness going astray, the reign of death, non-sense. In this way gaps, absences and deficiencies of all imaginable kinds are subordinate to a principle of presence. Is it possible to imagine an absence without reference to the principle of presence? It would be a radical absence, something always and from the beginning absent, missing, lost to experience. If there was such an absence, how could we glimpse it?
3. We glimpse it between repetitions as their repeatability. If the present moment can be repeated (i.e. remembered) then, preceding the present moment, is the possibility of its being repeated in memory (i.e., memory itself as repeatability). So memory precedes and exceeds the present moment, which we will have remembered. Memory, as traditional accounts make clear, gets associated with death and the memorialising of the dead, or mourning, in a way that gets us back, always and from the beginning, to the second moment (absence).
Derrida’s much-cited statement, “there is nothing outside the text,” suggests an absence that has never been, nor could ever be, present. This is what we must try to think with regard to the sign, and with the notion of text:
1) The sign is irreducibly secondary. It always refers to something else. Sometimes the something else that a sign refers to is actually itself (e.g., this sign here) but this doesn’t mean that the sign’s meaning (its reference to itself by virtue of its sense—sign = signifying unit) is primary. What is primary is the signifying aspect of it. The sign comes before its referent (sign) in so far as this sign means this sign. And that, of course, is secondary. It also illustrates that signs are necessarily always divided. Their principle is the repeatability that allows them to apparently jump out of themselves to refer back. However, in the repetition the sign is irremediably changed. It is no longer the sign it was. Disconcertingly, this kind of punning cannot be dismissed as a kind of sophistic rhetorical game. Or rather, it can be dismissed. But the principle of your ability to dismiss it (your ability to ignore basic rhetorical processes and pass over them in silence) is in fact the same principle that allows meaning to arise in the first place, cancelling out the rhetorical dimension, the secondary text (vehicle or coat).
2) So the sign is at the beginning. We never arrive at a meaning independently of some aspect of text, through which we must pass before cancelling it out as unwanted rhetoric (vehicle or coat). Therefore there is no beginning.
23.Which of the following statements
best describes the term
‘deconstruction’ ?
(A) It seeks to expose the problematic
nature of ‘centered’ discourses.
(B) It advocates ‘subjective’ or
‘free’ interpretation.
(C) It emphasizes the importance
of historical context.
(D) It is a method of critical
analysis.
Ans; (A) It seeks to expose the problematic nature of ‘centered’ discourses.
Derrida uses the term différance to denote neither a word nor a concept but rather the gap that is the difference between signifiers and the movement that is the deferral of the hypothetical signified. Presence is never present but always deferred. Différance, therefore, is the condition of possibility for experiencing the absence of the presence of the signified. Différance is the freeplay of signifiers that creates a trace of the other which is n(ever) absent. The experience that there is too much, more than one can say, is not due, argues Derrida, to the empirical impossibility of knowing language in its totality. Language excludes totalization because it is a field of play (play of signifiers in differential relations), of différance that permits the lack that creates the movement of supplementarity--the move to supplement a lack on the part of the signifying (and thus a lack "perceived" in the elusive/illusive signified). As Murfin notes in commenting on Derrida’s critique of Rousseau’s privileging of speech over writing, “writing is a supplement to speech that is at the same time necessary. Barbara Johnson, sounding like Derrida, puts it this way: ‘Recourse to writing . . . is necessary to recapture a presence whose lack has not been preceded by any fullness’ (Derrida, Dissemination xii). Thus, Derrida shows that one strand of Rousseau’s discourse made writing seem a secondary, even treacherous supplement, while another made it seem necessary to communication”
23.Which of the following statements is
not applicable to Derrida’s rejection
of the notion of the ‘Metaphysics of
Presence’ ?
(A) The desire for immediate
access to meaning privileges
presence over absence.
(B) All presences are necessarily
metaphysical and, therefore,
are to be rejected.
(C) A fleeting meaning of the text
is created through the play of
‘difference’ and ‘differance’.
(D) Metaphysics involves installing
hierarchies and orders of
subordination in the various
dualisms that it encounters.
Ans;
23. Aporia means---
1.an irresolvable internal contradiction or logical disjunction in a text, argument, or theory.
2.. A figure of speech in which the speaker expresses or purports to be in doubt about a question.
3. An insoluble contradiction or paradox in a text's meanings.
4.the technical term applied to logical or rhetorical perplexities, impassable difficulties, logical paradoxes, and puzzlements. When understood in relation to deconstruction of literature, aporia demarcates a point where a text exhibits deconstruction characteristics: the text dismantles itself, deconstructs itself, or undermines its own rhetorical foundations.
5. all the above
Ans-5. all the above
Which of the following is not true of
post-structuralism ?
(A) It seeks to undermine the idea
that meaning pre-exists its
linguistic expression.
(B) There can be no meaning
which is not formulated and no
language formulation reaches
anywhere beyond language.
(C) There is no a-textual ‘origin’ of
a text.
(D) Every sign refers to every other
sign adequately.
Given below are two statements, one
labelled as Assertion (A) and the
other labelled as Reason (R).
Assertion (A) : Deconstructive
reading is apolitical.
Reason (R) : Because it focuses
exclusively on language. It
primarily holds that all texts or
linguistic structures contain
within them a principle of
destabilisation and hence it is
difficult to pin down meaning.
Such a reading, therefore, is
unable to assign historical
agency.
In this context above statements,
identify which one of the following is
correct ?
(A) (A) is correct but (R) is wrong.
(B) Both (A) and (R) are correct.
(C) (A) is wrong but (R) is correct.
(D) Both (A) and (R) are wrong.
Ans:(B) Both (A) and (R) are correct.[confusion]
Harold Bloom
8. Theorist who divided poets into ‘strong’ and ‘weak’; poupularized practice of misreading.
A. Alan Bloom
B. Harold Bloom
C. Geoffrey Hartman
D. Stanley Fish
Ans-B. Harold Bloom in his, A Map of Misreading (1975) , divided poets into ‘strong’ and ‘weak’; poupularized practice of misreading.—( yale critic-Harold Bloom, Geoffrey Hartman, Paul de Man, and J. Hillis Miller}
Mikhail Bakhtin
22. Who is the author of The Dialogic Imagination,
Problems of Dostoevsky’s Poetics, and Rabelais
and His World ?
(A) Mikhail Bakhtin
(B) Roland Barthes
(C) Jean-François Lyotard
(D) Michel Foucault
(E) Edward W. Said
ANS-Mikhail Bakhtin
Feminism
63. Laura Mulvey’s pioneering essay,
“Visual Pleasure and Narrative
Cinema” is an instance of the
feminist appropriation of
psychoanalysis. It particularly uses
(A) Freud’s concept of sublimation
(B) Jung’s concept of collective
unconscious
(C) Lacan’s concept of the gaze
(D) Lacan’s notion of the
fragmented body
Ans-(C) Lacan’s concept of the gaze
35. Which writer remarks : “One is not born,
but rather becomes a women” ?
(A) Elaine Showalter
(B) Sigmund Freud
(C) Terry Eagleton
(D) Simone de Beauvoir
Ans-(D) Simone de Beauvoir
7. The earliest tract on feminism is
(A) Simone de Beauvoir’s The Second Sex
(B) Virginia Woolf’s A Room of One’s Own
(C) Mary Wollstonecraft’s A Vindication of the Rights of Woman
(D) Mary Astell’s A Serious Proposal to the Ladies
Ans(C) Mary Wollstonecraft’s A Vindication of the Rights of Woman
-In the late 17th century Mary Astell , the women writer in England, challenged patriarchal structures in their lives and writings. Her A Serious Proposal to the Ladies, for the Advancement of Their True and Greatest Interest (1694) was calling for improvements in women’s education. However modern Scholars have pointed out inconsistencies in her views.even though she is epitheted "the first English feminist.", her tract on feminism is still disputable.
Mary Wollstonecraft (1759-1797)’s A Vindication of the Rights of Woman (1792), asserts that intellectual companionship is the ideal of marriage and pleads for equality of education and opportunity between the sexes.
Virginia Woolf, a fervent supporter of women’s rights, considers the difficulties of the woman artist in A Room Of One’s Own (1929) is an extended essay by Virginia Woolf. First published on 24 October 1929, the essay was based on a series of lectures she delivered at Newnham College and Girton College
French novelist and existentialist writer Simone de Beauvoir’s Le deuxième sexe (The Second Sex, 1953) examines the low status of women in society and allowing French women to vote was little more than a year old.In one of her most interesting chapters, “The Married Woman” (a chapter Parshley particularly savaged), she offers numerous quotations from the novels and diaries of Virginia Woolf, Colette, Edith Wharton, Sophia Tolstoy and others. She also scrutinizes the manner in which various male authors, from Montaigne to Stendhal to D. H. Lawrence, have represented women (and, in many cases, how they treated their wives)
12) Code :
I. The relationship between the
sexes is one of inequality and
oppression.
II. There should be an end to all
wars.
III. Women need financial
independence.
IV. All men are prone to violence.
The correct combination according to
the code is :
(A) I and II are correct.
(B) III and IV are correct.
(C) I and III are correct.
(D) II and IV are correct.
Ans; (C) I and III are correct.
152-154 are based on the following
passage.
There is, to be sure, a powerful literary tradition
that shows women failing to exact some form of
revenge, failing to strike back, acting as the schoolmarm
against the cowboy. In such works, whenever
there’s a woman around, violence must be repressed
and civilization prevail. But an equally strong countertradition
shows many women who have acted out
violent forms of retaliation: (1) , in George Eliot’s
Adam Bede, who murders her newborn child because
its father has abandoned her; (2) , who “dies beautifully”
by putting a bullet through her head because
she cannot bear to be manipulated by someone with
power over her; and (3) , who murders her two
children by Jason when he repudiates her to marry
the daughter of Creon.
152. Which of the following will correctly complete
the passage at 1 ?
(A) Hedda Gabler
(B) Emma Bovary
(C) Anna Karenina
(D) Hetty Sorrel
(E) Clarissa Dalloway
Ans-(D) Hetty Sorrel
153. Which of the following will correctly complete
the passage at 2 ?
(A) Hedda Gabler
(B) Emma Bovary
(C) Anna Karenina
(D) Hetty Sorrel
(E) Clarissa Dalloway
Ans-(A) Hedda Gabler
154. Which of the following will correctly complete
the passage at 3 ?
(A) Clytemnestra
(B) Helen
(C) Medea
(D) Cassandra
(E) Electra
Ans-(C) Medea
33. The author of Gender Trouble is
(A) Elaine Showalter (B) Helene Cixous
(C) Michele Barrett (D) Judith Butler
46. Who amongst the following belongs
to the group of radical feminists ?
(A) Helene Cixous
(B) Monica Wittig
(C) Simone de Beauvoir
(D) Luce Irigaray
Ans:(A) Helene Cixous
Radical feminism aims to challenge and to overthrow patriarchy by opposing standard gender roles and the male oppression of women, and calls for a radical reordering of society. Early radical feminism, arising within second-wave feminism in the 1960s,typically viewed patriarchy as a "transhistorical phenomenon"[3] prior to or deeper than other sources of oppression, "not only the oldest and most universal form of domination but the primary form" and the model for all others.Later politics derived from radical feminism ranged from cultural feminism to more syncretic politics that placed issues of class, economics, etc. on a par with patriarchy as sources of oppression.
Radical feminists locate the root cause of women's oppression in patriarchal gender relations, as opposed to legal systems (as in liberal feminism) or class conflict (as in socialist feminism and Marxist feminism.)
110. Which book is said to have inaugurated the feminist school of criticism?
A) Harold Bloom’s The Anxiety of Influence
B) Simon de Beauvoir’s The Second Sex
C) Terry Eagleton’s Criticism and Ideology
D) Gayatri Spivak’s In Other Worlds
Ans-B) Simon de Beauvoir’s The Second Sex
6. Important examples of works by radical feminists:
Jewish-Algerian-French writer Hélène Cixous - "The Laugh of the Medusa" sortis
Shulamith Firestone's The Dialectic of Sex
Kate Millett's Sexual Politics
Mary Daly's Beyond God the Father
Catherine MacKinnon's Feminism Unmodified: Discourses on Life and Law
Susan Brownmiller's Against Our Will: Men, Women, and Rape
Marilyn French’s The Women’s Room (novel)
Audre Lord’s Zami: A New Spelling of My Name – A Biomythography (autobiographical fiction)
Adrienne Rich’s Of Woman Born: Motherhood as Experience and Institution and The Dream of a Common Language (poet
96. Listen to a woman speak at a public gathering
(if she hasn’t painfully lost her wind). She doesn’t
“speak,” she throws her trembling body forward;
she lets go of herself, she flies; all of her passes
into her voice, and it’s with her body that she
vitally supports the “logic” of her speech. Her
flesh speaks true. She lays herself bare. In fact,
she physically materializes what she is thinking;
she signifies it with her body. In a certain way she
inscribes what she’s saying, because she doesn’t
deny her drives the intractable and impassioned
part they have in speaking. Her speech, even
when “theoretical” or political, is never simple
or linear or “objectified,” generalized: she draws
her story into history.
—Hélène Cixous, “The Laugh of the Medusa”
The passage supports the view that
(A) a woman speaks through her gendered body
(B) the body is a measure of historical power
(C) the theoretical is an inscription of desire
(D) oratory has traditionally been a woman’s
source of power
(E) women speakers are typically unaffected by
the dominant ideology
Ans-(A) a woman speaks through her gendered body
Friedan
12 )"[Friedan] demands that all women find a life purpose or career which will give them an independent identity and what she calls fulfillment. In that, she surely goes too far."The sicknesses that Betty Friedan describes with so much penetration and courage are the products of a diseased social organism."Friedan tends to set up a counter-mystique; that all women must have creative interests outside the home to realize themselves.""The average girl will continue to stay home and cream her face as long as society sanctions it." THE BOOK IS ----
A) The Feminine Mystique arrived in 1963.(the first edition )
B)MARRIAGE AND FAMILY LIVING, August 1963
C) A and B
D) None
Ans-A) The Feminine Mystique arrived in 1963.
13) "Any single pattern for women, or anyone else for that matter, is bound to be wrong for many."which later became the Journal of Marriage and Family, which still publishes today. THE BOOK IS--
A) The Feminine Mystique arrived in 1963.(the first edition )
B)MARRIAGE AND FAMILY LIVING, August 1963
C) A and B
D) None
Ans-B)MARRIAGE AND FAMILY LIVING, August 1963
Bakhtin
According to Bakhtin the idea of the
Carnivalesque represents the
following characteristics except :
(A) a liberation from the prevailing
truth and established order
(B) a harking back to the past
(C) emphasis on play, parody,
pleasure and the body
(D) the suspension of all
hierarchical rank, principles,
norms and prohibitions
Ans; (A) a liberation from the prevailing truth and established order
because;
Carnival is a profane celebration tolerate by the Church that takes place before Lent, in which people feast and dress in costume and when “the world turned upside down”. It used to challenge the Church morale. The traditional carnival has inspired through time and spaces different variations. Carnival and the grotesque are anti-hegemonic strategies to escape the hierarchy, the church, or other power like capitalism.
Carnivalesque For the literary theorist and philosopher Mikhail Bakhtin the Carnivalesque is both the description of a historical phenomenon and the name he gives to a certain literary tendency. Historically speaking, Bakhtin was interested in great carnivals of Medieval Europe. He saw them as occasions in which the political, legal and ideological authority of both the church and state were inverted — albeit temporarily — during the anarchic and liberating period of the carnival. The carnival was not only liberating because - for that short period - the church and state had little or no control over the lives of the revelers, although Terry Eagleton points out this would probably be “licensed” transgression at best. But, its true liberating potential can be seen in the fact that set rules and beliefs were not immune to ridicule or reconception at carnival time; it “cleared the ground” for new ideas to enter into public discourse. Bakhtin goes so far as to suggest that the European Renaissance itself was made possible by the spirit of free thinking and impiety that the carnivals engendered. Bakhtin recognizes that the tradition of carnival dwindled in Europe following the Renaissance and the eventual replacement of feudalism with capitalism. As a result, he says, the public spirit of the carnival metamorphosed into the “carnivalesque”: that is, the spirit of carnival rendered into literary form. The person who, existing on the cusp of this social upheaval, most fully represented this spirit was François Rabelais, and the book which holds the greatest purchase on Bakhtin’s imagination is Rabelais” Gargantua and Pantagruel. The comic violence, bad language, exaggeration, satire, and shape-shifting which fill this book are, for Bakhtin, the greatest example of carnivalesque literature. Ever concerned with the liberation of the human spirit, Bakhtin claimed that carnivalesque literature — like the carnivals themselves — broke apart oppressive and moldy forms of thought and cleared the path for the imagination and the never-ending project of emancipation. Bakhtin suggests that carnivalesque literature also became less common as the increasingly privatized world of modern, individualistic capitalism took hold. Instances of the Carnivalesque?
o Reality TV
o Spring Break
o Girls Gone Wild
o Homecoming
o Costume parties
o Saturday Night Live
o Halloween
o Super Bowl
o Mardi Gras
Therefore, According to Bakhtin the idea of the Carnivalesque represents the a harking back to the past, emphasis on play, parody,
pleasure and the body, the suspension of all
hierarchical rank, principles,norms and prohibitions
post-modernism
“From a Second Space perspective
city space becomes more of a mental
and ideational field, conceptualised
in imagery, reflexive thought and
symbolic representation, a conceived
space of the imagination or what I
will henceforth describe as the urban
imagery.”
(Edward Soja, Postmetropolis)
Which of the following statements
cannot be applied to Soja’s
proposition on the Second Space ?
(A) Second Space perspective tends
to be more subjective.
(B) Second Space perspective is
concerned with symbolic
representation of reality.
(C) Second Space perspective is
concerned with the
fundamentally materialist
approach.
(D) Second Space perspective deals
with ‘thoughts about space’.
Ans: (C) Second Space perspective is concerned with the fundamentally materialist
approach.
Questions 65-68 are based on the following passage.
Orientalism is a style of thought based upon an
ontological and epistemological distinction made
between “the Orient” and (most of the time) “the
Occident.” . . . Orientalism can be discussed and
5 analyzed as the corporate institution for dealing with
the Orient—dealing with it by making statements
about it, authorizing views of it, describing it, by
teaching it, settling it, restructuring, and having
authority over the Orient. . . . Without examining
10 Orientalism as a discourse one cannot possibly
understand the enormously systematic discipline by
which European culture was able to manage—and
even produce—the Orient politically, sociologically,
militarily, ideologically, scientifically, and imagi15
natively during the post-Enlightenment period.
65. The passage argues that
(A) the Orient and the Occident are exact
opposites of each other
(B) Orientalism as a discipline does not receive
sufficient corporate funding
(C) European scholars have focused on the
sociopolitical realities of the Orient
(D) European universities do not have enough
classes in Eastern culture
(E) Europeans remake the Orient in attempting
to understand it
66. The term “Orientalism” is most closely associated
with the theories of
(A) structuralism
(B) deconstruction
(C) Marxism
(D) new historicism
(E) postcolonialism
ANS=(E) postcolonialism
11. The Empire Writes Back has been jointly
authored by
(i) Helen Tiffin
(ii) Bill Ashcroft
(iii) Helen Gardner
(iv) Garreth Griffiths
(A) (i) (ii) (iv)
(B) (ii) (iii) (iv)
(C) (ii) (i) (iii)
(D) (i) (iii) (iv)
Ans-(A) (i) (ii) (iv)
67. In calling Orientalism a “discourse” (line 10), the
author draws on the terminology most closely
associated with
(A) Michel Foucault
(B) Jacques Lacan
(C) Jacques Derrida
(D) Gayatri Spivak
(E) Julie Kristeva
Ans-(D) Gayatri Spivak
68. The author is
(A) Stanley Fish
(B) Luce Irigaray
(C) Sara Suleri
(D) Edward Said
(E) Wolfgang Iser
ANS-(D) Edward Said
6. “Provincializing Europe” is a concept propounded by
(A) Edward Said (B) Paul Gilroy
(C) Abdul R. Gurnah (D) Dipesh Chakravarty
Ans-First published in 2000, Dipesh Chakrabarty's influential Provincializing Europe addresses the mythical figure of Europe that is often taken to be the original site of modernity in many histories of capitalist transition in non-Western countries. This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Provincializing Europe proposes that every case of transition to capitalism is a case of translation as well--a translation of existing worlds and their thought--categories into the categories and self-understandings of capitalist modernity. Now featuring a new preface in which Chakrabarty responds to his critics, this book globalizes European thought by exploring how it may be renewed both for and from the margins.
(A) Edward Said--oriantalism
(B) Paul Gilroy--Against Race
C)Paradise, Desertion and By the Sea, by Abdul R. Gurnah is a Tanzanian novelist based in the United Kingdom.
28. In which of his essays does Homi Bhabha discuss the ‘discovery’ of English in colonial India ?
(A) “Signs taken for Wonders”
(B) “Mimicry”
(C) Nation and Narration
(D) “The Commitment to Theory”
Ans-(A) “Signs taken for Wonders”
23. The author of Nation and Narration
is
(A) Edward Said
(B) Gayatri Chakravorty Spivak
(C) Frantz Fanon
(D) Homi Bhabha
Ans:(D) Homi Bhabhas books-Nation and Narration, The Location of Culture,
Edward Said Continuing the Conversation, "Cosmopolitanisms" in Public Culture
22. Imagined Communities is a book by
(A) Aijaz Ahmad
(B) Edward Said
(C) Perry Anderson
(D) Benedict Anderson
marxism
16. Ideology and Ideological State Apparatuses is an essay by
(A) Terry Eagleton
(B) Karl Marx
(C) Raymond Williams
(D) Louis Althusser
( Louis Althusser (1918-1990), French philosopher, is best known for his contributions to the debate over the origins and development of the theories of German philosopher Karl Marx.His Ideology and Ideological State Apparatuses was first published: in La Pensée, 1970 in French)
45. The term homology means a correspondence between two or more structures. Who of the following developed a theory of relations between literary works and social classes in terms of homologies ?
(A) Raymond Williams (B) Christopher Caudwell
(C) Lucien Goldmann (D) Antonio Gramsci
Ans-(C) Lucien Goldmann
21) who had referred to Gayatri Chakravorty Spivak’s writing as “inaccessible”
(A) Raymond Williams (B) Christopher Caudwell
(C) Lucien Goldmann D) Terry Eagleton
Ans-D) Terry Eagleton
archetypal criticism
20. Who among the following is a Canadian critic ?
(A) I.A. Richards
(B) F.R. Leavis
(C) Cleanth Brooks
(D) Northrop Frye
(Northrop Frye (1912-1991), Canadian literary critic, best known as a major proponent of archetypal criticism, has most important work, Anatomy of Criticism (1957), introducing archetypal criticism, identifying and discussing basic archetypal patterns as found in myths, literary genres, and the reader’s imagination.)
Speech Act Theroy
The book Speech Acts is written by
(A) John Austin
(B) John Searle
(C) Jacques Derrida
(D) Ferdinand de Saussure
(John Searle's The book Speech Acts is an essay in the Philosophy of Language.)
s t colridge
56. ‘The design of the collaborators was to include in it two different kinds of poetry;
in the one ‘the incidents and agents were to be in part at least, supernatural’, in the
other, ‘subjects were to be chosen from ordinary life’. Who made this comment
and on which book?
A) Wordsworth on The Lyrical Ballads
B) Coleridge on The Lyrical Ballads
C) Coleridge on The Ancient Mariner
D) Wordsworth on The Prelude
Ans-B) Coleridge on The Lyrical Ballads
78. The IMAGINATION, then, I consider either as
primary, or secondary. The primary IMAGINATION
I hold to be the living power and prime
agent of all human perception, and as a repetition
in the finite mind of the eternal act of creation in
the infinite I AM. The secondary I consider as an
echo of the former, coexisting with the conscious
will, yet still as identical with the primary in the
kind of its agency, and differing only in degree,
and in the mode of its operation. It dissolves, diffuses,
dissipates, in order to re-create; or where
this process is rendered impossible, yet still, at all
events, it struggles to idealize and to unify. It is
essentially vital, even as all objects (as objects)
are essentially fixed and dead.identify the author
(A) Coleridge
(B) Addison
(C) Dryden
(D) Arnold
(E) Eliot
Ans-Coleridge literary biographia
post modernism
64. Name the author of the book The Postmodern Condition
A) Habermas B) Derrida
C) Foucault D) Lyotard
Ans-D) Lyotard
reader responce theroy
24. In ------- there is no “objective” work of literature lying on the
seminar table: Bleak House is simply the assorted accounts of
the novel that have been given or will be given. The true writer
is the reader. Reading is not a matter of discovering what the
text means, but a process of experiencing what it does to you.indicate which
of the following terms correctly completes the statement.
(A) New Criticism
(B) Deconstruction
(C) Structuralism
(D) Phenomenological Criticism
(E) Reception Theory
Ans-(E) Reception Theory
James Russell Lowell
Questions 177-180 are based on the following passage.
For the god being one day too warm in his wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she shrunk,
And, Ginevra-like, shut herself up in a trunk;
5 And, though ’twas a step into which he had driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he’d play the Byronic,
And I can’t count the obstinate nymphs that he brought over
10 By a strange kind of smile he put on when he thought of her.
“My case is like Dido’s,” he sometimes remarked;
“When I last saw my love, she was fairly embarked.”
—James Russell Lowell, A Fable for Critics
177. The lines comment on the story of
(A) Apollo and Daphne
(B) Venus and Adonis
(C) Jason and Medea
(D) Zeus and Europa
(E) Orpheus and Eurydice
Ans-(A) Apollo and Daphne
178. In this context, to “play the Byronic” (line 8) is to
emulate the
(A) criminal despair of Cain
(B) athletic prowess of Leander
(C) curious passivity of Don Juan
(D) self-dramatizing suffering of Childe Harold
(E) selfless nobility of the Prisoner of Chillon
Ans-(D) self-dramatizing suffering of Childe Harold
179. By the line “My case is like Dido’s” (line 11), the
speaker means that both he and Dido
(A) became promiscuous in an attempt to forget
their loved ones
(B) intended to renounce love because of an
unhappy love affair
(C) provisioned the ships carrying their loved
ones away
(D) escaped from their importunate lovers
(E) experienced the flight of someone they loved
Ans-(E) experienced the flight of someone they loved
180. In line 12, “embarked” reinforces the pun in
(A) “warm in his wooing” (line 1)
(B) “shut herself up in a trunk” (line 4)
(C) “Her memory he nursed” (line 7)
(D) “he’d play the Byronic” (line 8)
(E) “nymphs that he brought over” (line 9)
Ans-(B) “shut herself up in a trunk” (line 4)
post colonialism
49. In calling orientalism a “discourse,” Said
draws on the terminology most closely
associated with
(A) Michel Foucault
(B) Jacques Lacan
(C) Jacques Derrida
(D) Gayatri Spirak
Ans-(A) Michel Foucault
hybridity is the straddling of two cultures and the consequent ability to negotiate the difference. it describe the construction of culture and identity within conditions of colonial antagonism and inequality. hybridity is the process by which the colonial governing authority tries to convert the identity of the colonized within a singular universal framework. The colonizers would look at the colonized in their own environment and judge their behavior and practices from their own frame of reference. he contends that a new hybrid identity or subject-position emerges from the interweaving of elements of the colonizer and colonized challenging the validity of any essentialist cultural identity. Hybridity is positioned as an antidote to essentialism, or the belief in invariable and fixed properties which define the ‘whatness’ of a given entity
1.bhabha
2.bharta
3.soykan
4.rushdie
ans-1.bhabha
indian criticism
48. Who was the first art critic to define
‘Rasa’ ?
(A) Valmiki
(B) Dandin
(C) Bharata
(D) Mahimbhatta
Ans-(C) Bharata
Bharat was first art critic to define rasa us. He must have had in mined Natyasastra and drama when he defined art emotion. He said that rasa is achieved as a result of the functioning of the:
1) Vibhavas the objective condition causing an emotion,
2) The anubhavas bodily gestures by which the emotion is expressed.
3) Vyabhichari bhavas- secondly emotion and sensations which feed the dominant emotion.
4) Vibhavas include person as well the circumstances that cause or excite the emotion.
What the ancients thought about the name and nature of poetry may be had from the Riks of the Vedas and the of the Upanishads. The Vedic texts declared that the poets were ‘gods’ Kavi was the term they employed. While invoking the foremost of the Gods Ganpati they addressed him as poet’s poet. A human being could become a poet only in so for as he attained to the nature a sates of a god.
The vedic kavi was also a Yogi in the sense that he was absolutely conscious of the process of creation .Apart from the normal consciousll’jagrat’ (the waking states) the Upanishads spoke of subtler states such as swapana (the dream states) susupti (deep sleep) and turiya (the transcendental states) not to mention infraconscious levels. The Upanishadic seer poet could withdraw, ingather or collect, contain and concentrate his consciousness and come out to express his vision and experious. His mental and other instrumental faculties could receive the inspiration in a state of wise passiveness and transcribe it without distortion. He could thus give us the vision and he knew the way to get back to the source and transcript.
Bharat gives us eight kinds of sentiments,
(1) Erotic
(2) Comic
(3) Pathetic
(4) Furious
(5) Heroic
(6) Terrible
(7) Odious
(8) Marvelous
These Eight are sentiments named by Brahman, I shall now speak of
(1)Dominant
(2)Transitory
(3)Temperamental states.
Ø The Erotic sentiments:-
The Erotic sentiment proceeds from the Dominant states of love and it has its basis bright attire, for whatever in this word is white, pure, bright and beautiful is appreciated in terms of Dominant state of love.
For Exam:
One who is elegantly dressed is called a lovely person. Just as person persons are named ,after the custom of their father or mother or family in accordance with the traditional authority, so sentiments, the states and other objects connected with drama are given names in pursuance of custom and the traditional authority. It owes its origin to men .Now the terrible sentiment has as its basis the dominant state of fear. And women and relates to the fullness of youth.
Ø The comic sentiment:-
Now the comic sentiment has as its basis the Dominant emotion of laugher. This is created by Determinants such as showing unseemly dress or irrelevant words, mentioning of different faults, and similar other things. This is to be represented on the stage by consequents like the eyes wide or contracting them, perspiration ,color of the face ,and taking hold of the sides. Transitory states in it are indolence, dissimulation, drowsiness, sleep, like. This (sentiment) is of two kinds:
(1) Self-centered
(2)centered in others.
When person himself laughs it relates to the self-centered, but when he makes others laugh it is centered others.
The pathetic sentiment:-
Now the pathetic sentiment arises from the Dominant state of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity, flight, accidents or any other misfortune. This is to be represented on the stage by means of consequents such as, shedding tears, lamentation, dryness of the mouth, change of color, dropping limbs, being out of breath, loss of memory and the like. Transitory states connected with it bare indifference, languor, anxiety like.
Ø The Furious sentiment:-
Now the furious sentiment has as its basis the Dominant state of anger .It owes its origin to Raksasas, Danavas and haughty men, and is caused by fights. This is created Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing like, its actions are beating, breaking, crushing, cutting, piercing, taking up arms, and other similar deeds. This is to be represented on the stage by means of consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, and the like.
The Heroic sentiment:-
Now the Heretic sentiment relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, like. It is to be represented on the stage by consequents such as firmness, patience, heroism, charity, diplomacy and the like.
The heroic sentiment arises from energy, absence of surprise,
This heroic sentiment is to be properly represented on the stage by firmness, patience.
Ø The Terrible sentiment
Now the terrible sentiment has as its basis the dominant state of fear. This is created by Determinants like hideous noise, sight of ghost, panic and anxiety due to jackals and owls, staying in a simply house or forest, sight of death or captivity of dear ones, or news of it, or discussion about it. It is to be represented on the feet, horrpilation, and change of color and loss of voice. Its
Transitory states are paralysis,
The marvelous sentiment:-
The marvelous sentiment has as its basis the dominant states of astonishment. It is created by determinants such as sight of heavenly beings or event’s attainment of desired objects, entrance into a superior mansion, temple, audience hall, and a seven- storied palace and illusory and magical. Acts. It is to be represented on the stage by consequents such as wide opening of eyes, looking with fixed gaze.
The marvelous sentiment is which arises from words chapter, deed and personal beauty.
Ø The odious sentiment
Now the odious sentiment has as its basis the dominant state of disgust. Zit is created by determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by consequents such as stopping the movement of all limbs, narrowing down of the mouth vomiting, spiting like. Transitory states in it are epilepsy, delusion, agitation.
The odious sentiment arises. In many ways from disgusting sight, taste, smell, touch a sound which causes uneasiness.
6. ‘Aucitya’ refers to :
I. Decorum
II. Propriety
III. Proportion
IV. Accuracy
(A) I and IV are correct.
(B) I and III are correct.
(C) II is correct.
(D) II and IV are correct.
Ans-II. Propriety
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