FOLK LITERATURE
PAPER – II
Note : This paper contains fifty (50) objective type questions of two (2) marks each. All questions are compulsory.
1. The definition of proverb as “The wisdom of many, the wit of one” is given by :
(1) Alan Dundes
(2) Roger D. Abrahams
(3) Lord Russell
(4) Dan Ben-Amos
2. “Story, Performance and Event” is authored by :
(1) Richard Bauman
(2) Brenda E.F. Beck
(3) Stuart Blackburn
(4) Alan Lomax
3. According to Bascom, which prose narratives are regarded as fiction ?
(1) Folk epics
(2) Folk tales
(3) Folk myths
(4) Folk legends
4. Oral compositions are characterized by :
(1) Variability
(2) Fixity
(3) Proximity
(4) Verifiability
5. The word ‘taboo’ is originated from which one of the following language groups ?
(1) Proto-Semitic
(2) Proto-Polynesian
(3) Proto-Dravidian
(4) Proto-Indo-European
6. The persistent question that arises in the data Collected by means of participant Observation is about :
(1) Objectivity
(2) Relativity
(3) Temporality
(4) Fixity
7. In folkloristics, various methods of analysis that lead to reduction of phenomena into cognitive models form the basis for :
(1) Folklorism
(2) Romanticism
(3) Multiculturalism
(4) Structuralism
8. Which School describes different parts of a society and their relationship through the organic analogy ?
(1) Materialism
(2) Romantic Nationalism
(3) Functionalism
(4) Russian Formalism
9. According to Marcel Mauss’s Functionalism, Solidarity in Societies is achieved through the social bonds created by :
(1) Goods Exchange
(2) Monitory Exchange
(3) Bride Exchange
(4) Gift Exchange
10. The minimum definition of an American Indian folktale constitutes :
(1) Two Phoneme Sequence
(2) Two Motifeme Sequence
(3) Two Allomotif Sequence
(4) Two Morpheme Sequence
11. “Second-hand mediation and presentation of folk culture” is defined as :
(1) Folklorismus
(2) Fakelore
(3) Folklorisation
(4) Folkloristics
12. “Homeopathic magic operates on the laws of mimicking” is the view expressed by the group of Scholars connected with the theory of :
(1) Mimesis
(2) Myth-Ritual
(3) Monomyth
(4) Solar Mythology
13. Identify the correct group of folklorists who made significant contribution to epic studies :
(a) Felix J. Oinas
(b) Y. M. Sokolov
(c) Albert B. Lord
(d) Milton B. Singer
Code :
(1) (b) and (c) are correct.
(2) (c) and (d) are correct.
(3) (a) and (c) are correct.
(4) (a), (c) and (d) are correct.
14. The terms related to Stith Thompson are :
(a) Motifeme
(b) Motif
(c) Allomotif
(d) Type
Code :
(1) (a) and (c) are correct.
(2) (b) and (d) are correct.
(3) (a), (b) and (d) are correct.
(4) (b), (c) and (d) are correct.
15. The theory of Parental Complex propagated by the Freudian school of thought is based on the mythological characters :
(a) Oedipus
(b) Cadmus
(c) Electra
(d) Achilles
Code :
(1) (c) and (d) are correct.
(2) (b) and (d) are correct.
(3) (a) and (c) are correct.
(4) (a) and (d) are correct.
16. Claude Levi-Strauss’s Structuralism was influenced by the Philosophies of :
(a) Jean Jacques Rousseau
(b) Jean Paul Sartre
(c) Jean Bodin
(d) Jacques Maritain
Code :
(1) (a) and (b) are correct.
(2) (b) and (d) are correct.
(3) (b) and (c) are correct.
(4) (a) and (d) are correct.
17. Identify the folklorist who worked on ethno-aesthetics :
(a) Maria Leach
(b) Americo Paredes
(c) Michael Owen Jones
(d) Henry Glarrie
Code :
(1) (b) and (c) are correct .
(2) (a) and (c) are correct.
(3) (a) and (d) are correct.
(4) (c) and (d) are correct.
18. J. G. Frazer’s ‘The Golden Bough’ was influenced by the works of :
(a) William Robertson Smith
(b) Joseph Campbell
(c) Lord Raglan
(d) E. B. Tylor
Code :
(1) (c) and (d) are correct.
(2) (b) and (d) are correct.
(3) (b) and (c) are correct .
(4) (a) and (d) are correct.
19. According to the “Law of Self Correction”, narrative versions achieve their standard forms through :
(a) Narrative variations
(b) Repeated telling
(c) Performers narrative logic
(d) Audience’s Response
Code :
(1) (b), (c) and (d) are correct.
(2) (a), (b) and (d) are correct.
(3) (b) and (c) are correct.
(4) (a) and (d) are correct.
20. As a literary rhetorical device, ‘ellipsis’ refers to :
(a) A punctuation mark
(b) A performance marker
(c) Artful omission of a word
(d) Artful inclusion of a poetic device
Code :
(1) (a) and (b) are correct.
(2) (a) and (c) are correct.
(3) (b) and (c) are correct.
(4) (c) and (d) are correct.
21. Identify the significant concepts in folklorism :
(a) First life of folklore
(b) Second life of folklore
(c) Cultural Authentication
(d) Cultural commodification
Code :
(1) (a) and (b) are correct.
(2) (a) and (c) are correct.
(3) (b) and (c) are correct.
(4) (b) and (d) are correct.
22. According to Louri Honko, Genre is considered as :
(a) Construct category
(b) Analytical category
(c) Primary form
(d) Ideal type
Code :
(1) (a), (b) and (c) are correct.
(2) (a) and (c) are correct.
(3) (a) and (d) are correct.
(4) (a), (c) and (d) are correct.
23. Assertion (A) : Epic is a heroic narrative.
Reason (R) : But all heroic narratives are not epics.
Code :
(1) Both (A) and (R) are true.
(2) (A) is false and (R) is true.
(3) (A) is true and (R) is false.
(4) Both (A) and (R) are false.
24. Assertion (A) : The worship of the ancestral souls turned the family into a corporate group which perpetuated the system of patriarchy.
Reason (R) : “The cult of the clan” namely, totemism is an offspring of the ancestral worship.
Code :
(1) (A) is false (R) is true and (R) is not the correct explanation.
(2) Both (A) and (R) are true and (R) is the correct explanation.
(3) (A) is true and (R) is false.
(4) Both (A) and (R) are false.
25. Assertion (A) : In myths and folktales Jung perceived shadow figures and situations representing the dark side of the personality.
Reason (R) : The witch is to be interpreted as a collective shadow figure, providing an emotional outlet for a personality.
Code :
(1) (A) is false and (R) is true.
(2) (A) is true and (R) is false.
(3) Both (A) and (R) are true.
(4) Both (A) and (R) are false.
26. Assertion (A) : In semiology, a symbol which bears no direct relation to the thing it signifies,is referred to as indexical sign.
Reason (R) : In semiology, a sign that represents a real object is considered as arbitrary signifier.
Code :
(1) Both (A) and (R) are false.
(2) Both (A) and (R) are true and (R) is the correct explanation.
(3) (A) is false and (R) is true and (R) is not the correct explanation.
(4) (A) is false and (R) is true.
27. Assertion (A) : The post-modernists viewed that the folklore text emerges out of the authorial positioning of ethnographer.
Reason (R) : According to oral-formulaic theory, folklore text emerges out as the joint venture of ethnographer as well as native participant.
Code :
(1) (A) is false and (R) is true.
(2) (A) and (R) are false.
(3) (A) is partially true and (R) is false.
(4) (A) and (R) both are true.
28. Assertion (A) : In data collection, a schedule is a format having a set of questions on a given topic.
Reason (R) : In folklore reasearch, schedules are not as popular as interviews.
Code :
(1) Both (A) and (R) are true.
(2) Both (A) and (R) are false.
(3) (A) is true and (R) is false.
(4) (A) is false and (R) is true.
29. Assertion (A) : Creations of folklore are simply products of language.
Reason (R) : Folklore is the product of the code of folklore, an independent system, whose laws are of the same nature as those of language.
Code :
(1) (A) and (R) are true.
(2) (A) is true and (R) is false.
(3) (A) and (R) both are false.
(4) (A) is false and (R) is true.
30. Assertion (A) : According to Carl Jung, the similarities of folktales in different parts of the world can be explained in terms of the collective Unconscious.
Reason (R) : Inside the collective Unconscious, there are the ‘inprints’ of the past and these are manifested in the form of archetypes.
Code :
(1) (A) is false and (R) is true
(2) (A) and (R) are false
(3) (A) and (R) are true
(4) (A) is true and (R) is false
31. Sequence the Propp’s functions in preparatory section :
(a) Reconnaissance by other persons
(b) Interdiction
(c) Information received by other means
(d) Order or command carried out
Code :
(1) (a), (c), (b), (d)
(2) (b), (a), (d), (c)
(3) (b), (d), (a), (c)
(4) (d), (c), (a), (b)
32. Identify the correct group of scholors associated with Genre Theory :
(1) William Bascom, Roger Abrahams, Ben Amos, Lauri Honko
(2) William Bascom, Lauri Honko, Alan-Dundes, Evans-Pritchard
(3) Ben-Amos, Richard Dorsan Levi-Strauss, Roger Abrahams
(4) Bronislaw Malinowski, Alan Dundes, Ben-Amos, Richard Bauman
33. Which one is the correct group of concepts related to Defence mechanisms in Psychoanalysis ?
(1) Projection, Libido, Inferiority complex, Denial
(2) Projection, Sublimation, Denial, Repression
(3) Castration Complex, Denial, Persona, Displacement
(4) Sublimation, Transference, Persona, Displacement
34. Sequence the terms – Moiety, Phratry, Cosanguinity and Affinity – with their cannotations below :
(a) Matrimonial Relation
(b) Half Tribal Relation
(c) Blood Relation
(d) Unilineal descent Group
Code :
(1) (a), (c), (b), (d)
(2) (a), (c), (d), (b)
(3) (b), (d), (c), (a)
(4) (d), (b), (c), (a)
35. Sequence the terms used in folklore studies – Aggregation, Marge, Symbol, Index – with the following connotations :
(a) New Status
(b) Actual Contiguity
(c) Imputed Contiguity
(d) Borderline
Code :
(1) (a), (d), (c), (b)
(2) (a), (b), (c), (d)
(3) (d), (a), (c), (b)
(4) (d), (b), (c), (a)
36. Sequence the steps in Historic Geographic method.
(a) Assemble versions
(b) Determine archetypes
(c) Compile cartography
(d) Break into traits
Code :
(1) (a), (c), (b), (d)
(2) (a), (d), (c), (b)
(3) (b), (a), (d), (c)
(4) (d), (b), (a), (c)
37. Sequence the meaning of – Motifeme, Syntagm, Paradigm and Binary – used in structuralism.
(a) Substitutional units
(b) Lexical units
(c) Mutually exclusive units
(d) Constant action units
Code :
(1) (a), (c), (b), (d)
(2) (a), (d), (c), (b)
(3) (b), (a), (d), (c)
(4) (d), (b), (a), (c)
38. Sequence the Scholors – Ruth Benedict, Vladimir Propp, E.B. Tylor and Raymond Firth – with their works :
(a) Symbols : public and private
(b) Patterns of culture
(c) Primitive culture
(d) Theory and History of Folklore
Code :
(1) (a), (b), (c), (d)
(2) (d), (a), (c), (b)
(3) (b), (d), (c), (a)
(4) (d), (b), (c), (a)
39. Sequence the Authors – Alan Dundes, Ben Amos, Barre ToelKen and Clifford Geertz – with their books :
(a) Interpreting Folklore
(b) The Interpretation of Culture
(c) Cultural Memory and Construction of Identity
(d) Dynamics of Folklore
Code :
(1) (a), (c), (b), (d)
(2) (a), (c), (d), (b)
(3) (b), (d), (c), (a)
(4) (d), (b), (c), (a)
40. Match the following :
41. Match the following :
42. Match the following :
43. Match the following :
44. Which one of the pair is not correctly matched ?
(1) Levi-Strauss – Psychoanalysis
(2) Alan Dundes – Text, Texture and Context
(3) Stuart Blackburn – Performance Studies
(4) Donald Polkinghorne – Narrative Enquiry
45. Match the following :
46. Which one is not correctly matched ?
(1) Riddle – hidden meaning
(2) Palindrome – fixed text
(3) Lullaby – senseless syllables
(4) Proverb – blessings
47. Which pair related to folktale scholarship is correctly matched ?
(1) Charles Briggs and Peter Clause
(2) Antti Aarnea and Alan Dundes
(3) Alan Lomax and Kenneth Goldstein
(4) Vladimir Propp and Macel Mauss
Direction : Read the passage below and answer the questions that follow based on the passage (48-50) :
Literature, like sculpture or painting, has an independent, semipermanent, static existence. Verbal art, on the other hand, is intangible and dynamic. Even where the narrator is expected to repeat a tale as early verbatim as he can, there is still the possibility of considerable change over the period of centuries. The amount of change that occurs probably depends upon the complexity of the form, and assuming an equal emphasis on exact repetition, one would at least expect more change in long involved narratives than in proverbs. Moreover, where the narrator is expected to introduce original variations in characters and characterizations, incidents and their sequence, descriptive details, or novel tourists to familiar plots, a tale may vary markedly even from one telling by the same narrator to another. In such cases, each telling of a tale must be regarded as a
unique event, and in approaching the problem of creativity it is important to distinguish between 1. The variations on a familiar theme introduced by the individual narrator, and 2. The origin of the theme, or the tale type, itself. It is worth noting, also, that where as in the translation of literary works a deliberate attempt is usually made to adhere as faithfully as possible to the original text, when a folktale spreads verbally by diffusion it may be markedly modified and reinterpreted in the
process of adaptation to a new cultural setting.
Verbal art differs from literature not only in its method of transmission, but also in its method of creation.
48. Each telling of a tale becomes a unique event because of :
(a) Variations introduced by narrator.
(b) Variations in context and form.
(c) Variations in characters and characterizations.
(d) Variations in incidents and their sequence.
Code :
(1) (a), (c) and (d) are correct.
(2) (a), (b) and (c) are correct.
(3) (a), (b), (c) and (d) are correct.
(4) (b), (c) and (d) are correct.
49. Difference between verbal art and literature is based on :
(1) Intangible and dynamic
(2) Independent and static existence
(3) Transmission and creation
(4) Complexity and variants
50. When a folktale spreads verbally, it is marked by :
(a) Modification
(b) Adoptation
(c) Reinterpretation
(d) Adaptation
Code :
(1) (a), (b) and (c) are correct.
(2) (b), (c) and (d) are correct.
(3) (a), (b) and (d) are correct.
(4) (a), (c) and (d) are correct.
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