Subject : Folk lIterature - KSET

Paper : II

Subject : Folk lIterature

Subject Code : 21

Roll No.

OMR Sheet No. : ____________________

Name & Signature of Invigilator/s

Signature : _________________________________ Name : _________________________________

Time : 2 Hours Maximum Marks : 200

Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 100

k – 2120 1 ±Üâ.£.®æãà./P.t.o.

Instructions for the Candidates 1. Write your roll number in the space provided on the top of this page. 2. This paper consists of Hundred multiple-choice type of questions. 3. At the commencement of examination, the question booklet will be

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prohibited. 13. there is no negative marks for incorrect answers. 14. In case of any discrepancy found in the kannada translation of a

question booklet the question in english version shall be taken as final.

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total Number of Pages : 40

Paper II 2 k – 2120

hÝ®Ü±Ü¨Ü ÓÝ×ñÜÂ

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k – 2120 3 Paper II

1. ‘Folklore is a lively FOSSIL which refuses to Die’. This statement is by

(A) Catherine

(B) C. F. Potter

(C) M. Herman

(D) Marius Barbe

2. J. G. Van Herder belongs to the country

(A) Germany

(B) Finland

(C) America

(D) England

3. The Evolution Theory is putforwarded by

(A) Levis Henry Morgan

(B) Karl Marx

(C) Carlos Linins

(D) Don Ben Amos

4. The editor of the book ‘Karnataka Janapada Kalegalu’

(A) De. Javare Gowda

(B) Hi. Chi. Boralingaiah

(C) T. N. Shankaranarayana

(D) Go. Ru. Channabasappa

Folk lIterature

Paper – II

Note : This paper contains hundred (100) objective type questions. each question carries two (2) marks. all questions are compulsory.

5. ‘Palnadu Veera Charitham’ is an epic belonged to which language ?

(A) Telugu (B) Tamil (C) Malayalam (D) Tulu

6. Ur type means (A) Prototype identified on the basis of

text variants (B) Prototype identified by not

considering the text variations (C) Prototype not identified on the basis

of text variants (D) Arch type model of text variants

7. The editor of ‘Standard Dictionary of Folklore, Mythology and Legend’ is

(A) Maria Leach (B) Margaret Mead (C) Maria Marret (D) William Boscom

8. In the introduction of this book Theoder Benfery explained ‘India is the Origin of Folktales’

(A) Golden Bough (B) Panchatantra (C) Vaddaradhane (D) The Athenium



9. ‘Das Volk’ (The Folk) ±ÜÄPÜÆ³®æ¿áá

CÊÜÄí¨Ü ÓÜíÁãàiÓÜÆ³or¨ÝªXÃÜáñÜ¤¨æ

(A) hæ. ¹. ÖÜvÜìÃ…

(B) XÅÊÜå… ŸÅ¨ÜÓ…ì

(C) aÝÇ…Õì vÝËì®…

(D) ÇæãàÄ ÖÝíPæã

10. ‘ÊÝ[æ ÊÜááÃÜÚàÓ…’ D ÓÜí±ÜÅ¨Ý¿áPæR ÓæàÄ¨Üáª

(A) gáíg±Ü³ ÓÜí±ÜÅ¨Ý¿á

(B) ÊÜáípæàÓÝÌËá ÓÜí±ÜÅ¨Ý¿á

(C) SívæãàŸ ÓÜí±ÜÅ¨Ý¿á

(D) ÊÜÞ¨æàÍÜÌÃÜ ÓÜí±ÜÅ¨Ý¿á

11. ‘Æ¿á ±ÜâÃÝ|’ C¨Ü®Üá° ËÊÜÄÓÜáñÜ¤¨æ

(A) gWÜ£¤®Ü AíñÜÂ

(B) gWÜ£¤®Ü g®Ü®Ü (EWÜÊÜá)

(C) ÊÜá®ÜáPÜáÆ¨Ü »ÜËÐÜÂ

(D) ÊÜÞ®ÜÊÜÃÜ WÜñÜaÜÄñæÅ

12. ‘ÓÜÊÜáÑr ÓÜá±Ü¤±ÜÅhæn’ GíŸáÊÜâ¨Üá CÊÜÄí¨Ü

±ÜÅ£±Ý©ÓÜÆ³qr¨æ

(A) ÔWÜ¾ív… ¶ÝÅ¿å…x

(B) GÄP… ¶ÝÅÊÜå…

(C) PÝÇ…ì ¿áãíW…

(D) ±ÝÊ…Çæã

13. ÊÝÓÜ¤ËPÜ (ÓÜá#o)ÓÜíÓÜ¢£ GíŸáÊÜâ¨Üá

(A) ÓÝ¾ÃÜPÜ, ¨æàÊÝÆ¿á, ÊÜÓÜá¤

(B) ÊÝwPæ, ®Üí¹Pæ, ÍÝÓÜŒPÜÊÜáì

(C) g®ÝíWÜ&LÐÜ˜, g®ÝíWÜ&Ó ÜíXàñ Ü,

ÓÝ¾ÃÜPÜ

(D) ÊÜáÖÝPÝÊÜÂ, ÇÝÊÜ~, ¨æàÊÝÆ¿á

14. ‘g®Ü±Ü¨Ü ÓÝ×ñÜÂ¨Ü ËÊÜáÍæì’ GíŸá¨Üá C¨ÜPæR

ÓÜíŸí˜Ô¨Ü bíñÜ®æ¿ÞX¨æ

(A) B®ÜÌÀáPÜ hÝ®Ü±Ü¨Ü

(B) ÊÜÞ±ÝìvÜá(Êæáo) hÝ®Ü±Ü¨Ü

(C) hÝ®Ü±Ü¨Üñæ

(D) ±ÝÃÜí±ÜÄPÜ ±ÜÅÊÝÓæãà¨ÜÂÊÜá

15. ‘JWÜoá’ C¨ÜÃÜÈÉ®Ü ±ÜÅŸÆ AíÍÜ

(A) ±ÜÅÓÝ¤ÊÜ®æ

(B) ñÜ¹ºŸáº

(C) ÓÜÊÜìÓÜÊÜá¾ñÜ ñÜñÜ¤$Ì

(D) A®Üá±ÝÆ®æ

16. ‘© ²ÅËáqÊ… PÜÆcÃ…’ ŸÃÜÖÜWÝÃÜ

(A) GÇ…. Ga…. ÊæãàWÜì®…

(B) C. ¹. pæàÆÃ…

(C) hæ. i. ¶æÅàÃÜkáÃ…

(D) ÍÜíPÜÃ… Óæ®… WÜá±Ü¤

17. ‘ñæÃæPÜãoár’ GíŸáÊÜâ¨Üá D ÃÝgÂ¨Ü ±ÜÅ¨ÜÍÜì®Ü

PÜÇæ¿ÞX¨æ

(A) Bí«ÜÅ ±ÜÅ¨æàÍÜ

(B) PÜ®ÝìoPÜ

(C) ñÜËáÙÜá®ÝvÜá

(D) PæàÃÜÙÜ

18. ‘gáíg±Ü³’ PæÙÜWæ ÖæÓÜÄÔ¨Ü ¨æàÊÜÃÜ AÊÜñÝÃÜ

Gí¨Üá ®ÜíŸÇÝX¨æ

(A) WÜ|±Ü£

(B) Bíg®æà¿á

(C) ËàÃÜ»Ü¨ÜÅ

(D) B©ÍæàÐÜ



9. The concept of ‘Das Volk’ (The Folk) is constructed by

(A) J. B. Herder

(B) Grimm Brothers

(C) Charles Darwin

(D) Lauri Honko

10. ‘Vaghe Muralis’ belonged to

(A) Junjappa Tradition

(B) Manteswamy Tradition

(C) Khandoba Tradition

(D) Madeshwara Tradition

11. ‘Laya Purana’ describes

(A) The end of this world

(B) The birth of this world

(C) The future of the mankind

(D) The past of the humans

12. ‘Collective Unconscious’ was advocated by

(A) Sigmund Freud

(B) Eric Fromm

(C) Carl Jung

(D) Pavlov

13. Tangible culture is

(A) Monument, Temple, Material

(B) Custom, Belief, Ritual

(C) Ethno-medicine, Ethno-music, Monument

(D) Epic, Ballad, Temple

14. ‘Folk literary criticism’ is an idea related to

(A) Applied Folklore

(B) Meta Folklore

(C) Folklorism

(D) Heritage Tourism

15. The dominant element in Riddle is

(A) Proposition

(B) Puzzle

(C) Axiom

(D) Compliance

16. ‘The Primitive Culture’ is authored by

(A) L. H. Morgan

(B) E. B. Taylor

(C) J. G. Frazer

(D) Shankar Sen Gupta

17. ‘Terekoottu is performing art of

(A) Andhra Pradesh

(B) Karnataka

(C) Tamil Nadu

(D) Kerala

18. ‘Junjappa’ is believed to be an incarnation of

(A) Lord Ganapathi

(B) Lord Anjaneya

(C) Lord Veerabhadra

(D) Lord Àdishesha



19. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Üá ±ÜËñÜÅ PÜ¥Ü®ÜÊÝX¨æ ?

(A) ¨ÜíñÜPÜ¥æ

(B) ±ÜâÃÝ|PÜ¥æ

(C) hÝ®Ü±Ü¨Ü PÜ¥æ

(D) ÖÝÓÜÂ

20. ‘hÝ®Ü±Ü¨Ü ÓÝ×ñÜÂ ¨ÜÍÜì®Ü’ «ÝÃÝÊÝ×¿á®Üá° ±ÜÅPÜqÓÜáÊÜ ËÍÜÌË¨ÝÂ¯Æ¿á

(A) ÊæáçÓÜãÃÜá ËÍÜÌË¨ÝÂ¯Æ¿á

(B) PÜ®Ü°vÜ ËÍÜÌË¨ÝÂ¯Æ¿á

(C) PÜ®ÝìoPÜ ËÍÜÌË¨ÝÂ¯Æ¿á

(D) PÜ®ÝìoPÜ hÝ®Ü±Ü¨Ü ËÍÜÌË¨ÝÂ¯Æ¿á

21. ÓÜñÜÂÊæäà, ÓÜáÙæãÛà ?

I. ±ÝÅbà®Ü ËÐÜ¿áÊæäí Ü̈á ‘»è£PÜ ÓÜíÓÜ¢£’Wæ Jí¨Üá E¨ÝÖÜÃÜOæ¿ÞXÃÜáñÜ¤¨æ

II. oíW… qÌÓÜ rÃ…WÜÙ Üá (EaÝfÃÜOæ¿áÈÉ ñÜvÜÊÜÄPæ Eíoá ÊÜÞvÜáÊÜ ±ÜÅÁãàWÜWÜÙÜá) ÊÜåèUPÜ g®Ü±Ü¨Ü A«ÜÂ¿á®Ü

III. EÚ¿ááËP æW ÜÙ Ü á A»ÝÂÓ ÜŸÆ©í¨Ü Ê Ü á áí¨ Ü áÊ ÜÄÓ ÜÆ ³o rÊ Ü âW Ü Ù ÜÆ É , ¯g ÖæàÙÜ¸æàPæí¨ÜÃæ AÊÜâWÜÙÜá ¿ÞÃÜ ®ÜvÜáÊæ PÜívÜá ŸÃÜÆ³vÜáñÜ¤Êæäà AÊÜÃÜÈÉ CÊÜâWÜÚWæ E¨æªàÍÜWÜÚÊæ

IV. g®ÜÃÜá C®æã°Êæá¾ PÝÆPÜÅÊæáà| WÜÊÜá®ÝÖÜì ± Ü â® ÜÃÝÊ Üñ Üì® æ¿áÈ É Ó Ü íÊ Ü×Ó ÜÆá Ÿ¿áÔ Ü̈ÈÉ Ë®ÝÍÜ̈ Ü Aíb®ÜÈÉÃÜáÊÜ g®Ü±Ü̈ Ü A«ÜÂ¿á®ÜÊÜ®Üá° ±Üâ®ÜÍæcàñÜ®ÜWæãÚÓÜŸÖÜá¨Üá

ÓÜíPæàñÜWÜÙÜá :

(A) I ÓÜáÙÜáÛ, II, III ÊÜáñÜá¤ IV ÓÜñÜÂ

(B) II ÓÜáÙÜáÛ, I, III ÊÜáñÜá¤ IV ÓÜñÜÂ

(C) III ÓÜáÙÜáÛ, I, II ÊÜáñÜá¤ IV ÓÜñÜÂ

(D) IV ÓÜáÙÜáÛ, I, II ÊÜáñÜá¤ III ÓÜñÜÂ

22. ÊÜá®ÜáPÜáÆ¨Ü ËPÝÓÜ¨ÜÈÉ C. ¹. pæàÆÃ… ±ÜÅÓÝ¤²Ô¨Ü ZorWÜÙÜ PÜÅÊÜáÊÜ®Üá° WÜáÃÜá£ÔÄ.

I. A®ÝWÜÄPÜ Ô§£ II. ŸŸìÃÜñæ III. ®ÝWÜÄPÜñæ

ÓÜíPæàñÜWÜÙÜá : (A) I, II, III (B) II, III, I (C) III, II, I (D) I, III, II

23. ±ÜÅÊÜááS ÆPÜÒ|ÊÜâ I. PÜñæÁãí¨ÜÃÜ AÆ³ñÜÊÜá ZoPÜ II. PÜñæÁãí¨ÜÃÜ WÜÄÐÜuñÜÊÜá ZoPÜ III. ŸÖÜáPÝÆ EÚ¿ááÊÜ ÍÜQ¤ IV. PÜñæÁãí¨ÜÃÜ ñÝñÝRÈPÜ ÆPÜÒ|


(A) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(B) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(C) II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(D) II ÊÜáñÜá¤ I ÓÜÄ¿ÞXÊæ

24. ËÊÝÖÜ¨Ü ËË«Ü ®ÜÊÜáã®æWÜÙÜá I. HPÜËÊÝÖÜ, ŸÖÜáËÊÝÖÜ, ŸÖÜá±Ü£ñÜÌ II. ŸÖÜá±Ü£°ñÜÌ, ®Ý©¯Áãí©Wæ ËÊÝÖÜ,

Êæáç¨Üá®Ü®æãí©Wæ ËÊÝÖÜ III. HPÜ±Ü£°, ÊÜÞñÜê ÓÝ§¯à¿á , ±Ü£ñÜÌ¨Ü ÊÜÞñÜê

±ÝÅ«Ý®ÜÂ¨Ü IV. ²ñÜêÊÜíÎà¿áñæ, ²ñÜêÓÝ§¯à¿á,

²ñÜê±ÝÅ«Ý®ÜÂ¨Ü

ÓÜíPæàñÜWÜÙÜá : (A) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ

(B) I I Ó ÜÄ¿ÞX¨ æ Ê Ü áñ Ü á ¤ IV P Üãv Ü ÓÜÄ¿ÞX¨æ

(C) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÆÉ

(D) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ



19. Which among the following is a sacred

narrative ?

(A) Anecdote

(B) Myth

(C) Folktale

(D) Joke

20. The university publishing the serial

‘Janapada Sahithya Darshana’

(A) University of Mysore

(B) Kannada University

(C) Karnataka University

(D) Karnataka Janapada University

21. Whether true or false ?

I. A thing of the past is an example

for ‘Material culture’

II. Tongue twisters are verbal folklore

III. Survivals are not vestiges carried on

out of habit rather they have purposes

among whom they are found

IV. Folklore on the verge of ‘dying

out’ may be revived if people again

wish to communicate with notable

frequency over time

Codes :

(A) I is false, II, III and IV are true

(B) II is false, I, III and IV are true

(C) III is false, I, II and IV are true

(D) IV is false, I, II and III are true

22. Identify the order of stages proposed by E. B. Tylor in the evolution of mankind.

I. Savagery II. Barbarism III. Civilization

Codes : (A) I, II, III (B) II, III, I (C) III, II, I (D) I, III, II

23. Motif is the I. Minimal unit of a tale II. Maximal unit of a tale III. Having power to persist IV. Temporary feature of a tale

Codes : (A) I and IV are correct (B) I and III are correct (C) II and III are correct (D) II and I are correct

24. The different types of marriage

I. Monogamy, Polygamy, Polyandry

II. Polygyny, Sororate, Levirate

III. Monogamous, Matriarchal, Avunculocal

IV. Patrilineal, Patrilocal, Patriarchal

Codes :

(A) I and II are correct

(B) II is correct and IV is also correct

(C) III and IV are not correct

(D) III and IV are correct



25. hÝ®Ü± Ü¨ Ü A«ÜÂ¿á® ÜÊ Ü â D PÝÃ Ü|©í¨Ü ÍÜQ¤¿ááñÜÊÝX¨æ.

I. PÜ¥Ü®ÜWÜÙÜá ÊÜáñÜá¤ ±ÝsÝíñÜÃÜWÜÙÜá II. ±ÜÅÓÜÃÜ| ÓÜÌ»ÝÊÜ III. BËÐÝRÃÜ IV. ±ÜÃÜí±ÜÃæ

ÓÜíPæàñÜWÜÙÜá : (A) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ (B) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ (C) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ (D) II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

26. »ÝÃÜ£à¿á ÊÜÞ×£¿á®Üá° B«ÜÄÔPæãívÜ Ô¨ÝœíñÜWÜÙÜá ¿ÞÊÜâÊÜâ ?

I. ¦ÁãàvÜÃ… ¸æ¯Õ¿áÊÜÃÜá ±ÜÄaÜÀáÔ¨Ü ÓÜ§ÙÝíñÜÄPæ¿á Ô¨ÝœíñÜ

II. PÝÇ…ì gíW… ±ÜÄaÜÀáÔ¨Ü ËÍæÉàÐÜOÝñÜ¾PÜ ÊÜá®æãàËhÝn®Ü

III. ÊÜÞÂP…Õ ÊÜááÆÉÃ… ±ÜÄaÜÀáÔ¨Ü ÓèÃÜ ±ÜâÃÝ|

IV. ÇæË ÓÝóÓ… ±ÜÄaÜÀáÔ¨Ü ÃÜaÜ®ÝñÜ¾PÜñæ¿á Ô¨ÝœíñÜ

ÓÜíPæàñÜWÜÙÜá : (A) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ (B) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ (C) II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ (D) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

27. ´æäàPæãÉàÄÓÜÊÜå…Õ ÊÜáñÜá¤ B®ÜÌÀáPÜ hÝ®Ü±Ü¨Ü ±ÜÄPÜÆ³®æWÜÙÜá CÊÜÃæãí©Wæ WÜáÃÜá£ÔPæãíw¨æ

I. ÃæãàgÃ… w A¸ÝÅÖÜÊÜå…Õ ÊÜáñÜá¤ ÖÝÂ®…Õ ÊæãàÓÜÃ…

II. ¸æígËá®… ¸Ýp…Q®… ÊÜáñÜá¤ BÂÆ®… ÇæãÊÜÞP…Õ

III. Ãæi®Ü ŸãÂwP…Õ ÊÜáñÜá¤ BÂÆ®… vÜív…Õ IV. ÖÝÂ®…Õ ÊæãàÓÜÜÃ… ÊÜáñÜá¤ Ãæi®Ü ŸãÂwP…Õ

ÓÜíPæàñÜWÜÙÜá : (A) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ (B) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ (C) II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ (D) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

28. G. Pæ. ÃÝÊÜÞ®Üág®… BX¨ÜªÃÜá

I. ‘A®Ü¨ÜÃ… ÖÝÊæãìà¯’¿á ÓÜí±Ý¨ÜPÜ

II. ‘CíoÃ…±æÅpæàÍÜ®… B¶… wÅàÊÜå… Õ’®Ü ÇæàSPÜ

III. ‘hæívÜÃ… BÂív… hæ®æÅ’¨Ü ÓÜí±Ý¨ÜPÜ

IV. ‘¶æäàP…pæàÇ…Õ ¶ÜÅí Cíw¿á’¨Ü ÇæàSPÜ


(A) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ

(B) II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(C) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) I, II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

29. Êæáo hÝ®Ü±Ü¨Ü A«ÜÂ¿á®Ü C¨ÝX¨æ

I. AíñÜÃ…ÍæçÈ

II. g®ÜÍÜáÅ£ ŸWæY hÝn®Ü

III. ÊÜåèUPÜ ÓÝ×ñÜÂ¨Ü ËÊÜáÍæì

IV. PÜáÆÓÜíŸí˜ ËÊÜáÍæì

ÓÜíPæàñÜWÜÙÜá : (A) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ (B) II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ (C) I, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ (D) I, II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

30. ±èÃÝ~PÜ, ÊÜÞ®ÜÊÜÍÝÔŒà¿á ÊÜáñÜá¤ C£ÖÝÔà¿á »èWæãàÚPÜ Ô¨ÝœíñÜWÜÙÜá

I. I£ÖÝÔPÜ ¿Þ PÝÇÝ®ÜáPÜÅÊÜá Ü̈ ̧ æÙÜÊÜ~WæWæ ÓÜíŸí˜Ô¨Ü

II. ¯¨ÜÍÜì®ÝñÜ¾PÜ

III. ñÜáÆ®ÝñÜ¾PÜ

IV. ±ÜtÂà¿á


(A) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ


(C) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ



25. The folklore is dynamic because of I. Versions and variations II. Disseminating nature III. Invention IV. Tradition

Codes : (A) I and IV are correct (B) I and III are correct (C) I and II are correct (D) II and IV are correct

26. The Theories based on Indian data are I. Migration Theory introduced by

Theoder Benfcy II. Analytical Psychology introduced

by Carl Jung III. Solar Mythology introduced by

Max Muller IV. Structuralism introduced by

Levi Strauss

Codes : (A) I and III are correct (B) III and IV are correct (C) II and III are correct (D) I and IV are correct

27. The concept of Folklorisms and Applied Folklore is associated with

I. Roger D. Abrahams and Hans Moser

II. Benjamin Botkin and Alain Lomax III. Regina Beudix and Alan Dundes IV. Hans Moser and Regina Beudix

Codes : (A) I and III are correct (B) I and II are correct (C) II and IV are correct (D) III and IV are correct

28. A. K. Ramanujan is I. Editor of ‘Another Harmony’ II. Author of ‘Interpretation of Dreams’ III. Editor of Gender and Genre IV. Author of Folktales from India

Codes : (A) I and II are correct (B) II and III are correct (C) I and IV are correct (D) I, II, III and IV are correct

29. Meta folklore is I. Intragenre II. Knowledge of folklore III. Oral literary criticism IV. Ethnic criticism

Codes : (A) I and III are correct (B) II and IV are correct (C) I, III and IV are correct (D) I, II and III are correct

30. Mythological, Anthropological and Historico-Geographical theories are

I. Dia chronic II. Para digmatic III. Comparative IV. Textual

Codes : (A) I and III are correct (B) II and III are correct (C) III and IV are correct (D) I and IV are correct



31. ‘PÜñæ ®ÜÊÜáã®æ’¿á®Üá° ZoPÜÊæäí Ü̈®Ý°X ®æãàvÜáÊÜ

ÓÝ«ÜÂ ÊÜÞWÜìWÜÙÜá

I. ÖÜÆÊÝÃÜá ËÎÐÜr ÆPÜÒ|WÜÙÜ®Üá°

Jí¨ÜáWÜãwÓÜáÊÜíñæ

II. Jí¨Üá HPÜ AÔ¤ñÜÌ¨Üíñæ

III. Jí¨Üá A®è±ÜaÝÄPÜ ZoPÜÊÝX

IV. ŸÖÜáÃÜã±ÜWÜÙÜÈÉ ÊÜÂP Ü ¤W æãívÜ Jí¨Üá

£ÃÜáÙÝX


(A) I, II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(B) II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(C) I, II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) I, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

32. ÊÜåèUPÜ ÓÜã£Åà¿á Ô¨ÝœíñÜ¨ÜÈÉ ËÊÜÄÓÜÆ³oríñæ

‘PÜË ñÜÃÜ¸æà£’¿á ÊÜáãÃÜá ZorWÜÙÜá

I. ¯Ñð¿á BÈÓÜáËPæ¿á AÊÜ˜

II. QÅ¿ÞñÜ¾PÜ BÈÓÜáÊÜ AÊÜ˜

III. A»ÝÂÓÜ¨Ü AÊÜ˜

IV. ÖÝvÜáWÝÃÜ®ÝX ÃÜã²ÓÜáÊÜ AÊÜ˜


(A) I, II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(B) II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(C) I, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) I, II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

33. ÊÜÞÂiP…® Ü Ê æ áàÈ® Ü Ó ÜíÍ æãà« Ü® æ¿áÈÉ

PæÙÜX®Ü ¸æÙÜÊÜ~WæWÜÙÜá hÝ®Ü±Ü¨Ü A«ÜÂ¿á®Ü

ÓÜíÍæãà«Ü®æ¿áá ÖæaÜác ±ÝÅÓÜíXPÜÊÝWÜáÊÜâ¨ÜPæR

PÝÃÜ|ÊÝ¨ÜÊÜâ

I. ÊÜÞÈ®æãàÊ…ÔR E©ÌWÜ°ñæ&ÍÝÓÜŒ

PÜÊÜáìÔ¨ÝœíñÜÊÜ®Üá° ÃÜã²Ô¨ÜÃÜá

II. ÊÜÞÂiP… ÊÜáñÜá¤ ÍÝÓÜŒPÜÊÜáì A«ÜÂ¿á®ÜWÜÚWæ

QÅ¿ÞñÜ¾PÜ Ô¨ÝœíñÜÊÜ®Üá° A®ÜÌÀáÓÜÇÝX¨æ

III. ÊæàÆív… w ÖÝÂív… Jí¨Üá ®Üí¹PæWÜÙÜ

ÊÜXàìPÜÃÜ|ÊÜ®Üá° ÓÜã£ÅàPÜÄÔ¨ÜÃÜá

IV. ®æçËá£¤P Ü ÓÜíÓÝRÃÜWÜÙÜ ÊæáàÇæ B«ÜÄñÜ

iàÊÜ®ÜaÜPÜÅ¨Ü ÊÜXìàPÜÃÜ|


(A) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ

(B) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(C) I, II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ


34. 13®æ¿á ÍÜñÜÊÜÞ®Ü̈ ÜÊÜÃæWæ ±ÜÎcÊÜá ¿ááÃæãà²®ÜÈÉ

±æàíqíW…, g®ÜÍÜáÅ£ ÊÜáñÜá¤ CñÜÃÜ Ü̈êÍÜÂ

ÊÜÞ«ÜÂÊÜáWÜÙÜÈÉ ÊÜáPÜRÙÜá ×àWæ ÊÜ~ìÓÜÆ³vÜá£¤̈ ÜªÃÜá

I. ÊÜ¿áÓÜRÃÜ bPÜ~ bñÜÅ

II. ¿áPÜÒ¿áQÒ~¿áÃÜá

III. PÜáŸjÃÜá

IV. ¨ÜáÐÜrÍÜQ¤WÜÙÜá


(A) II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(B) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(C) III ÓÜÄ¿ÞX¨æ

(D) I ÓÜÄ¿ÞX¨æ



31. Possible ways of looking at the ‘tale type’ as a unit are

I. as binding of a number of motifs

II. as an individual entity

III. as an informal unit

IV. a substance manifested in multiple appearances

Codes :

(A) I, II, III and IV are correct

(B) II, III and IV are correct

(C) I, II and IV are correct

(D) I, III and IV are correct

32. The three stages of ‘Bard Training’ as

described in ‘oral formulaic theory’

I. Period of passive listening

II. Period of active listening

III. Period of practice

IV. Period of making of the singer

Codes :

(A) I, II and III are correct

(B) II, III and IV are correct

(C) I, III and IV are correct

(D) I, II and IV are correct

33. Following developments in the research on Magic caused Folklore research more contextual

I. Malinowski formulated anxiety-ritual theory.

II. Functional theory is applied to magic and ritual studies

III. Wayland D. Hand formulated a classification of beliefs

IV. Cycle of life classification is based on rites of passage

Codes :

(A) I and II are correct

(B) I and IV are correct

(C) I, II and III are correct


34. Until 13th Century in Western Europe, children were depicted in paintings, folklore and other visual media as

I. Miniature Adults

II. Fairies

III. Dwarfs

IV. Evil forces

Codes :

(A) II, III and IV are correct

(B) I and IV are correct

(C) III is correct

(D) I is correct



35. ¶ÜíPÜÒ®ÜÇ… Ô¨ÝœíñÜ¨Ü ±ÜÅ£±Ý¨ÜPÜ

I. vÝ®… ¸æ®… HÊæãàÓ…

II. ¶ÝÅ®…Õ ¸æãàÓ…

III. ÇæãàÄ ÖÝíPæãà

IV. ÃÜáñ… ¸æ®æwP…r


(A) II, III ÓÜÄ¿ÞXÊæ

(B) I, II ÓÜÄ¿ÞXÊæ

(C) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

36. hÝ®Ü±Ü¨Ü ÊÜÞ£®Ü A«ÜÂ¿á®ÜPæR BPÜÃÜ

I. hÝ| ®ÜáwWÜÙÜá/WÝ¨æWÜÙÜá

II. ±ÝÄÊÝÙ Ü¨ Ü Ê ÜáãÆP Ü P ÜÙ Ü á×Ó ÜÆ ³o r ÓÜíÊÜÖÜ®Ü

III. ÖÜÄ¨ÝÓÜÃÜ QàñÜì®æWÜÙÜá

IV. JWÜoáWÜÙÜá


(A) I ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(B) I ÊÜáñÜá¤ II ÓÜÄ¿ÞXÊæ

(C) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(D) I, II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

37. P Ü®ÝìoP Ü hÝ® Ü± Ü¨ Ü Ê Ü áÖÝPÝÊ Ü ÂÊ Ü® Ü á ° WÜáÃÜá£ÔÄ.

I. WæãàË®Ü ÖÝvÜá II. ²Ä¿Þ±Üor|¨Ü PÝÙÜWÜ III. gáíg±Ü³®Ü ±Ü¨Ü IV. «ÜÃæWæ ¨æãvÜxÊÜÃÜ PÜ¥æ


(A) I, II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ


(C) II, III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ


38. g®Ü±Ü¨Ü ±Ý¯à¿áWÜÙÜ®Üá° WÜáÃÜá£ÔÄ.

I. AíŸÈ

II. ÊÜáijWæ

III. iàÃÜ ÓæãàvÜ

IV. ±Ý®ÜPÜ


(A) I, II ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(B) I ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

(C) III ÊÜáñÜá¤ IV ÓÜÄ¿ÞXÊæ

(D) II ÊÜáñÜá¤ III ÓÜÄ¿ÞXÊæ

39. ±ÜÅ£±Ý¨Ü®æ (a) : gáíg±Ü³ KÊÜì ÓÝíÓÜ¢£PÜ ®Ý¿áPÜ ÊÜáñÜá¤ KÊÜì ¨æàÊÜñæ.

ñÜPÜì (r) : BñÜ PÝvÜáWæãÆÉÄí Ü̈ ̈ æçËàPÜÄÓÜÆ³oár ±ÜähæWæãÙÜáÛÊÜ KÊÜì ¨æàÊÜñæ.


(A) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜÄ

(B) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜá¤ (R) ñÜ±Ý³XÃÜáñÜ¤¨æ

(C) (A) ñÜ±Ý³XÃÜáñÜ¤¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿ÞX¨æ

(D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ñÜ±Ý³X¨æ

40. ±ÜÅ£±Ý Ü̈®æ (a) : hÝ®Ü±Ü̈ Ü ÊÜáÖÝPÝÊÜÂ PÜ¥Ü®ÜWÜÙÜá B ÓÜÊÜáá¨Ý¿á¨Ü ÓÝíÓÜ¢£PÜ ±Ü¨Üœ£WÜÙÜ ÊÜáñÜá¤ BaÜÃÜOæWÜÙÜ ±ÝÆPÜÃæí¨Üá ±ÜÄWÜ~ÓÜÆ³qr¨æ.

ñÜPÜì (r) : hÝ®Ü±Ü̈ Ü ÊÜáÖÝPÝÊÜÂWÜÙÜá ÓÝíÓÜ¢£PÜ ®Ý¿áPÜ®æãàÊÜì®Ü iàÊÜ®ÜÊÜ®Üá° Ÿ~¡ÓÜáñÜ¤Êæ.


(A) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜá¤ (R) ñÜ±Ý³X¨æ

(B) (A) ñÜ±Ý³X¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿ÞX¨æ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜÄ¿ÞX¨æ




35. The profounders of Functional theory

I. Don Ben Amos

II. Franz Boas

III. Louri Honko

IV. Ruth Benedict

Codes : (A) II, III are correct

(B) I, II are correct

(C) I and IV are correct

(D) II and IV are correct

36. The source for studying folk speech are

I. Wise words | Proverbs

II. Communication sent through pigeon

III. Keerthanas of Haridasas

IV. Riddles

Codes : (A) I and IV are correct

(B) I and II are correct

(C) I and III are correct

(D) I, II and IV are correct

37. Identify Karnataka folk epics.

I. Govina Haadu

II. Piriyapattanada Kalaga

III. Junjappana Pada

IV. Dharage Doddavara Kathe

Codes : (A) I, II, III and IV are correct

(B) II and III are correct

(C) II, III and IV are correct


38. Identify folk beverages.

I. Ambali

II. Majjige

III. Jeera Soda

IV. Panaka

Codes :

(A) I, II and IV are correct

(B) I and III are correct

(C) III and IV are correct

(D) II and III are correct

39. assertion (a) : Junjappa is a cultural hero and a deity.

reason (r) : He is a deity deified and worshipped by Kadugollas.

Codes :

(A) Both (A) and (R) are true

(B) (A) is true and (R) is wrong

(C) (A) is wrong and (R) is true

(D) Both (A) and (R) are wrong

40. assertion (a) : The folk epic narratives are regarded as custodians of cultural customs and practices of that community.

reason (r) : The folk epics describe the life of a cultural hero.

Codes :

(A) (A) is true and (R) is wrong

(B) (A) is wrong and (R) is true

(C) Both (A) and (R) are true

(D) Both (A) and (R) are wrong



41. ±ÜÅ£±Ý¨Ü®æ (a) : PæÒàñÜÅPÝ¿áìÊÜâ hÝ®Ü±Ü¨Ü Ó Ü íÍ æã à« Ü® æ¿á Jí¨ Ü á Ó Ü íÁãàiñ Ü »ÝWÜÊÝX¨æ.

ñÜPÜì (r) : hÝ®Ü±Ü̈ Ü ÓÜíÍæãà«Ü®æ¿áá ±ÝÅ¥ÜËáPÜ ÊÜáãÆWÜÚí¨Ü ÓÜíWÜÅ×ÓÜÆ³or ¨ÜñÝ¤íÍÜWÜÙÜ ÊæáàÇæ AÊÜÆí¹Ô¨æ.


(A) (A) ©oÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜáÙÝÛXÃÜáñÜ¤¨æ

(B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ©oÊÝXÊæ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜáÙÝÛXÊæ

(D) (A) ÓÜáÙÝÛXÃÜáñÜ¤¨æ ÊÜáñÜá¤ (R) ©oÊÝXÃÜáñÜ¤¨æ

42. ±ÜÅ£±Ý¨Ü®æ (a) : ÓÜí¨Ü»ÜìÊÜâ ±ÜÅ¨ÜÍÜì®Ü¨ÜÈÉ ŸÙÜÓÜÆ³or ±ÝsÜ¨Ü A¥ÜìÊÜ®Üá° ËÊÜÄÓÜáñÜ¤¨æ.

ñÜPÜì (r) : ±ÜÅ£Áãí¨Üá ± Ü Å¨ ÜÍ Üì® ÜÊ Ü â A®Ü®ÜÂÊÝX Ü̈áª, A Ü̈ÃÜ ×í©®Ü ±ÜÅ Ü̈ÍÜì®ÜÊæäí Ü̈Äí Ü̈ ¼®Ü°ÊÝXÃÜáñÜ¤¨æ.


(A) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ

(B) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ


(D) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜáÙÝÛX¨æ

43. ±ÜÅ£±Ý¨Ü® æ (a) : P Ü® ÜÓ Ü áW ÜÙ Ü á ¨ Ü êÍ Ü Â hÝ®Ü±Ü¨Ü¨Üw¿áÈÉ ÊÜXìàPÜÄÓÜÆ³qrÊæ.

ñÜPÜì (r) : ‘PÜ®ÜÓÜáWÜÙÜ ÊÝÂTÝÂ®Ü’¨Ü PÜñÜêì ÔWÜ¾ív… ¶ÝÅ¿å…x BXÃÜáñÝ¤Ãæ.


(A) (A) ÓÜñÜÂ ÊÜáñÜá¤ (R) ÓÜáÙÝÛX¨æ

(B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ


(D) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ

44. ±ÜÅ£±Ý¨Ü®æ (a) : hÝ®Ü±Ü¨Ü ÊÜÞÂiP…®ÜÈÉ

ÍÝÓÜŒPÜÊÜáìWÜÚWæ ÖæaÜác ±ÝÅÊÜááSÂ ¯àvÜÇÝX¨æ.

ñÜPÜì (r) : ÍÝÓÜŒPÜÊÜáìWÜÙÜá ÊæçhÝn¯PÜÊÝX

ÓÝ¹àñÝ¨Ü ÓÜñÜÂWÜÙÝXÊæ.


(A) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜá¤ (R) ñÜ±Ý³X¨æ

(B) (A) ñÜ±Ý³X¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿ÞX¨æ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜÄ¿ÞX¨æ


45. ±ÜÅ£±Ý¨Ü®æ (a) : hÝ®Ü±Ü¨Ü PÜñæWÜÙÜá g®ÜÃÜ ®Ýw

ËáwñÜÊÝXÊæ.

ñÜPÜì (r) : hÝ®Ü±Ü¨ÜÊÜâ ÊÜÂQ¤WÜñÜ

A¼±ÝÅ¿áÊÝXÃÜáñÜ¤¨æ.


(A) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂ

(B) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜáÙÝÛX¨æ

(C) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ

(D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜáÙÝÛXÊæ

46. ±ÜÅ£±Ý Ü̈®æ (a) : BÖÝÃÜ ÊÜáñÜá¤ BÃæãàWÜÂ ®ÜvÜáÊæ

®æàÃÜ ÓÜíŸí«ÜË¨æ.

ñÜPÜì (r) : hÝ®Ü±Ü¨Ü LÐÜ˜¿áá ±Ü¥ÜÂÊÜ®Üá°

Ë˜ÓÜáñÜ¤¨æ.


(A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) AÓÜñÜÂÊÝX¨æ

(B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ

(D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ



41. assertion (a) : Field work is an integrated part of folklore research.

reason (r) : Folklore research depends upon data collected from primary sources.

Codes :

(A) (A) is true and (R) is false

(B) Both (A) and (R) are true

(C) Both (A) and (R) are false

(D) (A) is false and (R) is true

42. assertion (a) : Context describes the meaning the text used in performance.

reason (r) : Every performance is unique and different from the previous one.

Codes :


(B) (A) is false and (R) is true


(D) (A) is true and (R) is false

43. assertion (a) : Dreams are classified under visual folklore.

reason (r) : Sigmund Freud is the author of interpretation of dreams.

Codes :





44. assertion (a) : In folk magic more importance is given to the rituals.

reason (r) : Rituals are scientifically proven truths.

Codes :




(D) Both (A) and (R) are false

45. assertion (a) : Folktales are pulses of the people.

reason (r) : Folklore is individual’s opinion.

Codes :


(B) (A) is true and (R) is false

(C) (A) is false and (R) is true


46. assertion (a) : There is a direct relationship between food and health.

reason (r) : Folk medicine prescribes diet.

Codes :







47. ±ÜÅ£±Ý Ü̈®æ (a) : PÜÃÝÊÜÚ ±ÜÅ æ̈àÍÜ̈ ÜÈÉ E Ü̈ª®æ¿á ÊÜáÖÝPÝÊÜÂWÜÙÜá PÜívÜáŸÃÜá£¤ÆÉ.

ñÜPÜì (r) : PÜÃÝÊÜÚ g®ÜÃÜá hÝ®Ü±Ü̈ Ü ̈ æàÊÜñæWÜÙÜ®Üá° ±ÜäiÓÜáÊÜâ©ÆÉ.



(B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ

(D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ

48. ±ÜÅ£±Ý¨Ü®æ (a) : ÇæË&ÓÝóÓ… Ëá¥…® Ü E¨ÝÖÜÃÜOÝñÜ¾PÜ Ë®ÝÂÓÜÊÜ®Üá°ÊÝÂTÝÂ¯Ô¨ÜÃÜá.

ñÜPÜì (r) : Ëá¥… GíŸáÊÜâ¨Üá Jí¨Üá ÊÜåèUPÜ PÜ¥Ü®ÜÊÝX¨æ.

ÓÜíPæàñÜWÜÙÜá : (A) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ (B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ (C) (A) ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝXÊææ; B¨ÜÃæ (R)

ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ (D) (A) ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝXÊææ; B¨ÜÃæ (R)

ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞX¨æ

49. ±ÜÅ£±Ý¨Ü®æ (a) : ÊÜÞÂP…Õ ÊÜááÆÉÃ…ÃÜÊÜÃÜ ‘ÓæãàÇÝÃ… Ëá¥ÝÆi’ ÊÜáãÆñÜ@ »ÝÐÝ Ëá¥…®Ü ÊæáàÇæ AÊÜÆí¹Ô¨æ.

ñÜPÜì (r) : ÊÜÞÂP…Õ ÊÜááÆÉÃ… KÊÜì CívæãàÆiÓ…r BX¨ÜªÃÜá.


(A) (A) ÊÜáñÜá¤ (R) ÓÜñÜÂ; B Ü̈Ãæ (R) ÓÜÄ¿Þ Ü̈ ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ

(B) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜñÜÂÊÝX¨æ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ

(D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂWÜÙÝXÊæ; B Ü̈Ãæ (R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞXÃÜáñÜ¤¨æ

50. ±ÜÅ£±Ý Ü̈®æ (a) : hÝ®Ü±Ü̈ Ü Xàñæ¿á ÊÜXàìPÜÃÜ| PÜÐÜr¨Ü PæÆÓÜÊÝXÃÜáñÜ¤¨æ.

ñÜPÜì (r) : ÊÜXàìPÜÃ Ü|ÊÜâ P Ü¥Ü® Ü ÊÜÓ Üá ¤, ÓÜí¨Ü»Üì, QÅÁá, ±ÜÅ¨ÜÍÜì®Ü CñÝÂ©WÜÙÜ ÊæáàÇæ B«ÜÄÓÜŸÖÜá¨ÝX Ü̈áª, BWÜ A£PÜÅÊÜá|ÊÜâ SíwñÜ ÓÜí»ÜËÓÜáñÜ¤¨æ.

ÓÜíPæàñÜWÜÙÜá : (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) AÓÜñÜÂÊÝX¨æ (B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ (C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿Þ¨Ü

ËÊÜÃÜOæ¿ÞX¨æ (D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ

51. ±ÜÅ£±Ý Ü̈®æ (a) : ÄaÝv…ì Gí. vÝÓÜì®…ÃÜÊÜÃÜá hÝ®Ü±Ü¨Ü PÜÆ³®æ¿á®Üá° ±ÜÄaÜÀáÔ¨ÜÃÜá.

ñÜPÜì (r) : ÄaÝv…ì Gí. vÝÓÜì®…ÃÜÊÜÃÜá hÝ®Ü±Ü¨ÜÊÜ®Üá° ÓÝí±ÜÅ¨ÝÀáPÜ ÓÜí¨Ü»Üì¨ÜÈÉ A¥æçìÓÜáÊÜÈÉ ŸÖÜÙÜ ËÍæàÐÜ±Üä|ìÃÝX¨ÜªÃÜá.

ÓÜíPæàñÜWÜÙÜá : (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) AÓÜñÜÂÊÝX¨æ (B) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ (C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿Þ¨Ü

ËÊÜÃÜOæ¿ÞX¨æ (D) (A) ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝXÊæ; B¨ÜÃæ (R)

ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ

52. ±ÜÅ£±Ý¨Ü®æ (a) : WÝ¨æWæ ¯àvÜÇÝ¨Ü A¥Üì ËÊÜÃÜOæWÜÙÜÈÉ Jí¨Üá “ÖÜÆÊÜÃÜ Ÿá©œÊÜí£Pæ, KÊÜìÃÜ hÝOæ¾”.

ñ ÜP Üì (r) : WÝ¨ æ¿áá Ó Ü Ì Ã Üã± Ü¨ ÜÈ É ÓÜÊÜáÑr¿ÞX¨ÜªÃÜã, C¨Üá ÊÜÂQ¤WÜñÜ ÓÜêÑr¿á®Üá° ¸æàvÜáñÜ¤¨æ.



(B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ

(C) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ

(D) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞXÃÜáñÜ¤¨æ



47. assertion (a) : Long epics are not seen in coastal region.

reason (r) : Coastal people do not worship folk deities.

Codes :





48. assertion (a) : Levi-Strauss interpreted the paradigmatic structure of Myth.

reason (r) : Myth is an oral narrative.

Codes :

(A) (A) is false and (R) is true

(B) (A) and (R) are false

(C) (A) and (R) are true but (R) is not the correct explanation

(D) (A) and (R) are true and (R) is the correct explanation

49. assertion (a) : Max Müller’s ‘Solar Mythology’ is basically based on language of Myth.

reason (r) : Max Müller was an Indologist.

Codes :

(A) (A) and (R) are true but (R) is not the correct explanation

(B) (A) is true and (R) is false


(D) Both (A) and (R) are true and (R) is the correct explanation

50. assertion (a) : Classification of folk song is a difficult task.

reason (r) : Classification can be based on theme, context, function, performance etc. then definitely overlapping will occur.

Codes : (A) (A) is true and (R) is false (B) Both (A) and (R) are true (C) (A) is true and (R) is the correct

explanation (D) (A) is false and (R) is true

51. assertion (a) : Richard M. Dorson introduced the concept of ‘Folklore’.

reason (r) : Richard M. Dorson was so particular in understanding ‘Folklore’ in its traditional context.

Codes : (A) (A) is true and (R) is false (B) Both (A) and (R) are false (C) (A) is true and (R) is the correct

explanation (D) (A) and (R) is true but, (R) is not

the correct explanation

52. assertion (a) : One of the definitions given to proverb is ‘Wisdom of many, wit of one’.

reason (r) : Even though proverb also is collective in nature, it demands individual creativity.

Codes : (A) (A) is true and (R) is false (B) (A) is false and (R) is true (C) Both (A) and (R) are true (D) (A) is true and (R) is the correct

explanation



53. ±ÜÅ£±Ý¨Ü®æ (a) : PÜÊÜáìPÝívÜ Ô¨ÝœíñÜÊÜâ ÍÝÓÜŒ PÜÊÜáìÊÜâ Ëá¥…¯í¨Ü E¨Ü½ÊÜÊÝX¨æ GíŸá¨Ü®Üá° ËÊÜÄÓÜáñÜ¤¨æ.

ñÜPÜì (r) : ÓÝPÜÒÃÜñæWæ ÊÜåèUPÜñæ¿á Ô¨ÝœíñÜ.

ÓÜíPæàñÜWÜÙÜá : (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) AÓÜñÜÂÊÝX¨æ (B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜÄ¿Þ¨Ü

ËÊÜÃÜOæ¿ÞXÃÜáÊÜâ©ÆÉ (C) (A) AÓÜñÜÂÊÝXÃÜáñÜ¤¨æ ÊÜáñÜá¤ (R)

ÓÜñÜÂÊÝX¨æ (D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ

54. ±ÜÅ£±Ý¨Ü®æ (a) : hÝ®Ü±Ü¨Ü Êæãàq¶…WÜÙÜá GÇæÉÆãÉ PÜívÜáŸÃÜáñÜ¤Êæ.

ñÜPÜì (r) : Êæãàq¶… GíŸáÊÜâ¨Üá GqP…®Ü Jí¨Üá ZoPÜ.

ÓÜíPæàñÜWÜÙÜá : (A) (A) ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝXÊæ, ÊÜáñÜá¤ (R)

ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞX¨æ (B) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜñÜÂÊÝX¨æ (C) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜá¤ (R) ÓÜñÜÂÊÝX¨æ (D) (A) ÊÜáñÜá¤ (R) GÃÜvÜã ÓÜñÜÂÊÝXÊææ B¨ÜÃæ

(R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ

55. ±ÜÅPÜoOæ ÊÜÐÜì¨Ü PÜÅÊÜá¨ÜÈÉ ±ÜâÓÜ ¤P ÜWÜÙÜ®Üá° ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. WÜÄWæ¨ÜÄ¨Ü ®ÜËÆá II. PÝvÜáWæãÆÉÃÜ ÓÜí±ÜÅ¨Ý¿áWÜÙÜá ÊÜáñÜá¤

®Üí¹PæWÜÙÜá III. ¨ÜQ Ò| P Ü®ÝìoP Ü¨ Ü hÝ® Ü± Ü¨ Ü Ê Ü ê£ ¤

WÝ¿áPÜÃÜá IV. hÝ®Ü±Ü¨Ü ÊÜáÖÝ»ÝÃÜñÜ

ÓÜíPæàñÜWÜÙÜá : (A) IV, II, I, III (B) III, I, II, IV (C) III, II, I, IV (D) IV, II, III, I

56. ¦ÁãÃæqPÜÇ… GÓÝr¹ÉÐ…Êæáíp…®Ü ÓÜÄ¿Þ¨Ü

A®ÜáPÜÅËáPæ :

I. ¨ÜñÝ¤íÍÜ ÓÜíWÜÅÖÜOæ

II. ¯|ì¿á

III. ÓÜÊÜáÔÂàPÜÃÜ|

IV. ÓÝ×ñÜÂ ËÊÜáÍæì


(A) II, III, IV, I

(B) III, IV, I, II

(C) IV, III, I, II

(D) I, III, II, IV

57. PÜOÝìoPÜ hÝ®Ü±Ü̈ ÜPæR AÊÜÃÜ PæãvÜáWæ¿á ÊæáàÃæWæ

Ë¨ÝÌíÓÜÃÜ ÖæÓÜÃÜáWÜÙÜ®Üá° PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ

ŸÃæÀáÄ.

I. hæ.GÓ…. ±ÜÃÜÊÜáÎÊÜ¿áÂ

II. GÓ….Ô. ÃÜÊæáàÍÜ

III. hæ.G¶…. µÉàp…

IV. q.G®…. ÍÜíPÜÃÜ®ÝÃÝ¿á|


(A) I, IV, II, III

(B) IV, I, II, III

(C) III, I, II, IV

(D) III, I, IV, II



53. assertion (a) : Ritualistic theory explain that ritual originates from myth.

reason (r) : The principle of orality to literacy.

Codes : (A) (A) is true and (R) is false (B) (A) is false and (R) is not the correct

explanation (C) (A) is false and (R) is true (D) Both (A) and (R) are false

54. assertion (a) : Folktale motifs are seen in all cultures.

reason (r) : Motif is an etic unit.

Codes : (A) (A) and (R) are true and (R) is the

correct explanation (B) (A) is true but (R) is false (C) (A) is false and (R) is true (D) Both (A) and (R) are true but, (R)

is not the correct explanation

55. Arrange the books in the order of year of publishing.

I. Garigedarida Navilu

II. Kadu gollara Sampradayagalu Mathu Nambikegalu

III. Dakshina Karnatakada Janapada Vruthigayakaru

IV. Janapada Mahabharatha

Codes : (A) IV, II, I, III

(B) III, I, II, IV

(C) III, II, I, IV

(D) IV, II, III, I

56. Correct sequence of Theoretical

establishment :

I. Collection of Data

II. Conclusion

III. Problematisation

IV. Review of Literature

Codes :

(A) II, III, IV, I

(B) III, IV, I, II

(C) IV, III, I, II

(D) I, III, II, IV

57. Arrange the names of the scholars as per

their contribution to Karnataka Folklore

in Chronological order.

I. J. S. Paramashivaiah

II. S. C. Ramesha

III. J. F. Fleet

IV. T. N. Shankaranarayana

Codes :

(A) I, IV, II, III

(B) IV, I, II, III

(C) III, I, II, IV

(D) III, I, IV, II



58. D PæÙÜX®Ü Ô¨ÝœíñÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ÓÝ§±Ü®æ¿á

PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. ÓÝí¨Ü¼ìPÜ Ô¨ÝœíñÜ

II. ÊÜåèUPÜ ¶ÝÊÜááÂìÇæàÀáP… Ô¨ÝœíñÜ

III. Cíw¿á¯ÔrP… Ô¨ÝœíñÜ

IV. ÓèÃÜ ±ÜâÃÝ|


(A) I, II, IV, III

(B) III, IV, II, I

(C) IV, III, II, I

(D) II, I, IV, III

59. ×í¨Üã ±ÜíaÝíWÜ ÊÜÐÜì¨ÜÈÉ BaÜÄÓÜÇÝWÜáÊÜ

PæÙÜX®Ü ÖÜŸºWÜÙÜ®Üá° AÊÜâWÜÙÜá ZqÓÜáÊÜ PÜÅÊÜá¨ÜÈÉ

ŸÃæÀáÄ.

I. ÓÜíPÝÅí£

II. WÜOæàÍÜ aÜñÜá¦ì

III. Ëg¿á¨ÜÍÜËá

IV. »ÜÃÜñÜ ÖÜá~¡Êæá


(A) I, II, III, IV

(B) I, IV, II, III

(C) II, III, I, IV

(D) IV, II, III, I

60. ±ÜÅ¨ÜÍ Üì®ÜÊæäí¨ÜÃÜÈÉ Zo®æWÜÙÜ®Üá° ÓÜÄ¿Þ¨Ü

A®ÜáPÜÅËáPæ¿áÈÉ ŸÃæÀáÄ.

I. ®Ý¿áPÜ ÊÜáñÜá¤ ÃÝPÜÒÓÜ®Ü ®ÜvÜáÊæ ÍÝ¹ªPÜ

Ë¯ÊÜá¿á

II. WÜOæàÍÜ ÓÜá¤£

III. ®Ý¿áPÜ®Ü ±ÜÅÊæàÍÜ

IV. Êæà©Pæ A~WæãÚÓÜáÊÜâ¨Üá


(A) II, III, IV, I

(B) IV, II, III, I

(C) I, II, III, IV

(D) IV, III, I, II

61. D PæÙÜX®Ü Ë¨ÝÌíÓÜÃÜ ÖæÓÜÃÜáWÜÙÜ®Üá° AÊÜÃÜá

»ÝÃÜñÜP æ R »æàq ¯àw¨Ü PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ

ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. ²àoÃ… hæ. PÝÉÓ…

II. ÊÜÞÂ®ÜÃ…

III. ÇÝÄ ÖÝíPæãà

IV. ÖÜãÂÁá®…&ñÝÕíW…


(A) IV, II, I, III

(B) II, I, III, IV

(C) I, IV, III, II

(D) IV, I, III, II



58. Write the theories in their chronological

order of their establishment.

I. Contextual Theory

II. Oral Formulaic Theory

III. Indianistic Theory

IV. Solar Mythology

Codes :

(A) I, II, IV, III

(B) III, IV, II, I

(C) IV, III, II, I

(D) II, I, IV, III

59. Write the Festivals in the order of event

to be held in a Hindu calendar year

I. Sankranthi

II. Ganesha Chathurthi

III. Vijaya Dashami

IV. Bharatha Hunnime

Codes :

(A) I, II, III, IV

(B) I, IV, II, III

(C) II, III, I, IV

(D) IV, II, III, I

60. Write the correct sequence of the events in a performance

I. Verbal exchange between Hero and Demon

II. Ganesha Sthuthi

III. Entry of Hero

IV. Setting of Stage

Codes :

(A) II, III, IV, I

(B) IV, II, III, I

(C) I, II, III, IV

(D) IV, III, I, II

61. Arrange the names of the scholars in the chronological order of their visit to India

I. Peter J. Claus

II. Manner

III. Lauri Honko

IV. Hiuen-Tsang

Codes :

(A) IV, II, I, III

(B) II, I, III, IV

(C) I, IV, III, II

(D) IV, I, III, II



62. hÝ®Ü±Ü¨Ü¨Ü D PæÙÜX®Ü A¥ÜìËÊÜÃÜOæWÜÙÜ®Üá°

AÊÜâWÜÙÜá ÖæàÙÜÆ³or PÝÇÝ®ÜáPÜÅÊÜá Ü̈ÈÉ ŸÃæÀáÄ.

I. hÝ®Ü±Ü¨ÜÊÜâ g®ÜÃÜ ÓÜ|¡ WÜáí±ÜâWÜÙÜ ®ÜvÜáË®Ü

Jí¨Üá ±ÜÄOÝÊÜáPÝÄ ÓÜíÊÜÖÜ®Ü

II. hÝ®Ü±Ü̈ ÜÊÜâ ÊÜáÃÜ| Öæãí Ü̈Æá ̄ ÃÝPÜÄÓÜáÊÜ

Jí¨Üá iàÊÜíñÜ ±ÜÙæ¿ááÚPæ

III. ¶æäàP… GíŸáÊÜâ¨Üá Jí¨Üá ÓÝÊÜÞ®ÜÂ

WÜá|ÆPÜÒ|ÊÜâÙÜÛ Pæã®æ¿á ±ÜPÜÒ CŸºÃÜáÙÜÛ

g®ÜÃÜ Jí¨Üá WÜáí±ÝX¨æ ÊÜáñÜá¤ ÇæãàÃ…

GíŸáÊÜâ¨Üá AÊÜÃÜ £ÙÜáÊÜÚPæ¿ÞX¨æ

IV. g®Ü²Å¿á ±ÝÅbà®Ü ÓÜíWÜ£WÜÙÜ®Üá° ¶æäàP…

ÇæãàÃ… G®Ü°ŸÖÜá¨Üá


(A) III, IV, II, I

(B) IV, III, I, II

(C) IV, II, III, I

(D) I, II, III, IV

63. ¨ÜQ Ò|©í¨Ü EñÜ ¤Ã ÜP æ R P æ àí¨ Ü ÅÓÝ §® ÜÊ Ü® Üá °

Öæãí©ÃÜáÊÜ PÜÅÊÜá¨ÜÈÉ hÝ®Ü±Ü¨Ü ÓÜí±ÜÅ¨Ý¿áPæR

ÓÜíŸí˜Ô¨Ü PæÙÜX®Ü ÓÜíXàñÜ E±ÜPÜÃÜ|WÜÙÜ®Üá°

ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. WÜOæ

II. aÜíwPæ

III. PÜíÓÝÇæ

IV. vÜÊÜáÃÜáWÜ


(A) II, I, III, IV

(B) III, II, I, IV

(C) III, I, IV, II

(D) I, II, IV, III

64. PæÙÜX®Ü E±ÜPÜÃÜ|WÜÙÜ ÖæÓÜÃÜáWÜÙÜ®Üá° AÊÜâWÜÙÜ

Êæã¨ÜÆ ŸÙÜPæ¿á £ÃÜáWÜáÊÜááÃÜáWÜá (ÄÊÜÓ…ì)

PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ.

I. ËàwÁãà ÄPÝvÜìÃ…

II. væãÅà®… PÝÂÊæáÃÝ

III. ±æ®…

IV. pæà±… ÃæPÝvÜìÃ…


(A) I, II, IV, III

(B) IV, II, III, I

(C) II, I, IV, III

(D) II, I, III, IV

65. D PæÙÜX®Ü ±ÜâÓÜ¤PÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ±ÜÅPÜoOæ¿á

PÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ.

I. ÓÜrw B¶… ¶æäàP…ÇæãàÃ…

II. ¶æäàP…ÇæãàÃ… BÂív… ¶æäàP…Çæç´…

III. WæãàÆx®… ¸è

IV. ¶æa… Ôð±…r B¶… BÂÆ®… vÜív…Õ


(A) I, II, III, IV

(B) III, II, I, IV

(C) II, III, I, IV

(D) IV, III, II, I



62. Write the definitions of Folklore in the chronological order of their year of stating.

I. Folklore is an effective communication among small groups of people

II. Folklore is a lively Fossil which refuses to die

III. Folk means a group of people comprising at least two with one common characteristic and Lore means their knowledge

IV. Popular antiquities can be termed as Folklore

Codes :

(A) III, IV, II, I

(B) IV, III, I, II

(C) IV, II, III, I

(D) I, II, III, IV

63. Arrange these musical instruments connected to Folk traditions whose centres are located in an order from South to North.

I. Gane

II. Chondike

III. Kamsale

IV. Damaruga

Codes :

(A) II, I, III, IV

(B) III, II, I, IV

(C) III, I, IV, II

(D) I, II, IV, III

64. Write the names of these tools in the

reverse chronological order of their first

usage in fieldwork.

I. Video Recorder

II. Drone Camera

III. Pen

IV. Tape Recorder

Codes :

(A) I, II, IV, III

(B) IV, II, III, I

(C) II, I, IV, III

(D) II, I, III, IV

65. Write these books in the chronological

order of their publication.

I. Study of Folklore

II. Folklore and Folklife

III. Golden Bough

IV. Fetch Script of Alan Dundes

Codes :

(A) I, II, III, IV

(B) III, II, I, IV

(C) II, III, I, IV

(D) IV, III, II, I



66. PæÙÜX®Ü hÝ®Ü±Ü̈ Ü ±ÜÅ Ü̈ÍÜì®Ü PÜÇæWÜÙÜ®Üá° EñÜ¤ÃÜ©í Ü̈

¨ÜQÒ|¨ÜÈÉ AÊÜâWÜÙÜ ÓÝ§±Ü®æ¿á ±ÜÅ¨æàÍÝ®ÜáÓÝÃÜ

PÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ.

I. ÓæãàÊÜá®Ü PÜá~ñÜ

II. gWÜYÚPæ

III. ¨ÜÊÜáËá PÜá~ñÜ

IV. EÊÜá¾ñÜp…


(A) I, III, IV, II

(B) III, I, II, IV

(C) II, III, I, IV

(D) III, II, I, IV

67. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° AÊÜâWÜÙÜ ±ÜÅ¨ÜÍÜì®ÜÊæäí¨ÜÃÜÈÉ

ZqÓÜáÊÜ PÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. ÊÜáíWÜÙÜ

II. ®Ýí©

III. ±ÜÃÜ¨æ ÊæáàÆPæRñÜá¤ÊÜâ¨Üá

IV. Ë¨ÜãÐÜPÜ®Ü ±ÜÅÊæàÍÜ


(A) II, III, IV, I

(B) III, II, IV, I

(C) I, III, II, IV

(D) IV, III, II, I

68. P æ Ù Ü X® ÜÊ Ü â W Ü Ù Ü á Ë.h æ .±Ý Å±…Ã ÜÊ ÜÄí¨ Ü ±ÜÅÓÝ¤ÊÜ®æWæç¿áÂÆ³or ¿áPÜÒPÜñæ¿á PÝ¿áìWÜÙÝXÊæ. AÊÜâWÜÙÜ®Üá° PÝÇÝ®ÜáPÜÅÊÜá Ü̈ÈÉ ñæãàÄÔÄ.

I. WæçÃÜáÖÝgÄ

II. ËaÜPÜÒ|

III. ¯Ðæà«Ü

IV. EÆÉíZ®æ

ÓÜíPæàñÜWÜÙÜá : (A) I, IV, III, II (B) III, II, IV, I (C) I, III, IV, II (D) II, I, IV, III

69. ¶æäàPæãÉàÄÔrP…Õ®ÜÈÉ ËPÝÓÜWæãÙÜáÛÊÜ Ô¨ÝœíñÜWÜÙÜ®Üá° A®ÜáPÜÅÊÜáÊÝX ŸÃæÀáÄ.

I. ÊÜÞñÜ®ÝvÜáÊÜ Ô¨ÝœíñÜ¨Ü g®ÝíWÜÍÝÓÜŒ

II. ÊÜá®æãà&ËÍæÉàÐÜOÝñÜ¾PÜ Ô¨ÝœíñÜ

III. ÓèÃÜ ±ÜâÃÝ|

IV. ÊÜåèUPÜ ÓÜãñÜÅŸ¨Üœ Ô¨ÝœíñÜ

ÓÜíPæàñÜWÜÙÜá : (A) I, III, II, IV (B) I, IV, III, II (C) III, II, IV, I (D) III, II, I, IV

70. PæÙÜWæ ÖæÓÜÄÔ¨Ü ÍæçÈ¿á Ë¨ÝÌíÓÜÃÜ PÝÇÝ®ÜáPÜÅÊÜá ¿ÞÊÜâ¨Üá?

I. ¸æ®…&BÊæãÓ… II. GÈ¿áp…&BÄíW… III. ËÈ¿áí ¸ÝÓæãRí IV. ÃæãàgÃ… A¸ÝÅÖÜí

ÓÜíPæàñÜWÜÙÜá : (A) III, I, IV, II (B) III, IV, I, II (C) I, II, IV, III (D) IV, II, III, I



66. Arrange the Folk Performing Arts

according to their establishing region

located in the order from North to South.

I. Somana Kunitha

II. Jaggalige

III. Damami Kunitha

IV. Ummathat

Codes :

(A) I, III, IV, II

(B) III, I, II, IV

(C) II, III, I, IV

(D) III, II, I, IV

67. Arrange the events in the order in a

performance.

I. Mangala

II. Nandi

III. Curtain Raising

IV. Entry of Vidhushaka

Codes :

(A) II, III, IV, I

(B) III, II, IV, I

(C) I, III, II, IV

(D) IV, III, II, I

68. Following are the functions in fairy tale proposed by V. J. Propp sequence them in the chronological order.

I. Absentation II. Reconnaissance III. Interdiction IV. Violation

Codes : (A) I, IV, III, II (B) III, II, IV, I (C) I, III, IV, II (D) II, I, IV, III

69. Write the sequence of theories evolved in Folkloristics

I. Ethnography of speaking theory II. Psycho-analytical theory III. Solar mythology IV. Oral formulaic theory

Codes : (A) I, III, II, IV (B) I, IV, III, II (C) III, II, IV, I (D) III, II, I, IV

70. What is the chronological sequence of the following genre scholars ?

I. Ben – Amos II. Elliot – Oring III. William Bascom IV. Roger Abraham

Codes : (A) III, I, IV, II (B) III, IV, I, II (C) I, II, IV, III (D) IV, II, III, I



71. PæÙÜX®Ü ±ÜâÓÜ ¤P ÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ±ÜÅPÜoOæ¿á

PÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ.

I. ¶æa… Ôð±…r B¶… BÆ®… vÜív…Õ

II. væç®ÝËáP…Õ B¶… ¶æäàP…ÇæãàÃ… (¸ÝÃæ

pæãàÇ…Pæ®…)

III. pæç±…Õ B¶… ¶æäàP…pæàÇ…Õ (A®æì BÂív…

¥ÝÊÜáÕ®…)

IV. © ¶æäàP…pæàÇ… (Ôr¥… ¥ÝÊÜáÕ®…)


(A) III, IV, I, II

(B) III, II, IV, I

(C) III, IV, II, I

(D) I, III, IV, II

72. PæÙÜX®Ü Ô¨ÝœíñÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ÊÜáãÆ Ü̈ ÊæáàÃæWæ

A®ÜáPÜÅÊÜáWæãÚÔÄ.

I. ÓæãàÇÝÃ… Ëá¥æãàÆi

II. ¶ÜíPÜÒ®ÜÈÓÜí

III. ÓÜóPÜcÃÜÈÓÜí

IV. ®ÝÂÃæãàpæãàÆi


(A) I, II, III, IV

(B) I, III, II, IV

(C) III, I, IV, II

(D) II, IV, I, III

73. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ : ±Üqr – I ±Üqr – II (±ÜâÓÜ¤PÜ) (PÜñÜêì)

I. hÝ®Ü±Ü¨Ü ÊæçhÝn¯PÜ 1. PÝÂñÜ®ÜÖÜÚÛ PæÒàñÜÅPÝ¿áì ÃÝÊÜá|¡

II. PæÒàñÜÅPÝ¿áì¨Ü 2. WæãàÇ…xÓær®…, ÖÝ©¿áÈÉ Pæ®æ°¥…

III. hÝ®Ü±Ü¨Ü 3. ±æç Ô.Ô.G. PæÒàñÜÅPÝ¿áì B«ÜáËPÜ Ë«Ý®ÜWÜÙÜá

IV. G Wæçv… ¶ÝÃ… 4. ±ÜâÃÜáÐæãàñÜ¤ÊÜá µàÇ…xÊÜPÜìÃ…Õ C®… ¹ÚÊÜáÇæ ¶æäàP…ÇæãàÃ…


I II III IV (A) 4 3 1 2 (B) 3 1 4 2 (C) 1 2 3 4 (D) 2 3 1 4

74. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ :

±Üqr – I ±Üqr – II

I. ¿áPÜÒWÝ®Ü 1. ñÜËáÙÜá®ÝvÜá

II. ÃÝÊÜå…ÈàÇÝ 2. PæàÃÜÙÜ

III. ñæÃÜáPÜáñÜá¤ 3. PÜ®ÝìoPÜ

IV. PÜ¥ÜPÜÚ 4. EñÜ¤ÃÜ ±ÜÅ¨æàÍÜ


I II III IV (A) 3 4 1 2 (B) 1 2 3 4 (C) 2 3 4 1 (D) 4 3 1 2



71. Arrange the books in order of publication.

I. Fetch Script of Alan Dundes

II. Dynamics of Folklore (Barre

Toelken)

III. Types of folktales (Arne and

Thompson)

IV. The Folktale (Stith Thompson)

Codes :

(A) III, IV, I, II

(B) III, II, IV, I

(C) III, IV, II, I

(D) I, III, IV, II

72. Sequence the following theories as per

their origin.

I. Solar Mythology

II. Functionalism

III. Structuralism

IV. Narratology

Codes :

(A) I, II, III, IV

(B) I, III, II, IV

(C) III, I, IV, II

(D) II, IV, I, III

73. Match the following : list – I list – II (Book) (author)

I. Janapada 1. Kyathanahalli Vaignanika Ramanna Kshetrakaarya

II. Kshetrakaaryada 2. Goldstein, Haadiyalli Kenneth

III. Janapada 3. Pai C.C.A. Kshetrakaarya Aduvika Vidhanagalu

IV. A Guide for Field 4. Purushothama Workers in Folklore Bilimale

Codes : I II III IV (A) 4 3 1 2 (B) 3 1 4 2 (C) 1 2 3 4 (D) 2 3 1 4

74. Match the following :

list – I list – II

I. Yakshagana 1. Tamil Nadu

II. Ram Leela 2. Kerala

III. Therukkuthu 3. Karnataka

IV. Kathakali 4. Uttar Pradesh




75. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :


(ÓÜ§ÙÜ) (Pæàí¨ÜÅ)

I. »æãà±ÝÇ… 1. ÓÜíXàñÜ ®ÝoPÜ APÝvæËá

II. ®ÜÊÜ¨æÖÜÈ 2. hÝ®Ü±Ü¨Ü ±ÜÅ¨ÜÍÜì®Ü PÜÇæWÜÚWæ ±ÝÅ¨æàÎPÜ ÓÜí±Ü®Üã¾Æ Pæàí¨ÜÅ

III. EvÜá² 3. hÝ®Ü±Ü¨Ü ÓÜí±Ü®Üã¾ÆWÜÙÜá ÊÜáñÜá¤ ÓÜíÍæãà«Ü®æ Pæàí¨ÜÅ

IV. ±ÝÆ¿áí Pæãpær„ 4. Cí©ÃÝ WÝí˜ ÃÝÑóà¿á ÊÜÞ®ÜÊÜ ÓÜíWÜÅÖÝÆ¿á

ÓÜíPæàñÜWÜÙÜá : I II III IV (A) 2 3 1 4 (B) 3 2 4 1 (C) 4 1 2 3 (D) 1 3 2 4



(»ÝÐæ) (®ÜÊÜáã®æWÜÙÜá)

I. PÜ®Ü°vÜ 1. ñæãorí ±Ýoár

II. ñÜËáÙÜá 2. ŸáÃÝÅPÜ¥Ý

III. ñæÆáWÜá 3. ËÆáÉ ±Ýoár

IV. ÊÜáÆ¿ÞÙÜí 4. ±ÝvÜª®Ü


I II III IV

(A) 3 2 4 1

(B) 1 3 2 4

(C) 2 3 4 1

(D) 4 3 2 1



I. ×í© 1. hÝ®Ü±Ü¨Ü

II. WÜágÃÝ£ 2. ÇæãàPÜ¿Þ®Ü

III. PÜ®Ü°vÜ 3. ÇæãàP…«ÝÃÝ

IV. ±ÜíhÝ¹ 4. ÇæãàP…Ë¨ÝÂ


I II III IV

(A) 2 4 1 3

(B) 3 4 1 2

(C) 1 3 4 2

(D) 3 2 1 4



(ÃÝgÂ) (PÜÇÝ ±ÜÅPÝÃÜ)

I. ±ÜÎcÊÜá ŸíWÝÙÜ 1. ±ÜähÝ vÝ®…Õ

II. PÜ®ÝìoPÜ 2. A¯PÝíñ…

III. ÊÜá~±ÜâÃÜ 3. aè

IV. AÓÝÕí 4. ¥ÜíW…&o


I II III IV

(A) 2 3 4 1

(B) 3 1 4 2

(C) 1 4 2 3

(D) 4 2 1 3




list – I list – II (Place) (Centre) I. Bhopal 1. Sangeet

Nataka Academy

II. New Delhi 2. Regional Resource Centre for Folk

Performing Arts

III. Udupi 3. Folk Resources and Research Centre

IV. Palayam Kottai 4. Indira Gandhi Rashtriya Manav Sangrahalaya

Codes : I II III IV (A) 2 3 1 4

(B) 3 2 4 1

(C) 4 1 2 3

(D) 1 3 2 4

76. Match the following : list – I list – II (language) (Forms) I. Kannada 1. Toottam Paattu II. Tamil 2. Burra Katha III. Telugu 3. Villupaattu IV. Malayalam 4. Paddana




I. Hindi 1. Janapada

II. Gujarati 2. Lokayana

III. Kannada 3. Lok Dhara

IV. Panjabi 4. Lok Vidya

Codes :

I II III IV

(A) 2 4 1 3

(B) 3 4 1 2

(C) 1 3 4 2

(D) 3 2 1 4



(State) (art form)

I. West Bengal 1. Pooja Dance

II. Karnataka 2. Anikant

III. Manipur 3. Chau

IV. Assam 4. Thang-ta

Codes :

I II III IV

(A) 2 3 4 1

(B) 3 1 4 2

(C) 1 4 2 3

(D) 4 2 1 3





I. PÜñæ 1. ¯WÜ©ñÜ ®ÜáwWÜoár ÍæçÈ

II. ®ÜêñÜÂ 2. ¯ÃÜã±ÜOæ

III. ÇÝÊÜ~ 3. ±ÜÅ¨ÜÍÜì®Ü

IV. JWÜoá 4. ÊÜåèUPÜ PÜÊÜ®Ü


I II III IV

(A) 1 4 2 3

(B) 3 2 1 4

(C) 2 3 4 1

(D) 4 1 3 2



(PÜê£WÜÙÜá) (PÜê£PÝÃÜÃÜá)

I. ÖÝÂív…ŸáP… B¶… 1. ÇæË&ÓÝóÓ… AÊæáàÄPÜ®… ¶æäàP…ÇæãàÃ…

II. Ëá¥ÝÆi 2. ÄaÜv…ì Gí. vÝÓÜì®…

III. G®ÝÈqPÜÇ… GÓæÕàÓ… 3. ÊÜáÃÜívÜ C®… ¶æäàP…ÇæãàÃ…

IV. ÓÜóPÜcÃÜÇ… 4. BÂÆ®…&vÜív…Õ BÂí¥æãÅ±ÝÆi


I II III IV

(A) 2 4 1 3

(B) 3 2 1 4

(C) 4 3 2 1

(D) 2 3 4 1



(±ÜÅ£±Ý¨ÜPÜ) (±ÜÄPÜÆ³®æ)

I. ÊÝÉwËáÃ… ±ÝÅ±… 1. Ãæçp…Õ B¶… ±ÝÂÓæh…

II. ÊÜÞÈ®æãàÊ…ÔR 2. KÄÁáíoÈÓÜí

III. ÊÝÂ®… Wæ®æ±… 3. ÊÜÞ´ÝìÆi B¶…

¶æäàP…pæàÇ…

IV. GvÜÌv…ì Óæàv… 4. Ëá¥…&ÄaÜáÊÜÇ…


I II III IV

(A) 2 3 4 1

(B) 3 4 1 2

(C) 1 3 4 2

(D) 2 3 1 4



(±ÜíWÜvÜ) (ÓÜ§ÙÜWÜÙÜá)

I. PÝvÜá PÜáÃÜáŸ 1. hÝSìív…

II. AvÜË aæíaÜá 2. ñÜËáÙÜá®ÝvÜá

III. ñæãàvÜ 3. Bí«ÜÅ ±ÜÅ¨æàÍÜ

IV. ÊÜááívÜ 4. PÜ®ÝìoPÜ


I II III IV

(A) 4 3 2 1

(B) 3 1 4 2

(C) 2 3 1 4

(D) 1 2 3 4





I. Tale 1. Fixed phrase genre

II. Dance 2. Narrative

III. Ballad 3. Performance

IV. Riddle 4. Oral Poetry

Codes :

I II III IV

(A) 1 4 2 3

(B) 3 2 1 4

(C) 2 3 4 1

(D) 4 1 3 2



(Works) (authors)

I. Hand Book of 1. Levi-Strauss American Folklore

II. Mythology 2. Richard M. Dorson

III. Analytical Essays 3. Maranda in Folklore

IV. Structural 4. Alan Dundes Anthropology

Codes :

I II III IV

(A) 2 4 1 3

(B) 3 2 1 4

(C) 4 3 2 1

(D) 2 3 4 1



(Profounder) (Concept)

I. Vladimir Propp 1. Rites of Passage

II. Malinowski 2. Orientalism

III. Van Gennep 3. Morphology of Folktale

IV. Edward Said 4. Myth-Ritual

Codes :

I II III IV

(A) 2 3 4 1

(B) 3 4 1 2

(C) 1 3 4 2

(D) 2 3 1 4



(tribe) (Places)

I. Kaadu Kuruba 1. Jharkhand

II. Adavi Chenchu 2. Tamil Nadu

III. Toda 3. Andhra Pradesh

IV. Munda 4. Karnataka

Codes :

I II III IV

(A) 4 3 2 1

(B) 3 1 4 2

(C) 2 3 1 4

(D) 1 2 3 4





(ÊÜá×Ùæ¿áÃÜá) (ÓÝ«Ü®æWÜÙÜá)

I. ÓÝÆáÊÜáÃÜ¨Ü 1. hÝ®Ü±Ü¨Ü PÜê£WÝX

£ÊÜá¾PÜR ±Ü¨Ü¾ÎÅà ±ÜÅÍÜÔ¤

II. ÓÜãQÅ ¸æãÊæá¾àWèvÜ 2. hÝ®Ü±Ü¨Ü

APÝvæËá¿á

A«ÜÂPÜÒ

III. ÊÜáígÊÜá¾ 3. ÓÝí±ÜÅ¨ÝÀáPÜ hæãàWÜ£ ‘±ÜÅÓÜã£ ñÜhæn’

IV. ±ÝÊÜWÜvÜ ®ÜÃÜÓÜÊÜá¾ 4. ÊÜáÃÜWÜÙÜ ÓÜíÃÜPÜÒOæ


I II III IV (A) 4 1 2 3 (B) 1 2 4 3 (C) 3 1 2 4 (D) 2 4 1 3

84. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ :


I. PÜÃÜ±ÝÆ 1. ÊÜáÖÝ¨æàÊÜ¿áÂ

II. ñÜíŸãÄ 2. ÊÜáá¯ÊæíPÜo±Ü³

III. ñÜÊÜápæ 3. ÃÝaÜ¿áÂ

IV. PÜíÓÝÙæ 4. Ô¨Üª¿áÂ


I II III IV (A) 2 1 3 4 (B) 4 3 1 2 (C) 4 3 2 1 (D) 1 4 2 3



I. ¨æàÊÜÃÜWÜávÜxÃÜá 1. ÊæãípæàÓÝÌËá

II. ¯àÆWÜÃÜ 2. ¹ÚXÄ ÃÜíWÜ

III. WÜÃÜávÜWÜíŸ 3. ÊÜÞ¨æàÍÜÌÃÜ

IV. WÜOæ¿áÊÜÃÜá 4. gáíg±Ü³




I. hæ.GÓ…. ±ÜÃÜÊÜáÎÊÜ¿áÂ 1. PÜ®Ü°vÜ hÝ®Ü±Ü¨Ü

XàñæWÜÙÜá

II. q.G®…. ÍÜíPÜÃÜ 2. EñÜ¤ÃÜ PÜ®ÝìoPÜ¨Ü ®ÝÃÝ¿á| hÝ®Ü±Ü¨Ü

ÃÜíWÜ»ÜãËá

III. aÜí¨ÜÅÍæàSÃÜ 3. ¨ÜQÒ| PÜ®ÝìoPÜ¨ÜÜ

PÜí¸ÝÃÜ hÝ®Ü±Ü¨Ü PÝÊÜÂ

±ÜÅPÝÃÜWÜÙÜá

IV. ¹.GÓ…. WÜvÜxXÊÜás… 4. PÝvÜáWæãÆÉÃÜ

ÓÜí±ÜÅ¨Ý¿áWÜÙÜá

ÊÜáñÜá¤ ®Üí¹PæWÜÙÜá






(Women) (achievements)

I. Saalumarada 1. Padmashree Thimmakka awardee for folk art

II. Sukkri Bomme 2. Chairperson of Gowda Janapada Academy

III. Manjamma 3. Traditional Jogathi ‘Prasoothi

Tagne’

IV. Pavagada 4. Preserving trees Narasamma

Codes :

I II III IV

(A) 4 1 2 3

(B) 1 2 4 3

(C) 3 1 2 4

(D) 2 4 1 3



I. Karapala 1. Mahadevaiah

II. Tamboori 2. Munivenkatappa

III. Tamate 3. Rachaiah

IV. Kamsale 4. Siddaiah

Codes :

I II III IV

(A) 2 1 3 4

(B) 4 3 1 2

(C) 4 3 2 1

(D) 1 4 2 3


list – I list – II I. Devaraguddaru 1. Manteswamy

II. Neelagara 2. Biligiri Ranga

III. Garudagamba 3. Madeswara

IV. Ganeyavaru 4. Junjappa



list – I list – II I. J. S. Paramashivaiah 1. Kannada

Janapada Geetegalu

II. T. N. Sankara 2. Uttara Narayana Karnatakada Janapada Rangabhumi III. Chandrasekhara 3. Dakshina Kambara Karnatakada Janapada Kavya Prakaragalu IV. B. S. Gaddagimath 4. Kadugollara Sampradayagalu Mattu

Nambikegalu






I. ÇÝÊÜ~ 1. ¯à£ PÜñæWÜÙÜá

II. PÜoár PÜñæWÜÙÜá 2. ÇÝÊÜ~WÝÃÜÃÜá

III. WÝ¨æ 3. WÜá±Ü¤ EñÜ¤ÃÜWÜÙÜá

IV. JWÜoá 4. g®Ü²Å¿á hÝn®Ü¨Ü PÜ|g


I II III IV

(A) 2 1 4 3

(B) 1 2 3 4

(C) 4 2 3 1

(D) 3 1 2 4


±Üqr – I ±Üqr – II (ÓÜíÓæ§) (ÊÜÐÜì)

I. ¹ÅqÐ… ¶æäàP…ÇæãàÃ… ÓæãÓæçq 1. 1888

II. AÊæáàÄPÜ®… ¶æäàP…ÇæãàÃ… 2. 1874 ÓæãÓæçq

III. ®ÝwìP… C®…ÔroãÂp… 3. 1878 B¶… ¶æäàP…ÇæãàÃ…

IV. g®ÜìÇ… B¶… © 4. 1959 Ãæãà¿áÇ… HÎ¿ÞqP… ÓæãÓæçq B¶… ¸æíWÝÇ…


I II III IV

(A) 1 2 3 4

(B) 4 2 3 1

(C) 3 1 4 2

(D) 2 3 1 4


±Üqr – I ±Üqr – II (WÜÅí¥Ü) (»ÝÐæ)

I. ÃÝÊÜÞ¿á| 1. ×àŸãÅ

II. «ÜÜÊÜá¾±Ý¨Ü 2. ÓÜíÓÜ¢ñÜ

III. ¸æçŸÇ… 3. ±ÝÈ

IV. £ÃÜáPÜáRÃÜÙ… 4. ñÜËáÙÜá


I II III IV

(A) 1 3 4 2

(B) 4 3 2 1

(C) 2 3 1 4

(D) 3 4 1 2


±Üqr – I ±Üqr – II (±ÜâÃÝ| PÝÊÜÂ) (E±Ü®Ý¿áQ¿áÃÜá)

I. ÊæãípæàÓÝÌËá 1. b®Ü°ÊÜá¾

II. ÊÜÞ¨æàÍÜÌÃÜ 2. ÊÜÞñÜíX

III. GÆÉÊÜá¾ 3. PÝÙÜÊÜá¾

IV. gáíg±Ü³ 4. ¨æãvÜxÊÜá¾ ñÝÀá


I II III IV

(A) 2 3 4 1

(B) 4 3 2 1

(C) 3 2 1 4

(D) 4 1 3 2





I. Ballad 1. Moral Tales

II. Fables 2. Ministrels

III. Proverb 3. Hidden Answer

IV. Riddle 4. Store of Popular Knowledge

Codes :

I II III IV

(A) 2 1 4 3

(B) 1 2 3 4

(C) 4 2 3 1

(D) 3 1 2 4



(Institution) (Year)

I. British Folklore Society 1. 1888

II. American Folklore Society 2. 1874

III. Nordic Institute of Folklore 3. 1878

IV. Journal of the Royal 4. 1959 Asiatic Society of Bengal

Codes :

I II III IV

(A) 1 2 3 4

(B) 4 2 3 1

(C) 3 1 4 2

(D) 2 3 1 4



(Book) (language)

I. Ramayana 1. Hebrew

II. Dhammapada 2. Sanskrit

III. Bible 3. Pali

IV. Thirukkural 4. Tamil

Codes :

I II III IV

(A) 1 3 4 2

(B) 4 3 2 1

(C) 2 3 1 4

(D) 3 4 1 2



(epics) (Sub-heroines)

I. Manteswamy 1. Chinnamma

II. Madeswara 2. Mathangi

III. Ellamma 3. Kaalamma

IV. Junjappa 4. Doddamma Taayi

Codes :

I II III IV

(A) 2 3 4 1

(B) 4 3 2 1

(C) 3 2 1 4

(D) 4 1 3 2



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91. Ë. hæ. ±ÝÅ±…ÃÜÊÜÃÜ PÜê£¿áá ÃÜÑ¿Þ¨ÜÈÉ

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Read the passage below and answer the questions from 91 to 100 :

Most structuralists, too have realized the need to explain the presence of particular morphological forms in the context of culture. Propp’s work, for example, was viciously attacked in Russia for being anti-Marxist and anti-Soviet. He was accused of not showing the relevance of folklore to the people’s struggle against capitalist oppression. In response to this critique of his ‘Morphology of the Folktale’, Propp wrote a sequel entitled ‘Historical Roots of the Wonder tale’. In it he took up the job of researching the relationship of form to the larger social and historical context. In a later response of Levi-Strauss, Propp writes that he finds the cause for the unity of the composition of different tales in “... the stage of human society studied by ethnology and ethnography..... I did not abandon morphological analysis, but set myself the task of searching for the historical foundations and historical roots of the system revealed by a comparative study of wonder tale plots.... What really matters is that plots are engineered by the life of the people and the forms of thought at the early stages of social development and that the appearance of these plots is historically determined.” Most contemporary western ethnologists and folklorists would certainly not be satisfied with this sort of Marxist evolutionism as a means of placing form in context. It is precisely the sort of thing Edmund Leach so eloquently

criticizes in a comment on the work of another Russian Scholar : “... it illustrates yet once again the deadening conservatism that Karl Marx’s approval of the social evolutionist theories of L. H. Morgan imposes on any Soviet Scholar who ventures into the domain of cultural/social Anthropology. Soviet ethnologists who fail to pay at least token respect to Morgan’s fantasies in the form in which they came to be embodied in Engels’ the origin of the family put themselves in peril.... He presents myth as the product of a particular ‘stage of consciousness’ which was characteristic of the thinking of primitive peoples at an early stage in their history.”

Levi-Strauss, too tries to tie in the structures of myth with the ethnography of a people. Unfortunately he is forced to rely almost exclusively on the report of others. Modern social anthropologists, intellectual descendants of B. Malinowski in terms of field methodology if not functionalist theory, are very sceptical about the possibility of reconstructing ethnographic settings once folklore has been divorced from its context and after the fact of analysis.

91. V. J. Propp’s work was viciously attacked in Russia

(A) for giving emphasis on form

(B) for neglecting people’s struggles against capitalism

(C) for dealing with unscientific aspects of culture

(D) for giving importance to history



92. ¿ÞÃæãí©Wæ Ë.hæ. ±ÝÅ±… ËÊÜáÍÝìñÜ¾PÜÊÝX ±ÜÅÊÜêñÜ¤®Ý¨Ü ?

(A) PÝÇ…ì ÊÜÞP…Õì (B) ¶æÅvÜÄP… HíhæÇ…Õ (C) GvÜ¾ív… Èàa… (D) ÇæË ÓÝóÓ…

93. ±ÝÅ±… “×ÓÝrÄPÜÇ… ÃÜãp…Õ B¶… © ÊÜívÜÃ… pæàÇ…” ±ÜâÓÜ¤PÜÊÜ®Üá° ¿ÞÊÝWÜ ŸÃæ¨ÜÃÜá ?

(A) BñÜ ¯¨ÜÍÜì®ÝñÜ¾PÜ ÓÜíÃÜaÜ®ÝÍÝÓÜŒÊÜ®Üá° G¨ÜáÄÔ¨ÝWÜ

(B) BñÜ ÃÜã±ÜÃÜaÜ®ÝÍÝÓÜŒ ËÍæÉàÐÜOæ¿á®Üá° ñÜÂiÔ¨ÝWÜ

(C) BñÜ ÓæãàËÁáñ… ÊÜÞQÕìÓÜrÄí¨Ü qàPæWæãÙÜWÝ¨ÝWÜ

(D) BñÜ ËÍæÉàÐÜOæ¿á ñÜáÆ®ÝñÜ¾PÜ Ë«Ý®ÜÊÜ®Üá° ñÜÂiÔ¨ÝWÜ

94. ±ÝÅ±… ñÜ®Ü° “×ÓÝrÄPÜÇ… ÃÜãp…Õ B¶… ÊÜívÜÃ… pæàÇ…Õ” ®ÜÈÉ D Aí£ÊÜá ¯|ì¿áPæR ŸÃÜáñÝ¤Ãæ

(A) ÊÜívÜÃ… pæàÇ… Õ® Ü (A¨Üá ½ñ Ü P Üñ æW ÜÙ Ü) PÜ¥ÝÊÜÓÜá¤WÜÙÜ ñÜáÆ®ÝñÜ¾PÜ A«ÜÂ¿á®ÜÊÜâ ¿ÞÊ Ü â¨ æ à ¯Ð Ü u ¶ ÜÈñÝíÍ ÜW ÜÙ Ü® Ü á ° ¯àvÜáÊÜâ©ÆÉ

(B) ÓÜíÃÜaÜ®Ý ËÍæÉàÐÜOæ¿áÈÉ ÊÜÞ®ÜÊÜPÜáÆÍÝÔŒà¿á ËÊÜÃÜOæ¿á ¨ÜñÝ¤íÍÜ ±ÜÅÁãàg®ÜPÝÄ¿ÞX¨æ

(C) aÝÄ£ÅPÜ ËÍæÉàÐÜOæ¿áá ÓÜíÃÜaÜ®Ý ËÍæÉàÐÜOæ¿á®Üá° ÖæãÃÜXvÜáñÜ¤¨æ

(D) ÊÜívÜÃ… pæàÇ…WÜÙÜ PÜ¥ÝÊÜÓÜá¤WÜÙÜá ±ÜÅWÜ£¿á Êæã¨ÜÆ ZorPæR ÓæàÄ¨Ü g®ÜÄí¨Ü Ë®ÝÂÓÜWæãÚÓÜÆ³qrÊæ

95. ÊÜÞQÕìÓ…r ËPÝÓÜ Gí¨ÜÃæ

(A) BPÜê£¿á®Üá° ÓÜí Ü̈¼àìPÜÃÜ|WæãÚÓÜáÊÜâ Ü̈á

(B) BPÜê£¿á®Üá° aÜÄñæÅ¿á ÖæãÃÜXvÜáÊÜâ¨Üá

(C) ÓÜí¨Ü»ÜìÊÜ®Üá° ±ÜtÂàPÜÄÓÜáÊÜâ¨Üá

(D) aÜÄñæÅ¿á A&ÃæàUà¿á ±ÜÅWÜ£

96. “ÓÝÊ ÜÞiP Ü ËPÝÓ Ü Ô¨Ý œíñ Ü” CÊ ÜÄW æ ÓæàÄ¨ÝªX¨æ

(A) PÝÇ…ì ÊÜÞP…Õì (B) ÇæË&ÓÝóÓ… (C) GÇ….Ga…. ÊæãàWÜì®… (D) Gv…ÊÜáív… Èàa…

97. ÊÜÞWÜì®…ÃÜÊÜÃÜ Ô¨ÝœíñÜ©í Ü̈ ±ÜÅ»ÝËÓÜÆ³orÊÜÃÜá ¿ÞÃÜá ?

(A) Ë.hæ.±ÝÅ±… (B) Gv…ÊÜáív… Èàa… (C) ÇæË&ÓÝóÓ… (D) HíhæÇ…Õ

98. ÊÜívÜÃ… pæàÇ…Õ (A¨Üá½ñÜ PÜñæWÜÙÜá) ÊÜáñÜá¤ Ëá¥…WÜÙÜá (±ÜâÃÝ| PÜñæWÜÙÜá)

(A) ÓÜíÃÜaÜ¯à¿áÊÝX ÓÜÊÜÞ®Ü (B) QÅ¿ÞñÜ¾PÜÊÝX ÓÜÊÜÞ®Ü (C) ÓÜÊÜÞg ±ÜÅWÜ£¿á BÃÜí»Ü¨Ü Ô§£Wæ

ÓæàÄ¨ÜÊÜâWÜÙÜá (D) A±ÜÅhÝn±ÜäÊÜìPÜÊÝX ÖÜáqrŸí¨ÜÊÜâWÜÙÜá

99. ¿ÞÃÜá BÃÝÊÜá PÜábì ÊÜÞ®ÜÊÜÍÝÓÜŒgn Gí¨Üá qàPæWæãÙÜWÝ¨ÜÊÜÃÜá ?

(A) ÊÜÞÂÈ®èÔR (B) ÇæË&ÓÝóÓ… (C) Gv…ÊÜáív… Èàa… (D) HíhæÇ…Õ

100. ÊÜÞ®ÜÊÜPÜáÆÍÝÔŒà¿á ËÊÜÃÜOæ ®ÜÊÜáWæ C¨ÜPæR ®æÃÜÊÝWÜáñÜ¤¨æ

(A) g®ÜÃÜ ±ÜÅhæn¿á Zor¨æãí©Wæ

PÜ¥Ü®ÜÊæäí¨ÜÃÜ ÓÜíÃÜaÜ®æ¿á ÓÜÖÜÓÜíŸí«Ü

H±ÜìwÓÜÆá

(B) PÜ¥Ü®ÜWÜÙÜ®Üá° ÊÜXìàPÜÄÓÜÆá

(C) PÜ¥Ü®ÜÊæäí¨ÜÃÜ PÜÇÝËáàÊÜÞíÓæ¿á

B¿ÞÊÜáWÜÙÜ®Üá° b£ÅÓÜÆá

(D) PÜ¥Ü®ÜÊæäí¨ÜÃÜ ÊÜáãÆÊÜ®Üá° ËÊÜÄÓÜÆá



92. Whom did V. J. Propp critically engage ? (A) Karl Marx (B) Frederik Engels (C) Edmund Leach (D) Levi-Strauss

93. When did Propp wrote the book “Historical Roots of the Wonder Tale” ?

(A) When he encountered with paradigmatic structuralism

(B) When he abandoned morphological analysis

(C) When he was criticized by Soviet Marxists

(D) When he abandoned comparative mode of analysis

94. In ‘Historical Roots of Wonder Tales’ Propp concludes that

(A) Comparative study of Wonder Tale plots does not yield any faithful results

(B) Ethnographic data is useful in structural analysis

(C) Historical analysis excludes structural analysis

(D) Plots of Wonder Tale are designed by the people who belong to the early stage of development

95. Marxist evolutionism means (A) Contextualising the form (B) Placing the form outside history (C) Textualise the context (D) Non-linear development of history

96. Theory of Social Evolution belongs to (A) Karl Marx (B) Levi-Strauss (C) L. H. Morgan (D) Edmund Leach

97. Who was influenced by Morgan’s theories ?

(A) V. J. Propp (B) Edmund Leach (C) Levi-Strauss (D) Engels

98. Wonder tales and Myths are (A) Structurally similar (B) Functionally similar (C) Belonging to the early stage of

social development (D) Originated unconsciously

99. Who was criticized as an arm chair anthropologist ?

(A) Malinowski (B) Levi-Strauss (C) Edmund Leach (D) Engels

100. Ethnography helps us (A) to correlate the structure of a

narrative with people’s stage of consciousness

(B) to classify narratives (C) to delineate the aesthetic

dimensions of a narrative (D) to explain the origin of a narrative



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Subject : Folk lIterature - KSET

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