KSET 2020 Question Paper Folk Literature

Paper : II

Booklet SERIAL No.
Subject : Folk Literature
Subject Code : 21

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Time : 2 Hours Maximum Marks : 200
Number of Pages in this Booklet : 40 Number of Questions in this Booklet : 100
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K – 2120 1 ±Üâ.£.®æãà./P.T.O.

hÝ®Ü±Ü¨Ü ÓÝ×ñÜÂ
±æà±ÜÃ… – II

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6. Ur ®ÜÊÜáã®æ Gí¨ÜÃæ
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(D) © A¥æ௿áí

Paper II 2 K – 2120

folk literature
Paper – II

Note : This paper contains hundred (100) objective type questions. Each question carries
two (2) marks. All questions are compulsory.
1. ‘Folklore is a lively FOSSIL which 5. ‘Palnadu Veera Charitham’ is an epic
refuses to Die’. This statement is by belonged to which language ?
(A) Catherine (A) Telugu
(B) Tamil
(B) C. F. Potter
(C) Malayalam
(C) M. Herman
(D) Tulu
(D) Marius Barbe
6. Ur type means
2. J. G. Van Herder belongs to the country (A) Prototype identified on the basis of
(A) Germany text variants
(B) Prototype identified by not
(B) Finland
considering the text variations
(C) America (C) Prototype not identified on the basis
(D) England of text variants
(D) Arch type model of text variants
3. The Evolution Theory is putforwarded
by 7. The editor of ‘Standard Dictionary of
Folklore, Mythology and Legend’ is
(A) Levis Henry Morgan
(A) Maria Leach
(B) Karl Marx
(B) Margaret Mead
(C) Carlos Linins (C) Maria Marret
(D) Don Ben Amos (D) William Boscom

4. The editor of the book 8. In the introduction of this book Theoder
‘Karnataka Janapada Kalegalu’ Benfery explained ‘India is the origin of
Folktales’
(A) De. Javare Gowda
(A) Golden Bough
(B) Hi. Chi. Boralingaiah (B) Panchatantra
(C) T. N. Shankaranarayana (C) Vaddaradhane
(D) Go. Ru. Channabasappa (D) The Athenium

K – 2120 3 Paper II

9. ‘Das Volk’ (The Folk) ±ÜÄPÜƳ®æ¿áá 14. ‘g®Ü±Ü¨Ü ÓÝ×ñÜ嬆 ËÊÜáÍæì’ GíŸá¨Üá C¨ÜPæR
CÊÜÄí¨Ü ÓÜíÁãàiÓÜƳor¨ÝªXÃÜáñܤ¨æ ÓÜíŸí˜Ô¨Ü bíñÜ®æ¿ÞX¨æ
(A) hæ. ¹. ÖÜvÜìÃ… (A) B®ÜÌÀáPÜ hݮܱܨÜ
(B) XÅÊÜå… ŸÅ¨ÜÓ…ì (B) ÊÜÞ±ÝìvÜá(Êæáo) hݮܱܨÜ
(C) aÝÇ…Õì vÝËì®… (C) hݮܱܨÜñæ
(D) ÇæãàÄ ÖÝíPæã (D) ±ÝÃÜí±ÜÄPÜ ±ÜÅÊÝÓæãà¨ÜÂÊÜá

10. ‘ÊÝ[æ ÊÜááÃÜÚàÓ…’ D ÓÜí±ÜŨݿáPæR ÓæàĨÜ᪠15. ‘JWÜoá’ C¨ÜÃÜÈÉ®Ü ±ÜÅŸÆ AíÍÜ
(A) gáíg±Ü³ ÓÜí±ÜŨݿá (A) ±ÜÅÓݤÊÜ®æ
(B) ÊÜáípæàÓÝÌËá ÓÜí±ÜŨݿá (B) ñܹºŸáº
(C) SívæãàŸ ÓÜí±ÜŨݿá (C) ÓÜÊÜìÓÜÊÜá¾ñÜ ñÜñܤ$Ì
(D) ÊÜÞ¨æàÍÜÌÃÜ ÓÜí±ÜŨݿá (D) A®Üá±ÝÆ®æ

11. ‘Æ¿á ±ÜâÃÝ|’ C¨Ü®Üá° ËÊÜÄÓÜáñܤ¨æ 16. ‘© ²ÅËáqÊ… PÜÆcÃ…’ ŸÃÜÖÜWÝÃÜ
(A) gWÜ£¤®Ü AíñÜ (A) GÇ…. Ga…. ÊæãàWÜì®…
(B) gWÜ£¤®Ü g®Ü®Ü (EWÜÊÜá) (B) C. ¹. pæàÆÃ…
(C) ÊÜá®ÜáPÜáÆ¨Ü »ÜËÐÜ (C) hæ. i. ¶æÅàÃÜkáÃ…
(D) ÊÜÞ®ÜÊÜÃÜ WÜñÜaÜÄñæÅ (D) ÍÜíPÜÃ… Óæ®… WÜá±Ü¤

12. ‘ ÓÜ Ê Ü á Ñr ÓÜ á ±Ü ¤ ± Ü Å hæ n ’ GíŸáÊÜ â ¨Ü á CÊÜ Ä í¨Ü 17. ‘ñæÃæPÜãoár’ GíŸáÊÜâ¨Üá D ÃÝg嬆 ±ÜŨÜÍÜì®Ü
±ÜÅ£±Ý©ÓÜƳqr¨æ PÜÇæ¿ÞX¨æ
(A) ÔWܾív… ¶ÝÅ¿å…x (A) Bí«ÜÅ ±ÜŨæàÍÜ
(B) GÄP… ¶ÝÅÊÜå… (B) PÜ®ÝìoPÜ
(C) PÝÇ…ì ¿áãíW… (C) ñÜËáÙÜá®ÝvÜá
(D) ±ÝÊ…Çæã (D) PæàÃÜÙÜ

13. ÊÝÓܤËPÜ (ÓÜá#o)ÓÜíÓÜ¢£ GíŸáÊÜâ¨Üá 18. ‘gáíg±Ü³’ PæÙÜWæ ÖæÓÜÄst ¨æàÊÜÃÜ AÊÜñÝÃÜ
(A) ÓݾÃÜPÜ, ¨æàÊÝÆ¿á, ÊÜÓÜᤠGí¨Üá ®ÜíŸÇÝX¨æ
(B) ÊÝwPæ, ®Üí¹Pæ, ÍÝÓÜŒPÜÊÜáì (A) WÜ|±Ü£

(C) g®ÝíWÜ & LÐÜ ˜ , g®ÝíWÜ & ÓÜ í XàñÜ , (B) Bíg®æà¿á
ÓݾÃÜPÜ (C) ËàÃܻܨÜÅ
(D) ÊÜáÖÝPÝÊÜÂ, ÇÝÊÜ~, ¨æàÊÝÆ¿á (D) B©ÍæàÐÜ

Paper II 4 K – 2120

9. The concept of ‘Das Volk’ (The Folk) 14. ‘Folk literary criticism’ is an idea
is constructed by related to
(A) J. B. Herder (A) Applied Folklore
(B) Grimm Brothers (B) Meta Folklore
(C) Charles Darwin (C) Folklorism
(D) Lauri Honko (D) Heritage Tourism

10. ‘Vaghe Muralis’ belonged to 15. The dominant element in Riddle is
(A) Junjappa Tradition (A) Proposition
(B) Manteswamy Tradition (B) Puzzle
(C) Khandoba Tradition (C) Axiom
(D) Madeshwara Tradition
(D) Compliance

11. ‘Laya Purana’ describes
16. ‘The Primitive Culture’ is authored by
(A) The end of this world
(A) L. H. Morgan
(B) The birth of this world
(B) E. B. Taylor
(C) The future of the mankind
(C) J. G. Frazer
(D) The past of the humans
(D) Shankar Sen Gupta
12. ‘Collective Unconscious’ was advocated by
17. ‘Terekoottu is performing art of
(A) Sigmund Freud
(A) Andhra Pradesh
(B) Eric Fromm
(B) Karnataka
(C) Carl Jung
(C) Tamil Nadu
(D) Pavlov
(D) Kerala
13. Tangible culture is
18. ‘Junjappa’ is believed to be an
(A) Monument, Temple, Material
incarnation of
(B) Custom, Belief, Ritual (A) Lord Ganapathi
(C) Ethno-medicine, Ethno-music, (B) Lord Anjaneya
Monument (C) Lord Veerabhadra
(D) Epic, Ballad, Temple (D) Lord Àdishesha
K – 2120 5 Paper II

19. PæÙÜX®ÜÊÜâWÜÙÜÈÉ ¿ÞÊÜâ¨Üá ±ÜËñÜÅ PܥܮÜÊÝX¨æ ? 22. ÊÜá®ÜáPÜáÆ¨Ü ËPÝÓܨÜÈÉ C. ¹. pæàÆÃ…
(A) ¨ÜíñÜPÜ¥æ ±ÜÅÓݤ²Ô¨Ü ZorWÜÙÜ PÜÅÊÜáÊÜ®Üá° WÜáÃÜá£ÔÄ.
(B) ±ÜâÃÝ|PÜ¥æ I. A®ÝWÜÄPÜ Ô§£
II. ŸŸìÃÜñæ
(C) hÝ®Ü±Ü¨Ü PÜ¥æ
III. ®ÝWÜÄPÜñæ
(D) ÖÝÓÜÂ
ÓÜíPæàñÜWÜÙÜá :
(A) I, II, III
20. ‘hÝ®Ü±Ü¨Ü ÓÝ×ñÜ ¨ÜÍÜì®Ü’ «ÝÃÝÊÝ׿á®Üá° (B) II, III, I
±ÜÅPÜqÓÜáÊÜ ËÍÜÌ˨ݯƿá (C) III, II, I
(A) ÊæáçÓÜãÃÜá ËÍÜÌ˨ݯƿá (D) I, III, II
(B) PܮܰvÜ ËÍÜÌ˨ݯƿá
(C) PÜ®ÝìoPÜ ËÍÜÌ˨ݯƿá 23. ±ÜÅÊÜááS ÆPÜÒ|ÊÜâ
I. PÜñæÁãí¨ÜÃÜ AƳñÜÊÜá ZoPÜ
(D) PÜ®ÝìoPÜ hÝ®Ü±Ü¨Ü ËÍÜÌ˨ݯƿá
II. PÜñæÁãí¨ÜÃÜ WÜÄÐÜuñÜÊÜá ZoPÜ
III. ŸÖÜáPÝÆ EÚ¿ááÊÜ ÍÜQ¤
21. ÓÜñÜÂÊæäà, ÓÜáÙæãÛà ?
IV. PÜñæÁãí¨ÜÃÜ ñÝñÝRÈPÜ ÆPÜÒ|
I. ±ÝÅbà®Ü ËÐÜ¿áÊæäí¨Üá ‘»è£PÜ ÓÜíÓÜ¢£’Wæ
ÓÜíPæàñÜWÜÙÜá :
Jí¨Üá E¨ÝÖÜÃÜOæ¿ÞXÃÜáñܤ¨æ
(A) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
II. oíW… qÌÓÜ r Ã…WÜ Ù Ü á (EaÝfÃÜ O æ ¿ áÈÉ
(B) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
ñÜvÜÊÜÄPæ Eíoá ÊÜÞvÜáÊÜ ±ÜÅÁãàWÜWÜÙÜá)
(C) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
ÊÜåèUPÜ g®Ü±Ü¨Ü A«Ü¿á®Ü
(D) II ÊÜáñÜᤠI ÓÜÄ¿ÞXÊæ
III. EÚ¿ááËPæ W Ü Ù Ü á A»ÝÂÓÜ Ÿ Æ©í¨Ü
ÊÜ á áí¨Ü á ÊÜ Ä ÓÜ Æ ³orÊÜ â WÜ Ù Ü Æ É, ¯g
24. ËÊÝÖÜ¨Ü ËË«Ü ®ÜÊÜáã®æWÜÙÜá
ÖæàÙܸæàPæí¨ÜÃæ AÊÜâWÜÙÜá ¿ÞÃÜ ®ÜvÜáÊæ
I. HPÜËÊÝÖÜ, ŸÖÜáËÊÝÖÜ, ŸÖÜá±Ü£ñÜÌ
PÜívÜá ŸÃÜƳvÜáñܤÊæäà AÊÜÃÜÈÉ CÊÜâWÜÚWæ
II. ŸÖÜ á ±Ü £ °ñÜ Ì , ®Ý©¯Áãí©Wæ ËÊÝÖÜ ,
E¨æªàÍÜWÜÚÊæ Êæáç¨Üá®Ü®æãí©Wæ ËÊÝÖÜ
IV. g®ÜÃÜá C®æã°Êæá¾ PÝÆPÜÅÊæáà| WÜÊÜá®ÝÖÜì III. HPܱܣ°, ÊÜÞñÜê Óݧ¯à¿á , ±Ü£ñÜÌ¨Ü ÊÜÞñÜê
±Ü â ®Ü Ã ÝÊÜ ñ Ü ì ®æ ¿ áÈÉ ÓÜ í ÊÜ × ÓÜ Æ á ±ÝūݮܨÜ
Ÿ¿áÔ¨ÜÈÉ Ë®ÝÍÜ¨Ü Aíb®ÜÈÉÃáÜ ÊÜ g®Ü±¨ Ü Ü IV. ²ñÜêÊÜíÎà¿áñæ, ²ñÜêÓݧ¯à¿á,
A«Ü¿á®ÜÊÜ®Üá° ±Üâ®ÜÍæcàñÜ®ÜWæãÚÓÜŸÖÜá¨Üá ²ñÜê±ÝūݮܨÜ
ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :
(A) I ÓÜáÙÜáÛ , II, III ÊÜáñÜᤠIV ÓÜñÜ (A) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ
(B) II ÓÜáÙÜáÛ , I, III ÊÜáñÜᤠIV ÓÜñÜ (B) I I ÓÜ Ä ¿ÞX¨æ ÊÜ á ñÜ á ¤ I V PÜ ã vÜ
ÓÜÄ¿ÞX¨æ
(C) III ÓÜáÙÜáÛ , I, II ÊÜáñÜᤠIV ÓÜñÜÂ
(C) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÆÉ
(D) IV ÓÜáÙÜáÛ , I, II ÊÜáñÜᤠIII ÓÜñÜ (D) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
Paper II 6 K – 2120

19. Which among the following is a sacred 22. Identify the order of stages proposed by
narrative ? E. B. Tylor in the evolution of mankind.
I. Savagery
(A) Anecdote
II. Barbarism
(B) Myth III. Civilization
(C) Folktale Codes :
(D) Joke (A) I, II, III
(B) II, III, I
20. The university publishing the serial (C) III, II, I
‘Janapada Sahithya Darshana’ (D) I, III, II
(A) University of Mysore
23. Motif is the
(B) Kannada University I. Minimal unit of a tale
(C) Karnataka University II. Maximal unit of a tale
(D) Karnataka Janapada University III. Having power to persist
IV. Temporary feature of a tale
21. Whether true or false ? Codes :
I. A thing of the past is an example (A) I and IV are correct
for ‘Material culture’ (B) I and III are correct
(C) II and III are correct
II. Tongue twisters are verbal folklore
(D) II and I are correct
III. Survivals are not vestiges carried on
out of habit rather they have purposes 24. The different types of marriage
among whom they are found I. Monogamy, Polygamy, Polyandry
IV. Folklore on the verge of ‘dying II. Polygyny, Sororate, Levirate
out’ may be revived if people again III. Monogamous, Matriarchal,
wish to communicate with notable Avunculocal
frequency over time IV. Patrilineal, Patrilocal, Patriarchal
Codes : Codes :
(A) I is false, II, III and IV are true (A) I and II are correct
(B) II is false, I, III and IV are true (B) II is correct and IV is also correct
(C) III is false, I, II and IV are true (C) III and IV are not correct
(D) IV is false, I, II and III are true (D) III and IV are correct

K – 2120 7 Paper II

25. hÝ®Ü ± Ü ¨ Ü A«Ü  ¿á®Ü Ê Ü â D PÝÃÜ | ©í¨Ü 28. G. Pæ. ÃÝÊÜÞ®Üág®… BX¨ÜªÃÜá
ÍÜQ¤¿ááñÜÊÝX¨æ.
I. ‘A®Ü¨ÜÃ… ÖÝÊæãì௒¿á ÓÜí±Ý¨ÜPÜ
I. PܥܮÜWÜÙÜá ÊÜáñÜᤠ±ÝsÝíñÜÃÜWÜÙÜá
II. ±ÜÅÓÜÃÜ| ÓÜÌ»ÝÊÜ II. ‘ CíoÃ…±æ Å pæ à ÍÜ ® … B¶… wÅàÊÜ å …Õ ’ ®Ü
III. BËÐÝRÃÜ ÇæàSPÜ
IV. ±ÜÃÜí±ÜÃæ III. ‘hæívÜÃ… BÂív… hæ®æÅ’¨Ü ÓÜí±Ý¨ÜPÜ
ÓÜíPæàñÜWÜÙÜá : IV. ‘¶æäàP…pæàÇ…Õ ¶ÜÅí Cíw¿á’¨Ü ÇæàSPÜ
(A) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ ÓÜíPæàñÜWÜÙÜá :
(C) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ (A) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ
(D) II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (B) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
26. »ÝÃÜ £ à¿á ÊÜ Þ ×£¿á®Ü á ° B«Ü Ä ÔPæ ã ívÜ (C) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
ԨݜíñÜWÜÙÜá ¿ÞÊÜâÊÜâ ? (D) I, II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
I. ¦ÁãàvÜÃ… ¸æ¯Õ¿áÊÜÃÜá ±ÜÄaÜÀáÔ¨Ü
ÓܧÙÝíñÜÄPæ¿á ԨݜíñÜ 29. Êæáo hÝ®Ü±Ü¨Ü A«Ü¿á®Ü C¨ÝX¨æ
II. PÝÇ…ì gíW… ±ÜÄaÜÀást ËÍæÉàÐÜOÝñܾPÜ I. AíñÜÃ…ÍæçÈ
ÊÜá®æãàËhÝn®Ü II. g®ÜÍÜáÅ£ ŸWæY hÝn®Ü
III. ÊÜ Þ ÂP…Õ ÊÜ á áÆÉ Ã … ±Ü Ä aÜ À ást ÓèÃÜ III. ÊÜåèUPÜ ÓÝ×ñÜ嬆 ËÊÜáÍæì
±ÜâÃÝ| IV. PÜáÆÓÜíŸí˜ ËÊÜáÍæì
IV. ÇæË ÓÝóÓ… ±ÜÄaÜÀást ÃÜaÜ®ÝñܾPÜñæ¿á
ԨݜíñÜ ÓÜíPæàñÜWÜÙÜá :
(A) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
ÓÜíPæàñÜWÜÙÜá :
(B) II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(A) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(B) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (C) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(C) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ (D) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(D) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
30. ±èÃÝ~PÜ, ÊÜÞ®ÜÊÍ
Ü ÝÔŒà¿á ÊÜáñÜᤠC£ÖÝÔà¿á
27. ´æäàPæãÉàÄÓÜÊÜå…Õ ÊÜáñÜᤠB®ÜÌÀáPÜ hÝ®Ü±Ü¨Ü »èWæãàÚPÜ Ô¨ÝœíñÜWÜÙÜá
±ÜÄPÜƳ®æWÜÙÜá CÊÜÃæãí©Wæ WÜáÃÜá£ÔPæãíw¨æ
I. ÃæãàgÃ… w A¸ÝÅÖÜÊÜå…Õ ÊÜáñÜᤠI. I£ÖÝÔPÜ ¿Þ PÝÇÝ®ÜáPÜÅÊÜá¨Ü ¸æÙÊ
Ü ~
Ü WæWæ
ÖÝ®…Õ ÊæãàÓÜÃ… ÓÜíŸí˜Ô¨Ü
II. ¸æ í gËá®… ¸Ýp…Q®… ÊÜ á ñÜ á ¤ BÂÆ®… II. ¯¨ÜÍÜì®ÝñܾPÜ
ÇæãÊÜÞP…Õ III. ñÜáÆ®ÝñܾPÜ
III. Ãæi®Ü ŸãÂwP…Õ ÊÜáñÜᤠBÂÆ®… vÜív…Õ IV. ±ÜtÂà¿á
IV. ÖÝ®…Õ ÊæãàÓÜÜÃ… ÊÜáñÜᤠÃæi®Ü ŸãÂwP…Õ
ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá :
(A) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(A) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(B) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ (B) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(C) II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (C) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(D) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (D) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ

Paper II 8 K – 2120

25. The folklore is dynamic because of 28. A. K. Ramanujan is
I. Versions and variations I. Editor of ‘Another Harmony’
II. Disseminating nature II. Author of ‘Interpretation of Dreams’
III. Invention
III. Editor of Gender and Genre
IV. Tradition
IV. Author of Folktales from India
Codes :
(A) I and IV are correct Codes :
(B) I and III are correct (A) I and II are correct
(C) I and II are correct (B) II and III are correct
(D) II and IV are correct (C) I and IV are correct
(D) I, II, III and IV are correct
26. The Theories based on Indian data are
I. Migration Theory introduced by
29. Meta folklore is
Theoder Benfcy
II. Analytical psychology introduced I. Intragenre
by Carl Jung II. Knowledge of folklore
III. Solar mythology introduced by III. Oral literary criticism
Max Muller
IV. Ethnic criticism
IV. Structuralism introduced by
Levi Strauss Codes :
Codes : (A) I and III are correct
(A) I and III are correct (B) II and IV are correct
(B) III and IV are correct (C) I, III and IV are correct
(C) II and III are correct
(D) I, II and III are correct
(D) I and IV are correct
30. Mythological, Anthropological and
27. The concept of Folklorisms and
applied Folklore is associated with Historico-Geographical theories are
I. Roger D. Abrahams and I. Dia chronic
Hans Moser II. Para digmatic
II. Benjamin Botkin and Alain Lomax III. Comparative
III. Regina Beudix and Alan Dundes IV. Textual
IV. Hans Moser and Regina Beudix
Codes :
Codes : (A) I and III are correct
(A) I and III are correct
(B) II and III are correct
(B) I and II are correct
(C) II and IV are correct (C) III and IV are correct
(D) III and IV are correct (D) I and IV are correct
K – 2120 9 Paper II

31. ‘PÜñæ ®ÜÊáÜ ã®æ’¿á®Üá° ZoPÜÊäæ í¨Ü®Ý°X ®æãàvÜáÊÜ 33. ÊÜ Þ ÂiP…®Ü Êæ á à騆 ÓÜ í Íæ ã à«Ü ® æ ¿ áÈÉ
ÓÝ«Ü ÊÜÞWÜìWÜÙÜá Pæ Ù Ü X ®Ü ¸æ Ù Ü Ê Ü ~ Wæ W Ü Ù Ü á hÝ®Ü ± Ü ¨ Ü A«Ü  ¿á®Ü
I. ÖÜÆÊÝÃÜá ËÎÐÜr ÆPÜÒ|WÜÙÜ®Üá° ÓÜíÍæãà«Ü®æ¿áá ÖæaÜác ±ÝÅÓÜíXPÜÊÝWÜáÊÜâ¨ÜPæR
Jí¨ÜáWÜãwÓÜáÊÜíñæ PÝÃÜ|ÊݨÜÊÜâ
I. ÊÜÞÈ®æãàÊ…ÔR E©ÌWÜ°ñæ&ÍÝÓÜŒ
II. Jí¨Üá HPÜ AÔ¤ñŲ̈Üíñæ
PÜÊÜáìԨݜíñÜÊÜ®Üá° ÃÜã²Ô¨ÜÃÜá
III. Jí¨Üá A®è±ÜaÝÄPÜ ZoPÜÊÝX II. ÊÜÞÂiP… ÊÜáñÜᤠÍÝÓÜŒPÊ Ü áÜ ì A«Ü¿á®ÜWÚÜ Wæ
IV. ŸÖÜ á ÃÜ ã ±Ü W Ü Ù Ü È É ÊÜ Â PÜ ¤ W æ ã ívÜ Jí¨Ü á QÅ¿ÞñܾPÜ Ô¨ÝœíñÜÊÜ®Üá° A®ÜÌÀáÓÜÇÝX¨æ
£ÃÜáÙÝX III. ÊæàÆív… w ÖÝÂív… Jí¨Üá ®Üí¹PæWÜÙÜ
ÓÜíPæàñÜWÜÙÜá : ÊÜXàìPÜÃÜ|ÊÜ®Üá° ÓÜã£ÅàPÜÄÔ¨ÜÃÜá
IV. ®æ ç Ëᣤ P Ü ÓÜ í ÓÝR Ã Ü W Ü Ù Ü Êæ á àÇæ B«Ü Ä ñÜ
(A) I, II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ iàÊÜ®ÜaÜPÜÅ¨Ü ÊÜXìàPÜÃÜ|
(B) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ ÓÜíPæàñÜWÜÙÜá :
(A) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ
(C) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(D) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (C) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(D) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
32. ÊÜåèUPÜ ÓÜã£Åà¿á ԨݜíñܨÜÈÉ ËÊÜÄÓÜƳoríñæ
‘PÜË ñÜÃܸæ࣒¿á ÊÜáãÃÜá ZorWÜÙÜá 34. 13®æ¿á ÍÜñÊ
Ü Þ
Ü ®Ü¨Ê
Ü ÃÜ Wæ æ ±ÜÎcÊáÜ ¿ááÃæãಮÜÈÉ
I. ¯Ñð¿á BÈÓÜáËPæ¿á AÊܘ ±æàíqíW…, g®ÜÍáÜ Å£ ÊÜáñÜᤠCñÜÃÜ ¨ÜêÍÜÂ
II. QÅ¿ÞñܾPÜ BÈÓÜáÊÜ AÊܘ
ÊÜÞ«ÜÂÊÜáWÜÙÈ
Ü É ÊÜáPÜRÙáÜ ×àWæ ÊÜ~ìÓÜƳváÜ £¤¨ªÜÃáÜ
I. ÊÜ¿áÓÜRÃÜ bPÜ~ bñÜÅ
III. A»ÝÂÓÜ¨Ü AÊܘ
II. ¿áPÜÒ¿áQÒ~¿áÃÜá
IV. ÖÝvÜáWÝÃÜ®ÝX ÃÜã²ÓÜáÊÜ AÊܘ III. PÜáŸjÃÜá
ÓÜíPæàñÜWÜÙÜá : IV. ¨ÜáÐÜrÍÜQ¤WÜÙÜá

(A) I, II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ ÓÜíPæàñÜWÜÙÜá :
(A) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(C) I, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (C) III ÓÜÄ¿ÞX¨æ
(D) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (D) I ÓÜÄ¿ÞX¨æ

Paper II 10 K – 2120

31. Possible ways of looking at the ‘tale type’ 33. Following developments in the research
as a unit are on Magic caused Folklore research more
contextual
I. as binding of a number of motifs
I. Malinowski formulated anxiety-
II. as an individual entity ritual theory.

III. as an informal unit II. Functional theory is applied to
magic and ritual studies
IV. a substance manifested in multiple III. Wayland D. Hand formulated a
appearances
classification of beliefs
Codes : IV. Cycle of life classification is based
on rites of passage
(A) I, II, III and IV are correct
Codes :
(B) II, III and IV are correct
(A) I and II are correct
(C) I, II and IV are correct
(B) I and IV are correct
(D) I, III and IV are correct (C) I, II and III are correct
(D) III and IV are correct
32. The three stages of ‘Bard training’ as
described in ‘oral formulaic theory’ 34. Until 13th Century in Western Europe,
I. Period of passive listening children were depicted in paintings,
folklore and other visual media as
II. Period of active listening
I. Miniature Adults
III. Period of practice II. Fairies
IV. Period of making of the singer III. Dwarfs
IV. Evil forces
Codes :
Codes :
(A) I, II and III are correct
(A) II, III and IV are correct
(B) II, III and IV are correct
(B) I and IV are correct
(C) I, III and IV are correct
(C) III is correct
(D) I, II and IV are correct (D) I is correct

K – 2120 11 Paper II

35. ¶ÜíPÜÒ®ÜÇ… ԨݜíñÜ¨Ü ±ÜÅ£±Ý¨ÜPÜ 38. g®Ü±Ü¨Ü ±Ý¯à¿áWÜÙÜ®Üá° WÜáÃÜá£ÔÄ.
I. vÝ®… ¸æ®… HÊæãàÓ… I. AíŸÈ
II. ¶ÝÅ®…Õ ¸æãàÓ… II. ÊÜáijWæ
III. ÇæãàÄ ÖÝíPæãà III. iàÃÜ ÓæãàvÜ
IV. ÃÜáñ… ¸æ®æwP…r IV. ±Ý®ÜPÜ
ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :
(A) II, III ÓÜÄ¿ÞXÊæ (A) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(B) I, II ÓÜÄ¿ÞXÊæ (B) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(C) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(C) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(D) II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(D) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
36. hÝ®Ü±Ü¨Ü ÊÜÞ£®Ü A«Ü¿á®ÜPæR BPÜÃÜ
I. hÝ| ®ÜáwWÜÙÜá/WݨæWÜÙÜá 39. ±ÜÅ£±Ý¨Ü®æ (A) : gáíg±Ü³ KÊÜì ÓÝíÓÜ¢£PÜ
®Ý¿áPÜ ÊÜáñÜᤠKÊÜì ¨æàÊÜñæ.
II. ±ÝÄÊÝÙÜ ¨ Ü ÊÜ á ãÆPÜ PÜ Ù Ü á ×ÓÜ Æ ³or
ÓÜíÊÜÖÜ®Ü ñÜPÜì (R) : BñÜ PÝvÜáWæãÆÉÄí¨Ü ¨æçËàPÜÄÓÜƳoár
III. ÖÜĨÝÓÜÃÜ QàñÜì®æWÜÙÜá ±ÜähæWæãÙÜáÛÊÜ KÊÜì ¨æàÊÜñæ.
IV. JWÜoáWÜÙÜá ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá : (A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ
(A) I ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (B) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜᤠ(R) ñܱݳXÃÜáñܤ¨æ
(B) I ÊÜáñÜᤠII ÓÜÄ¿ÞXÊæ
(C) (A) ñܱݳXÃÜáñܤ¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿ÞX¨æ
(C) I ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(D) I, II ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ñܱݳX¨æ

37. PÜ ® ÝìoPÜ hÝ®Ü ± Ü ¨ Ü ÊÜ á ÖÝPÝÊÜ Â ÊÜ ® Ü á ° 40. ±ÜÅ£±Ý¨Ü®æ (A) : hݮܱ¨
Ü Ü ÊÜáÖÝPÝÊÜ PÜ¥®Ü WÜ ÙÜ áÜ
WÜáÃÜá£ÔÄ. B ÓÜÊÜáá¨Ý¿á¨Ü ÓÝíÓÜ¢£PÜ ±Ü¨Üœ£WÜÙÜ ÊÜáñÜá¤
I. Wæãà訆 ÖÝvÜá BaÜÃÜOæWÜÙÜ ±ÝÆPÜÃæí¨Üá ±ÜÄWÜ~ÓÜƳqr¨æ.
II. ²Ä¿Þ±Üor|¨Ü PÝÙÜWÜ ñÜPÜì (R) : hÝ®Ü±Ü¨Ü ÊÜáÖÝPÝÊÜÂWÜÙÜá ÓÝíÓÜ¢£PÜ
III. gáíg±Ü³®Ü ±Ü¨Ü ®Ý¿áPÜ®æãàÊÜì®Ü iàÊÜ®ÜÊÜ®Üá° Ÿ~¡ÓÜáñܤÊæ.
IV. «ÜÃæWæ ¨æãvÜxÊÜÃÜ PÜ¥æ ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá : (A) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜᤠ(R) ñܱݳX¨æ
(A) I, II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ (B) (A) ñܱݳX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿ÞX¨æ
(B) II ÊÜáñÜᤠIII ÓÜÄ¿ÞXÊæ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ¿ÞX¨æ
(C) II, III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ñܱݳX¨æ
(D) III ÊÜáñÜᤠIV ÓÜÄ¿ÞXÊæ
Paper II 12 K – 2120

35. The profounders of Functional theory 38. Identify folk beverages.
I. Don Ben Amos I. Ambali
II. Franz Boas II. Majjige
III. Louri Honko III. Jeera Soda
IV. Ruth Benedict
IV. Panaka
Codes :
Codes :
(A) II, III are correct
(A) I, II and IV are correct
(B) I, II are correct
(B) I and III are correct
(C) I and IV are correct
(D) II and IV are correct (C) III and IV are correct
(D) II and III are correct
36. The source for studying folk speech are
I. Wise words | Proverbs 39. Assertion (A) : Junjappa is a cultural
hero and a deity.
II. Communication sent through pigeon
III. Keerthanas of Haridasas Reason (R) : He is a deity deified and
worshipped by Kadugollas.
IV. Riddles
Codes :
Codes :
(A) Both (A) and (R) are true
(A) I and IV are correct
(B) I and II are correct (B) (A) is true and (R) is wrong
(C) I and III are correct (C) (A) is wrong and (R) is true
(D) I, II and IV are correct (D) Both (A) and (R) are wrong

37. Identify Karnataka folk epics. 40. Assertion (A) : The folk epic narratives are
I. Govina Haadu regarded as custodians of cultural customs
and practices of that community.
II. Piriyapattanada Kalaga
Reason (R) : The folk epics describe the
III. Junjappana Pada
life of a cultural hero.
IV. Dharage Doddavara Kathe
Codes :
Codes :
(A) (A) is true and (R) is wrong
(A) I, II, III and IV are correct
(B) II and III are correct (B) (A) is wrong and (R) is true
(C) II, III and IV are correct (C) Both (A) and (R) are true
(D) III and IV are correct (D) Both (A) and (R) are wrong

K – 2120 13 Paper II

41. ±ÜÅ£±Ý¨Ü®æ (A) : PæÒàñÜÅPÝ¿áìÊÜâ hÝ®Ü±Ü¨Ü 44. ±Ü Å £±Ý¨Ü ® æ (A) : hÝ®Ü ± Ü ¨ Ü ÊÜ Þ ÂiP…®Ü È É
ÓÜíÍæãà«Ü®æ¿á Jí¨Üá ÓÜíÁãàiñÜ ÍÝÓÜŒPÜÊÜáìWÜÚWæ ÖæaÜác ±ÝÅÊÜááS ¯àvÜÇÝX¨æ.
»ÝWÜÊÝX¨æ.
ñÜPÜì (R) : ÍÝÓÜŒPÜÊÜáìWÜÙÜá ÊæçhÝn¯PÜÊÝX
ñÜPÜì (R) : hÝ®Ü±Ü¨Ü ÓÜíÍæãà«Ü®æ¿áá ±ÝÅ¥ÜËáPÜ ÓݹàñÝ¨Ü ÓÜñÜÂWÜÙÝXÊæ.
ÊÜáãÆWÜÚí¨Ü ÓÜíWÜÅ×ÓÜƳor ¨ÜñݤíÍÜWÜÙÜ ÊæáàÇæ
AÊÜÆí¹Ô¨æ. ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá : (A) (A) ÓÜÄ¿ÞX¨æ ÊÜáñÜᤠ(R) ñܱݳX¨æ
(A) (A) ©oÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜáÙÝÛXÃÜáñܤ¨æ (B) (A) ñܱݳX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿ÞX¨æ
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ©oÊÝXÊæ (C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜÄ¿ÞX¨æ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ (D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ñܱݳX¨æ
(D) (A) ÓÜáÙÝÛXÃÜáñܤ¨æ ÊÜáñÜᤠ(R)
©oÊÝXÃÜáñܤ¨æ
45. ±ÜÅ£±Ý¨Ü®æ (A) : hÝ®Ü±Ü¨Ü PÜñæWÜÙÜá g®ÜÃÜ ®Ýw
42. ±ÜÅ£±Ý¨Ü®æ (A) : ÓÜí¨Ü»ÜìÊÜâ ±ÜŨÜÍÜì®Ü¨ÜÈÉ ËáwñÜÊÝXÊæ.
ŸÙÜÓÜƳor ±ÝsÜ¨Ü A¥ÜìÊÜ®Üá° ËÊÜÄÓÜáñܤ¨æ. ñÜPÜì (R) : hݮܱܨÜÊÜâ ÊÜÂQ¤WÜñÜ
ñÜ P Ü ì (R) : ±Ü Å £Áãí¨Ü á ±Ü Å ¨Ü Í Ü ì ®Ü Ê Ü â A¼±ÝÅ¿áÊÝXÃÜáñܤ¨æ.
A®Ü®ÂÜ ÊÝX¨Üáª, A¨ÜÃÜ ×í©®Ü ±ÜŨÜÍì
Ü ®ÜÊäæ í¨ÜÄí¨Ü ÓÜíPæàñÜWÜÙÜá :
¼®Ü°ÊÝXÃÜáñܤ¨æ.
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂ
ÓÜíPæàñÜWÜÙÜá :
(A) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ (B) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜáÙÝÛX¨æ
(B) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (C) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ (D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ
(D) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜáÙÝÛX¨æ
46. ±ÜÅ£±Ý¨Ü®æ (A) : BÖÝÃÜ ÊÜáñÜᤠBÃæãàWÜ ®ÜváÜ Êæ
43. ±Ü Å £±Ý¨Ü ® æ ( A ) : PÜ ® Ü Ó Ü á WÜ Ù Ü á ¨Ü ê ÍÜ Â ®æàÃÜ ÓÜíŸí«Ü˨æ.
hݮܱܨܨÜw¿áÈÉ ÊÜXìàPÜÄÓÜƳqrÊæ.
ñÜPÜì (R) : hÝ®Ü±Ü¨Ü LÐܘ¿áá ±Ü¥ÜÂÊÜ®Üá°
ñÜPÜì (R) : ‘PÜ®ÜÓÜáWÜÙÜ ÊÝÂTÝ娆 ’¨Ü PÜñÜêì
ÔWܾív… ¶ÝÅ¿å…x BXÃÜáñݤÃæ. ˘ÓÜáñܤ¨æ.
ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :
(A) (A) ÓÜñÜ ÊÜáñÜᤠ(R) ÓÜáÙÝÛX¨æ (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ (B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜáÙÝÛXÊæ (C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
(D) (A) ÓÜáÙÝÛX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
Paper II 14 K – 2120

41. Assertion (A) : Field work is an integrated 44. Assertion (A) : In folk magic more
part of folklore research. importance is given to the rituals.
Reason (R) : Folklore research depends Reason (R) : Rituals are scientifically
upon data collected from primary proven truths.
sources.
Codes :
Codes :
(A) (A) is true and (R) is false
(A) (A) is true and (R) is false
(B) (A) is false and (R) is true
(B) Both (A) and (R) are true
(C) Both (A) and (R) are true
(C) Both (A) and (R) are false
(D) Both (A) and (R) are false
(D) (A) is false and (R) is true

42. Assertion (A) : Context describes the 45. Assertion (A) : Folktales are pulses of
meaning the text used in performance. the people.
Reason (R) : Every performance is Reason (R) : Folklore is individual’s
unique and different from the previous opinion.
one.
Codes :
Codes :
(A) Both (A) and (R) are true
(A) Both (A) and (R) are true
(B) (A) is true and (R) is false
(B) (A) is false and (R) is true
(C) (A) is false and (R) is true
(C) Both (A) and (R) are false
(D) Both (A) and (R) are false
(D) (A) is true and (R) is false
46. Assertion (A) : There is a direct relationship
43. Assertion (A) : Dreams are classified
between food and health.
under visual folklore.
Reason (R) : Folk medicine prescribes
Reason (R) : Sigmund Freud is the
diet.
author of interpretation of dreams.
Codes :
Codes :
(A) (A) is true and (R) is false (A) (A) is true and (R) is false

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

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

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

K – 2120 15 Paper II

47. ±ÜÅ£±Ý¨Ü®æ (A) : PÜÃÝÊÜÚ ±ÜŨæàÍܨÈ
Ü É E¨Üª®¿
æ á 50. ±ÜÅ£±Ý¨Ü®æ (A) : hÝ®Ü±Ü¨Ü Xàñæ¿á ÊÜXàìPÜÃÜ|
ÊÜáÖÝPÝÊÜÂWÜÙÜá PÜívÜáŸÃÜᣤÆÉ. PÜÐÜr¨Ü PæÆÓÜÊÝXÃÜáñܤ¨æ.
ñÜPì
Ü (R) : PÜÃÝÊÜÚ g®ÜÃáÜ hݮܱ¨
Ü Ü ¨æàÊÜñWæ ÙÜ ®Ü áÜ ° ñÜ P Ü ì (R) : ÊÜ X àìPÜ Ã Ü | ÊÜ â PÜ ¥ Ü ® Ü ÊÜ Ó Ü á ¤,
±ÜäiÓÜáÊÜâ©ÆÉ. ÓÜí¨Ü»Üì, QÅÁá, ±ÜŨÜÍÜì®Ü CñÝ©WÜÙÜ ÊæáàÇæ
B«ÜÄÓÜŸÖÜá¨ÝX¨Üáª, BWÜ A£PÜÅÊÜá|ÊÜâ SíwñÜ
ÓÜíPæàñÜWÜÙÜá : ÓÜí»ÜËÓÜáñܤ¨æ.
(A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ ÓÜíPæàñÜWÜÙÜá :
(B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ (B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ (C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿Þ¨Ü
ËÊÜÃÜOæ¿ÞX¨æ
48. ±Ü Å £±Ý¨Ü ® æ (A) : Çæ Ë &ÓÝóÓ… Ë᥅®Ü (D) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
E¨ÝÖÜÃÜOÝñܾPÜ Ë®ÝÂÓÜÊÜ®Üá°ÊÝÂTݯԨÜÃÜá. 51. ±ÜÅ£±Ý¨Ü®æ (A) : ÄaÝv…ì Gí. vÝÓÜì®…ÃÜÊÃ
Ü áÜ
ñÜPÜì (R) : Ë᥅ GíŸáÊÜâ¨Üá Jí¨Üá ÊÜåèUPÜ hÝ®Ü±Ü¨Ü PÜƳ®æ¿á®Üá° ±ÜÄaÜÀáÔ¨ÜÃÜá.
PܥܮÜÊÝX¨æ. ñÜPÜì (R) : ÄaÝv…ì Gí. vÝÓÜì®…ÃÜÊÜÃÜá
ÓÜíPæàñÜWÜÙÜá : hݮܱܨÜÊÜ®Üá° ÓÝí±ÜŨÝÀáPÜ ÓÜí¨Ü»Üì¨ÜÈÉ
(A) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ A¥æçìÓÜáÊÜÈÉ ŸÖÜÙÜ ËÍæàÐܱÜä|ìÃÝX¨ÜªÃÜá.
(B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ ÓÜíPæàñÜWÜÙÜá :
(C) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊææ; B¨ÜÃæ (R) (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ (B) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂÊÝXÊæ
(D) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊææ; B¨ÜÃæ (R) (C) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿Þ¨Ü
ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞX¨æ ËÊÜÃÜOæ¿ÞX¨æ
(D) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊæ; B¨ÜÃæ (R)
ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ
49. ±Ü Å £±Ý¨Ü ® æ (A) : ÊÜ Þ ÂP…Õ ÊÜ á áÆÉÃ…ÃÜ Ê Ü Ã Ü
‘ÓæãàÇÝÃ… Ëá¥ÝÆi’ ÊÜáãÆñÜ@ »ÝÐÝ Ë᥅®Ü 52. ±ÜÅ£±Ý¨Ü®æ (A) : WݨæWæ ¯àvÜÇÝ¨Ü A¥Üì
ÊæáàÇæ AÊÜÆí¹Ô¨æ. ËÊÜÃÜOæWÜÙÜÈÉ Jí¨Üá “ÖÜÆÊÜÃÜ Ÿá©œÊÜí£Pæ,
ñÜPì
Ü (R) : ÊÜÞÂP…Õ ÊÜááÆÉÃ… KÊÜì CívæãàÆiÓ…r KÊÜìÃÜ hÝOæ¾”.
BX¨ÜªÃÜá. ñÜ P Ü ì ( R ) : W Ý ¨ æ ¿ á á Ó Ü Ì Ã Ü ã ± Ü ¨ Ü È É
ÓÜÊÜáÑr¿ÞX¨ÜªÃÜã, C¨Üá ÊÜÂQ¤WÜñÜ ÓÜêÑr¿á®Üá°
ÓÜíPæàñÜWÜÙÜá : ¸æàvÜáñܤ¨æ.
(A) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂ; B¨ÜÃæ (R) ÓÜÄ¿Þ¨Ü ÓÜíPæàñÜWÜÙÜá :
ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ (A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(B) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜñÜÂÊÝX¨æ (B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
(C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ (C) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊæ
(D) (A) ÊÜáñÜᤠ(R) GÃÜvã Ü ÓÜñÂÜ WÜÙÝXÊæ; B¨ÜÃæ (D) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿Þ¨Ü
(R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞXÃÜáñܤ¨æ ËÊÜÃÜOæ¿ÞXÃÜáñܤ¨æ
Paper II 16 K – 2120

47. Assertion (A) : Long epics are not seen 50. Assertion (A) : Classification of folk
in coastal region. song is a difficult task.
Reason (R) : Coastal people do not Reason (R) : Classification can be based
worship folk deities. on theme, context, function, performance
etc. then definitely overlapping will
Codes : occur.
(A) (A) is true and (R) is false Codes :
(B) (A) is false and (R) is true (A) (A) is true and (R) is false
(C) Both (A) and (R) are true (B) Both (A) and (R) are true
(C) (A) is true and (R) is the correct
(D) Both (A) and (R) are false explanation
(D) (A) is false and (R) is true
48. Assertion (A) : Levi-strauss interpreted
the paradigmatic structure of myth. 51. Assertion (A) : Richard M. Dorson
Reason (R) : Myth is an oral narrative. introduced the concept of ‘Folklore’.
Reason (R) : Richard M. Dorson was so
Codes :
particular in understanding ‘Folklore’ in
(A) (A) is false and (R) is true its traditional context.
(B) (A) and (R) are false Codes :
(C) (A) and (R) are true but (R) is not (A) (A) is true and (R) is false
the correct explanation (B) Both (A) and (R) are false
(D) (A) and (R) are true and (R) is the (C) (A) is true and (R) is the correct
correct explanation explanation
(D) (A) and (R) is true but, (R) is not
49. Assertion (A) : Max Müller’s ‘Solar the correct explanation
Mythology’ is basically based on language
of myth. 52. Assertion (A) : One of the definitions
given to proverb is ‘Wisdom of many,
Reason (R) : Max Müller was an wit of one’.
Indologist. Reason (R) : Even though proverb
Codes : also is collective in nature, it demands
individual creativity.
(A) (A) and (R) are true but (R) is not
the correct explanation Codes :
(B) (A) is true and (R) is false (A) (A) is true and (R) is false
(B) (A) is false and (R) is true
(C) Both (A) and (R) are false (C) Both (A) and (R) are true
(D) Both (A) and (R) are true and (R) (D) (A) is true and (R) is the correct
is the correct explanation explanation

K – 2120 17 Paper II

53. ±ÜÅ£±Ý¨Ü®æ (A) : PÜÊÜáìPÝívÜ Ô¨ÝœíñÜÊÜâ ÍÝÓÜŒ 56. ¦ÁãÃæqPÜÇ… GÓÝr¹ÉÐ…Êæáíp…®Ü ÓÜÄ¿Þ¨Ü
PÜÊÜáìÊÜâ Ë᥅¯í¨Ü E¨Ü½ÊÜÊÝX¨æ GíŸá¨Ü®Üá° A®ÜáPÜÅËáPæ :
ËÊÜÄÓÜáñܤ¨æ.
ñÜPÜì (R) : ÓÝPÜÒÃÜñæWæ ÊÜåèUPÜñæ¿á ԨݜíñÜ. I. ¨ÜñݤíÍÜ ÓÜíWÜÅÖÜOæ
ÓÜíPæàñÜWÜÙÜá : II. ¯|ì¿á
(A) (A) ÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) AÓÜñÜÂÊÝX¨æ
(B) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜÄ¿Þ¨Ü III. ÓÜÊÜáÔÂàPÜÃÜ|
ËÊÜÃÜOæ¿ÞXÃÜáÊÜâ©ÆÉ IV. ÓÝ×ñÜ ËÊÜáÍæì
(C) (A) AÓÜñÜÂÊÝXÃÜáñܤ¨æ ÊÜáñÜᤠ(R)
ÓÜñÜÂÊÝX¨æ ÓÜíPæàñÜWÜÙÜá :
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã AÓÜñÜÂWÜÙÝXÊæ
(A) II, III, IV, I
54. ±ÜÅ£±Ý¨Ü®æ (A) : hÝ®Ü ± Ü ¨ Ü Êæ ã àq¶…WÜ Ù Ü á (B) III, IV, I, II
GÇæÉÆãÉ PÜívÜáŸÃÜáñܤÊæ.
ñÜPÜì (R) : Êæãàq¶… GíŸáÊÜâ¨Üá GqP…®Ü (C) IV, III, I, II
Jí¨Üá ZoPÜ.
(D) I, III, II, IV
ÓÜíPæàñÜWÜÙÜá :
(A) (A) ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝXÊæ, ÊÜáñÜᤠ(R)
ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ¿ÞX¨æ 57. PÜOÝìoPÜ hݮܱܨÜPæR AÊÜÃÜ PæãvÜáWæ¿á ÊæáàÃæWæ
(B) (A) ÓÜñÜÂÊÝX¨æ B¨ÜÃæ (R) AÓÜñÜÂÊÝX¨æ
˨ÝÌíÓÜÃÜ ÖæÓÜÃÜáWÜÙÜ®Üá° PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ
(C) (A) AÓÜñÜÂÊÝX¨æ ÊÜáñÜᤠ(R) ÓÜñÜÂÊÝX¨æ
(D) (A) ÊÜáñÜᤠ(R) GÃÜvÜã ÓÜñÜÂÊÝXÊææ B¨ÜÃæ ŸÃæÀáÄ.
(R) ÓÜÄ¿Þ¨Ü ËÊÜÃÜOæ BXÃÜáÊÜâ©ÆÉ I. hæ.GÓ…. ±ÜÃÜÊÜáÎÊÜ¿áÂ

55. ±Ü Å PÜ o Oæ ÊÜ Ð Ü ì ¨Ü PÜ Å ÊÜ á ¨Ü È É ±Ü â ÓÜ ¤ P Ü W Ü Ù Ü ® Ü á ° II. GÓ….Ô. ÃÜÊæáàÍÜ
ÊÜÂÊÜÓæ§WæãÚÔÄ. III. hæ.G¶…. µÉàp…
I. WÜÄWæ¨ÜÄ¨Ü ®ÜËÆá
II. PÝvÜ á Wæ ã ÆÉ Ã Ü ÓÜ í ±Ü Å ¨Ý¿áWÜ Ù Ü á ÊÜ á ñÜ á ¤ IV. q.G®…. ÍÜíPÜÃÜ®ÝÃÝ¿á|
®Üí¹PæWÜÙÜá ÓÜíPæàñÜWÜÙÜá :
III. ¨Ü Q Ò| PÜ ® ÝìoPÜ ¨ Ü hÝ®Ü ± Ü ¨ Ü ÊÜ ê £¤
WÝ¿áPÜÃÜá (A) I, IV, II, III
IV. hÝ®Ü±Ü¨Ü ÊÜáÖÝ»ÝÃÜñÜ
ÓÜíPæàñÜWÜÙÜá : (B) IV, I, II, III
(A) IV, II, I, III
(C) III, I, II, IV
(B) III, I, II, IV
(C) III, II, I, IV (D) III, I, IV, II
(D) IV, II, III, I
Paper II 18 K – 2120

53. Assertion (A) : Ritualistic theory explain 56. Correct sequence of Theoretical
that ritual originates from myth. establishment :
Reason (R) : The principle of orality to
literacy. I. Collection of Data
Codes : II. Conclusion
(A) (A) is true and (R) is false
III. Problematisation
(B) (A) is false and (R) is not the correct
explanation IV. Review of Literature
(C) (A) is false and (R) is true
(D) Both (A) and (R) are false Codes :

54. Assertion (A) : Folktale motifs are seen (A) II, III, IV, I
in all cultures.
(B) III, IV, I, II
Reason (R) : Motif is an etic unit.
Codes : (C) IV, III, I, II
(A) (A) and (R) are true and (R) is the (D) I, III, II, IV
correct explanation
(B) (A) is true but (R) is false
(C) (A) is false and (R) is true 57. Arrange the names of the scholars as per
(D) Both (A) and (R) are true but, (R) their contribution to Karnataka Folklore
is not the correct explanation in Chronological order.

55. Arrange the books in the order of year I. J. S. Paramashivaiah
of publishing.
II. S. C. Ramesha
I. Garigedarida Navilu
II. Kadu gollara Sampradayagalu III. J. F. Fleet
Mathu Nambikegalu
IV. T. N. Shankaranarayana
III. Dakshina Karnatakada Janapada
Vruthigayakaru Codes :
IV. Janapada Mahabharatha
(A) I, IV, II, III
Codes :
(A) IV, II, I, III (B) IV, I, II, III
(B) III, I, II, IV
(C) III, I, II, IV
(C) III, II, I, IV
(D) IV, II, III, I (D) III, I, IV, II

K – 2120 19 Paper II

58. D PæÙÜX®Ü ԨݜíñÜWÜÙÜ®Üá° AÊÜâWÜÙÜ Óݧ±Ü®æ¿á 60. ±ÜŨÜÍÜì®ÜÊæäí¨ÜÃÜÈÉ Zo®æWÜÙÜ®Üá° ÓÜÄ¿Þ¨Ü
PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ. A®ÜáPÜÅËáPæ¿áÈÉ ŸÃæÀáÄ.
I. ÓÝí¨Ü¼ìPÜ Ô¨ÝœíñÜ I. ®Ý¿áPÜ ÊÜáñÜᤠÃÝPÜÒÓÜ®Ü ®ÜvÜáÊæ ÍݹªPÜ

II. ÊÜåèUPÜ ¶ÝÊÜááÂìÇæàÀáP… ԨݜíñÜ
˯ÊÜá¿á
II. WÜOæàÍÜ ÓÜᤣ
III. Cíw¿á¯ÔrP… ԨݜíñÜ
III. ®Ý¿áPÜ®Ü ±ÜÅÊæàÍÜ
IV. ÓèÃÜ ±ÜâÃÝ|
IV. Êæà©Pæ A~WæãÚÓÜáÊÜâ¨Üá
ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá :
(A) I, II, IV, III
(A) II, III, IV, I
(B) III, IV, II, I
(B) IV, II, III, I
(C) IV, III, II, I
(C) I, II, III, IV
(D) II, I, IV, III
(D) IV, III, I, II

59. ×í¨Üã ±ÜíaÝíWÜ ÊÜÐÜì¨ÜÈÉ BaÜÄÓÜÇÝWÜáÊÜ 61. D Pæ Ù Ü X ®Ü ˨ÝÌ í ÓÜ Ã Ü Öæ Ó Ü Ã Ü á WÜ Ù Ü ® Ü á ° AÊÜ Ã Ü á
PæÙÜX®Ü ÖÜŸºWÜÙÜ®Üá° AÊÜâWÜÙÜá ZqÓÜáÊÜ PÜÅÊÜá¨ÜÈÉ »ÝÃÜ ñ Ü P æ R »æ à q ¯àw¨Ü PÝÇÝ®Ü á PÜ Å ÊÜ á ¨Ü È É
ŸÃæÀáÄ. ÊÜÂÊÜÓæ§WæãÚÔÄ.
I. ÓÜíPÝÅí£ I. ²àoÃ… hæ. PÝÉÓ…
II. WÜOæàÍÜ aÜñÜá¦ì II. ÊÜÞ®ÜÃ…
III. Ëg¿á¨ÜÍÜËá III. ÇÝÄ ÖÝíPæãà
IV. »ÜÃÜñÜ ÖÜá~¡Êæá IV. ÖÜãÂÁá®…&ñÝÕíW…

ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :

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

(B) I, IV, II, III (B) II, I, III, IV

(C) II, III, I, IV (C) I, IV, III, II

(D) IV, II, III, I (D) IV, I, III, II

Paper II 20 K – 2120

58. Write the theories in their chronological 60. Write the correct sequence of the events
order of their establishment. in a performance

I. Contextual Theory I. Verbal exchange between Hero and
Demon
II. Oral Formulaic Theory
II. Ganesha Sthuthi
III. Indianistic Theory
III. Entry of Hero
IV. Solar Mythology
IV. Setting of Stage
Codes :
Codes :
(A) I, II, IV, III
(A) II, III, IV, I
(B) III, IV, II, I
(B) IV, II, III, I
(C) IV, III, II, I
(C) I, II, III, IV
(D) II, I, IV, III (D) IV, III, I, II

59. Write the Festivals in the order of event 61. Arrange the names of the scholars in
to be held in a Hindu calendar year the chronological order of their visit to
India
I. Sankranthi
I. Peter J. Claus
II. Ganesha Chathurthi
II. Manner
III. Vijaya Dashami
III. Lauri Honko
IV. Bharatha Hunnime IV. Hiuen-Tsang
Codes :
Codes :
(A) I, II, III, IV (A) IV, II, I, III
(B) I, IV, II, III (B) II, I, III, IV
(C) II, III, I, IV (C) I, IV, III, II
(D) IV, II, III, I (D) IV, I, III, II

K – 2120 21 Paper II

62. hÝ®Ü ± Ü ¨ Ü ¨ Ü D Pæ Ù Ü X ®Ü A¥Ü ì ËÊÜ Ã Ü O æ W Ü Ù Ü ® Ü á ° 64. PæÙÜX®Ü E±ÜPÜÃÜ|WÜÙ Ü ÖæÓÜÃÜáWÜÙÜ®Üá° AÊÜâWÜÙÜ
AÊÜâWÜÙáÜ ÖæàÙÜƳor PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ. Êæã¨ÜÆ ŸÙÜPæ¿á £ÃÜáWÜáÊÜááÃÜáWÜá (ÄÊÜÓ…ì)
I. hݮܱܨÜÊÜâ g®ÜÃÜ ÓÜ|¡ WÜáí±ÜâWÜÙÜ ®ÜvÜá訆 PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ.
Jí¨Üá ±ÜÄOÝÊÜáPÝÄ ÓÜíÊÜÖÜ®Ü
I. ËàwÁãà ÄPÝvÜìÃ…
II. hݮܱ¨ Ü Ê
Ü âÜ ÊÜáÃÜ| Öæãí¨ÜÆá ¯ÃÝPÜÄÓÜáÊÜ
II. væãÅà®… PÝÂÊæáÃÝ
Jí¨Üá iàÊÜíñÜ ±ÜÙæ¿ááÚPæ
III. ¶æ ä àP… GíŸáÊÜ â ¨Ü á Jí¨Ü á ÓÝÊÜ Þ ®Ü  III. ±æ®…
WÜá|ÆPÜÒ|ÊÜâÙÜÛ Pæã®æ¿á ±ÜPÜÒ CŸºÃÜáÙÜÛ IV. pæà±… ÃæPÝvÜìÃ…
g®ÜÃÜ Jí¨Üá WÜáí±ÝX¨æ ÊÜáñÜᤠÇæãàÃ…
GíŸáÊÜâ¨Üá AÊÜÃÜ £ÙÜáÊÜÚPæ¿ÞX¨æ ÓÜíPæàñÜWÜÙÜá :

IV. g®Ü²Å¿á ±ÝÅbà®Ü ÓÜíWÜ£WÜÙÜ®Üá° ¶æäàP… (A) I, II, IV, III
ÇæãàÃ… G®Ü°ŸÖÜá¨Üá
(B) IV, II, III, I
ÓÜíPæàñÜWÜÙÜá :
(A) III, IV, II, I (C) II, I, IV, III
(B) IV, III, I, II
(D) II, I, III, IV
(C) IV, II, III, I
(D) I, II, III, IV
65. D PæÙÜX®Ü ±ÜâÓܤPÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ±ÜÅPÜoOæ¿á
PÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ.
63. ¨Ü Q Ò|©í¨Ü EñÜ ¤ ÃÜ P æ R Pæ à í¨Ü Å Óݧ®Ü Ê Ü ® Ü á °
Öæãí©ÃÜáÊÜ PÜÅÊÜá¨ÜÈÉ hÝ®Ü±Ü¨Ü ÓÜí±ÜŨݿáPæR I. ÓÜrw B¶… ¶æäàP…ÇæãàÃ…
ÓÜíŸí˜Ô¨Ü PæÙÜX®Ü ÓÜíXàñÜ E±ÜPÜÃÜ|WÜÙÜ®Üá° II. ¶æäàP…ÇæãàÃ… BÂív… ¶æäàP…Çæç´…
ÊÜÂÊÜÓæ§WæãÚÔÄ.
III. WæãàÆx®… ¸è
I. WÜOæ
II. aÜíwPæ IV. ¶æa… Ôð±…r B¶… BÂÆ®… vÜív…Õ
III. PÜíÓÝÇæ ÓÜíPæàñÜWÜÙÜá :
IV. vÜÊÜáÃÜáWÜ
(A) I, II, III, IV
ÓÜíPæàñÜWÜÙÜá :
(A) II, I, III, IV (B) III, II, I, IV
(B) III, II, I, IV (C) II, III, I, IV
(C) III, I, IV, II
(D) IV, III, II, I
(D) I, II, IV, III

Paper II 22 K – 2120

62. Write the definitions of Folklore in the 64. Write the names of these tools in the
chronological order of their year of reverse chronological order of their first
stating.
usage in fieldwork.
I. Folklore is an effective communication
among small groups of people I. Video Recorder
II. Folklore is a lively Fossil which II. Drone Camera
refuses to die
III. Pen
III. Folk means a group of people
comprising at least two with one IV. Tape Recorder
common characteristic and Lore
means their knowledge Codes :
IV. Popular antiquities can be termed
as Folklore (A) I, II, IV, III

Codes : (B) IV, II, III, I
(A) III, IV, II, I (C) II, I, IV, III
(B) IV, III, I, II
(D) II, I, III, IV
(C) IV, II, III, I
(D) I, II, III, IV 65. Write these books in the chronological
order of their publication.
63. Arrange these musical instruments
connected to Folk traditions whose I. Study of Folklore
centres are located in an order from
South to North. II. Folklore and Folklife

I. Gane III. Golden Bough
II. Chondike IV. Fetch Script of Alan Dundes
III. Kamsale
IV. Damaruga Codes :

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

K – 2120 23 Paper II

66. PæÙX
Ü ®Ü hݮܱ¨
Ü Ü ±ÜŨÜÍì
Ü ®Ü PÜÇWæ ÙÜ ®Ü áÜ ° Eñܤé
Ü í¨Ü 68. PæÙÜX®ÜÊÜâWÜ ÙÜá Ë.hæ.±Ýű…ÃÜÊÜÄí¨Ü
¨ÜQÒ|¨ÜÈÉ AÊÜâWÜÙÜ Óݧ±Ü®æ¿á ±ÜŨæàÍÝ®ÜáÓÝÃÜ ±ÜÅÓÝ¤Ê®Ü Wæ çæ ¿áÂƳor ¿áPÜÒPñÜ ¿
æ á PÝ¿áìWÜÙÝXÊæ.
AÊÜâWÜÙ®Ü áÜ ° PÝÇÝ®ÜáPÜÅÊÜá¨ÜÈÉ ñæãàÄÔÄ.
PÜÅÊÜá¨ÜÈÉ ŸÃæÀáÄ. I. WæçÃÜáÖÝgÄ
I. ÓæãàÊÜá®Ü PÜá~ñÜ II. ËaÜPÜÒ|
II. gWÜYÚPæ III. ¯Ðæà«Ü
IV. EÆÉíZ®æ
III. ¨ÜÊÜáËá PÜá~ñÜ
ÓÜíPæàñÜWÜÙÜá :
IV. EÊÜá¾ñÜp… (A) I, IV, III, II
(B) III, II, IV, I
ÓÜíPæàñÜWÜÙÜá :
(C) I, III, IV, II
(A) I, III, IV, II (D) II, I, IV, III

69. ¶æäàPæãÉàÄÔrP…Õ®È
Ü É ËPÝÓÜWã
æ ÙÜáÛÊÜ Ô¨ÝœíñÜWÙÜ ®Ü áÜ °
(B) III, I, II, IV
A®ÜáPÜÅÊÜáÊÝX ŸÃæÀáÄ.
(C) II, III, I, IV I. ÊÜÞñÜ®ÝvÜáÊÜ Ô¨ÝœíñÜ¨Ü g®ÝíWÜÍÝÓÜŒ
II. ÊÜá®æãà&ËÍæÉàÐÜOÝñܾPÜ Ô¨ÝœíñÜ
(D) III, II, I, IV
III. ÓèÃÜ ±ÜâÃÝ|
IV. ÊÜåèUPÜ ÓÜãñÜÅŸ¨Üœ ԨݜíñÜ
67. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° AÊÜâWÜÙÜ ±ÜŨÜÍÜì®ÜÊæäí¨ÜÃÜÈÉ
ÓÜíPæàñÜWÜÙÜá :
ZqÓÜáÊÜ PÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ. (A) I, III, II, IV
I. ÊÜáíWÜÙÜ (B) I, IV, III, II
(C) III, II, IV, I
II. ®Ýí© (D) III, II, I, IV
III. ±ÜÃܨæ ÊæáàÆPæRñÜá¤ÊÜâ¨Üá
70. PæÙÜWæ ÖæÓÜÄst ÍæçÈ¿á ˨ÝÌíÓÜÃÜ PÝÇÝ®ÜáPÜÅÊÜá
IV. ˨ÜãÐÜPÜ®Ü ±ÜÅÊæàÍÜ ¿ÞÊÜâ¨Üá?
I. ¸æ®…&BÊæãÓ…
ÓÜíPæàñÜWÜÙÜá : II. GÈ¿áp…&BÄíW…
III. ËÈ¿áí ¸ÝÓæãRí
(A) II, III, IV, I
IV. ÃæãàgÃ… A¸ÝÅÖÜí
(B) III, II, IV, I ÓÜíPæàñÜWÜÙÜá :
(A) III, I, IV, II
(C) I, III, II, IV (B) III, IV, I, II
(C) I, II, IV, III
(D) IV, III, II, I (D) IV, II, III, I

Paper II 24 K – 2120

66. Arrange the Folk performing arts 68. Following are the functions in fairy tale
according to their establishing region proposed by V. J. Propp sequence them
in the chronological order.
located in the order from North to South.
I. Absentation
I. Somana Kunitha II. Reconnaissance
III. Interdiction
II. Jaggalige
IV. Violation
III. Damami Kunitha Codes :
(A) I, IV, III, II
IV. Ummathat
(B) III, II, IV, I
Codes : (C) I, III, IV, II
(D) II, I, IV, III
(A) I, III, IV, II
69. Write the sequence of theories evolved
(B) III, I, II, IV in Folkloristics
(C) II, III, I, IV I. Ethnography of speaking theory
II. Psycho-analytical theory
(D) III, II, I, IV III. Solar mythology
IV. Oral formulaic theory
67. Arrange the events in the order in a Codes :
performance. (A) I, III, II, IV
(B) I, IV, III, II
I. Mangala (C) III, II, IV, I
II. Nandi (D) III, II, I, IV

III. Curtain Raising 70. What is the chronological sequence of
the following genre scholars ?
IV. Entry of Vidhushaka I. Ben – Amos
II. Elliot – Oring
Codes :
III. William Bascom
(A) II, III, IV, I IV. Roger Abraham
Codes :
(B) III, II, IV, I
(A) III, I, IV, II
(C) I, III, II, IV (B) III, IV, I, II
(C) I, II, IV, III
(D) IV, III, II, I
(D) IV, II, III, I

K – 2120 25 Paper II

71. Pæ Ù Ü X ®Ü ±Ü â ÓÜ ¤ P Ü W Ü Ù Ü ® Ü á ° AÊÜ â WÜ Ù Ü ±Ü Å PÜ o Oæ ¿ á 73. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ :
PÜÅÊÜá¨ÜÈÉ ÊÜÂÊÜÓæ§WæãÚÔÄ. ±Üqr – I ±Üqr – II
(±ÜâÓܤPÜ) (PÜñÜêì)
I. ¶æa… Ôð±…r B¶… BÆ®… vÜív…Õ
I. hÝ®Ü±Ü¨Ü ÊæçhÝn¯PÜ 1. PÝÂñÜ®ÜÖÜÚÛ
II. væç®ÝËáP…Õ B¶… ¶æäàP…ÇæãàÃ… (¸ÝÃæ PæÒàñÜÅPÝ¿áì ÃÝÊÜá|¡
pæãàÇ…Pæ®…) II. PæÒàñÜÅPÝ¿áì¨Ü 2. WæãàÇ…xÓær®…,
III. pæç±…Õ B¶… ¶æäàP…pæàÇ…Õ (A®æì BÂív… ÖÝ©¿áÈÉ Pæ®æ°¥…
¥ÝÊÜáÕ®…) III. hÝ®Ü±Ü¨Ü 3. ±æç Ô.Ô.G.
PæÒàñÜÅPÝ¿áì
IV. © ¶æäàP…pæàÇ… (Ôr¥… ¥ÝÊÜáÕ®…) B«ÜáËPÜ
Ë«Ý®ÜWÜÙÜá
ÓÜíPæàñÜWÜÙÜá :
IV. G Wæçv… ¶ÝÃ… 4. ±ÜâÃÜáÐæãàñܤÊÜá
(A) III, IV, I, II µàÇ…xÊÜPÜìÃ…Õ C®… ¹ÚÊÜáÇæ
¶æäàP…ÇæãàÃ…
(B) III, II, IV, I ÓÜíPæàñÜWÜÙÜá :
(C) III, IV, II, I I II III IV
(A) 4 3 1 2
(D) I, III, IV, II (B) 3 1 4 2
(C) 1 2 3 4
72. PæÙÜX®Ü ԨݜíñÜWÜÙÜ®Üá° AÊÜâWÜÙÜ ÊÜáãÆ¨Ü ÊæáàÃæWæ (D) 2 3 1 4
A®ÜáPÜÅÊÜáWæãÚÔÄ.
74. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ :
I. ÓæãàÇÝÃ… Ëá¥æãàÆi
±Üqr – I ±Üqr – II
II. ¶ÜíPÜÒ®ÜÈÓÜí
I. ¿áPÜÒWÝ®Ü 1. ñÜËáÙÜá®ÝvÜá
III. ÓÜóPÜcÃÜÈÓÜí II. ÃÝÊÜå…ÈàÇÝ 2. PæàÃÜÙÜ
IV. ®ÝÂÃæãàpæãàÆi III. ñæÃÜáPÜáñÜᤠ3. PÜ®ÝìoPÜ
ÓÜíPæàñÜWÜÙÜá : IV. PÜ¥ÜPÜÚ 4. EñܤÃÜ ±ÜŨæàÍÜ
ÓÜíPæàñÜWÜÙÜá :
(A) I, II, III, IV
I II III IV
(B) I, III, II, IV (A) 3 4 1 2
(B) 1 2 3 4
(C) III, I, IV, II
(C) 2 3 4 1
(D) II, IV, I, III (D) 4 3 1 2

Paper II 26 K – 2120

71. Arrange the books in order of publication. 73. Match the following :
List – I List – II
I. Fetch Script of Alan Dundes
(Book) (Author)
II. Dynamics of Folklore (Barre I. Janapada 1. Kyathanahalli
Toelken) Vaignanika Ramanna
Kshetrakaarya
III. Types of folktales (Arne and II. Kshetrakaaryada 2. Goldstein,
Thompson) Haadiyalli Kenneth
III. Janapada 3. Pai C.C.A.
IV. The Folktale (Stith Thompson)
Kshetrakaarya
Aduvika
Codes :
Vidhanagalu
(A) III, IV, I, II IV. A Guide for Field 4. Purushothama
Workers in Folklore Bilimale
(B) III, II, IV, I
Codes :
(C) III, IV, II, I I II III IV
(A) 4 3 1 2
(D) I, III, IV, II
(B) 3 1 4 2
(C) 1 2 3 4
72. Sequence the following theories as per
(D) 2 3 1 4
their origin.

I. Solar Mythology 74. Match the following :
List – I List – II
II. Functionalism
I. Yakshagana 1. Tamil Nadu
III. Structuralism II. Ram Leela 2. Kerala
IV. Narratology III. Therukkuthu 3. Karnataka
IV. Kathakali 4. Uttar Pradesh
Codes :
Codes :
(A) I, II, III, IV I II III IV
(A) 3 4 1 2
(B) I, III, II, IV
(B) 1 2 3 4
(C) III, I, IV, II (C) 2 3 4 1
(D) II, IV, I, III (D) 4 3 1 2

K – 2120 27 Paper II

75. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 77. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
±Üqr – I ±Üqr – II ±Üqr – I ±Üqr – II
(ÓܧÙÜ) (Pæàí¨ÜÅ)
I. ×í© 1. hݮܱܨÜ
I. »æãà±ÝÇ… 1. ÓÜíXàñÜ ®ÝoPÜ
APÝvæËá II. WÜágÃÝ£ 2. ÇæãàPÜ¿Þ®Ü
II. ®ÜÊܨæÖÜÈ 2. hÝ®Ü±Ü¨Ü ±ÜŨÜÍÜì®Ü III. PܮܰvÜ 3. ÇæãàP…«ÝÃÝ
PÜÇæWÜÚWæ ±ÝŨæàÎPÜ
ÓÜí±Ü®Üã¾Æ Pæàí¨ÜÅ IV. ±Üíhݹ 4. ÇæãàP…˨ÝÂ

III. EvÜá² 3. hÝ®Ü±Ü¨Ü ÓÜíPæàñÜWÜÙÜá :
ÓÜí±Ü®ã Ü ¾ÆWÜÙáÜ ÊÜáñÜá¤
ÓÜíÍæãà«Ü®æ Pæàí¨ÜÅ I II III IV

IV. ±ÝÆ¿áí Pæãpær„ 4. Cí©ÃÝ WÝí˜ (A) 2 4 1 3
ÃÝÑóà¿á ÊÜÞ®ÜÊÜ (B) 3 4 1 2
ÓÜíWÜÅÖÝÆ¿á (C) 1 3 4 2
ÓÜíPæàñÜWÜÙÜá :
(D) 3 2 1 4
I II III IV
(A) 2 3 1 4
(B) 3 2 4 1 78. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
(C) 4 1 2 3 ±Üqr – I ±Üqr – II
(D) 1 3 2 4
(ÃÝgÂ) (PÜÇÝ ±ÜÅPÝÃÜ)
76. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
I. ±ÜÎcÊÜá ŸíWÝÙÜ 1. ±ÜähÝ vÝ®…Õ
±Üqr – I ±Üqr – II
(»ÝÐæ) (®ÜÊÜáã®æWÜÙÜá) II. PÜ®ÝìoPÜ 2. A¯PÝíñ…
I. PܮܰvÜ 1. ñæãorí ±Ýoár III. ÊÜá~±ÜâÃÜ 3. aè
II. ñÜËáÙÜá 2. ŸáÃÝÅPÜ¥Ý
IV. AÓÝÕí 4. ¥ÜíW…&o
III. ñæÆáWÜá 3. ËÆáÉ ±Ýoár
ÓÜíPæàñÜWÜÙÜá :
IV. ÊÜáÆ¿ÞÙÜí 4. ±Ývܪ®Ü
I II III IV
ÓÜíPæàñÜWÜÙÜá :
I II III IV (A) 2 3 4 1
(A) 3 2 4 1 (B) 3 1 4 2
(B) 1 3 2 4 (C) 1 4 2 3
(C) 2 3 4 1 (D) 4 2 1 3
(D) 4 3 2 1
Paper II 28 K – 2120

75. Match the following : 77. Match the following :
List – I List – II List – I List – II
(Place) (Centre)
I. Hindi 1. Janapada
I. Bhopal 1. Sangeet
Nataka Academy II. Gujarati 2. Lokayana
II. New Delhi 2. Regional Resource III. Kannada 3. Lok Dhara
Centre for Folk
Performing Arts IV. Panjabi 4. Lok Vidya
III. Udupi 3. Folk Resources
and Research Codes :
Centre I II III IV
IV. Palayam Kottai 4. Indira Gandhi
Rashtriya Manav (A) 2 4 1 3
Sangrahalaya (B) 3 4 1 2
Codes : (C) 1 3 4 2
I II III IV
(D) 3 2 1 4
(A) 2 3 1 4
(B) 3 2 4 1
78. Match the following :
(C) 4 1 2 3
List – I List – II
(D) 1 3 2 4
(State) (Art form)
76. Match the following : I. West Bengal 1. Pooja Dance
List – I List – II
II. Karnataka 2. Anikant
(Language) (Forms)
I. Kannada 1. Toottam Paattu III. Manipur 3. Chau
II. Tamil 2. Burra Katha IV. Assam 4. Thang-ta
III. Telugu 3. Villupaattu
Codes :
IV. Malayalam 4. Paddana
Codes : I II III IV
I II III IV (A) 2 3 4 1
(A) 3 2 4 1 (B) 3 1 4 2
(B) 1 3 2 4
(C) 1 4 2 3
(C) 2 3 4 1
(D) 4 3 2 1 (D) 4 2 1 3
K – 2120 29 Paper II

79. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 81. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
±Üqr – I ±Üqr – II ±Üqr – I ±Üqr – II
I. PÜñæ 1. ¯WÜ©ñÜ ®ÜáwWÜoár ÍæçÈ (±ÜÅ£±Ý¨ÜPÜ) (±ÜÄPÜƳ®æ)
II. ®ÜêñÜ 2. ¯ÃÜã±ÜOæ I. ÊÝÉwËáÃ… ±Ýű… 1. Ãæçp…Õ B¶… ±ÝÂÓæh…
III. ÇÝÊÜ~ 3. ±ÜŨÜÍÜì®Ü II. ÊÜÞÈ®æãàÊ…ÔR 2. KÄÁáíoÈÓÜí
IV. JWÜoá 4. ÊÜåèUPÜ PÜÊÜ®Ü
III. ÊÝ®… Wæ®æ±… 3. ÊÜÞ´ÝìÆi B¶…
ÓÜíPæàñÜWÜÙÜá : ¶æäàP…pæàÇ…
I II III IV
IV. GvÜÌv…ì Óæàv… 4. Ë᥅&ÄaÜáÊÜÇ…
(A) 1 4 2 3
ÓÜíPæàñÜWÜÙÜá :
(B) 3 2 1 4
I II III IV
(C) 2 3 4 1
(A) 2 3 4 1
(D) 4 1 3 2
(B) 3 4 1 2
80. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : (C) 1 3 4 2
±Üqr – I ±Üqr – II (D) 2 3 1 4
(PÜê£WÜÙÜá) (PÜê£PÝÃÜÃÜá)
82. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
I. ÖÝÂív…ŸáP… B¶… 1. ÇæË&ÓÝóÓ…
AÊæáàÄPÜ®… ¶æäàP…ÇæãàÃ… ±Üqr – I ±Üqr – II
II. Ëá¥ÝÆi 2. ÄaÜv…ì Gí. (±ÜíWÜvÜ) (ÓܧÙÜWÜÙÜá)
vÝÓÜì®…
I. PÝvÜá PÜáÃÜ០1. hÝSìív…
III. G®ÝÈqPÜÇ… GÓæÕàÓ… 3. ÊÜáÃÜívÜ
C®… ¶æäàP…ÇæãàÃ… II. AvÜË aæíaÜá 2. ñÜËáÙÜá®ÝvÜá
IV. ÓÜóPÜcÃÜÇ… 4. BÂÆ®…&vÜív…Õ III. ñæãàvÜ 3. Bí«ÜÅ ±ÜŨæàÍÜ
BÂí¥æãűÝÆi
IV. ÊÜááívÜ 4. PÜ®ÝìoPÜ
ÓÜíPæàñÜWÜÙÜá :
ÓÜíPæàñÜWÜÙÜá :
I II III IV
I II III IV
(A) 2 4 1 3
(A) 4 3 2 1
(B) 3 2 1 4
(B) 3 1 4 2
(C) 4 3 2 1
(C) 2 3 1 4
(D) 2 3 4 1
(D) 1 2 3 4
Paper II 30 K – 2120

79. Match the following : 81. Match the following :
List – I List – II List – I List – II
I. Tale 1. Fixed phrase genre (Profounder) (Concept)
II. Dance 2. Narrative I. Vladimir Propp 1. Rites of Passage
III. Ballad 3. Performance II. Malinowski 2. Orientalism
IV. Riddle 4. Oral Poetry III. Van Gennep 3. Morphology of
Folktale
Codes :
I II III IV IV. Edward Said 4. Myth-Ritual

(A) 1 4 2 3 Codes :
(B) 3 2 1 4 I II III IV
(C) 2 3 4 1 (A) 2 3 4 1
(D) 4 1 3 2 (B) 3 4 1 2
(C) 1 3 4 2
80. Match the following :
(D) 2 3 1 4
List – I List – II
(Works) (Authors)
82. Match the following :
I. Hand Book of 1. Levi-Strauss
List – I List – II
American Folklore
(Tribe) (Places)
II. Mythology 2. Richard M.
Dorson I. Kaadu Kuruba 1. Jharkhand
III. Analytical Essays 3. Maranda II. Adavi Chenchu 2. Tamil Nadu
in Folklore
III. Toda 3. Andhra Pradesh
IV. Structural 4. Alan Dundes
IV. Munda 4. Karnataka
Anthropology

Codes : Codes :

I II III IV I II III IV

(A) 2 4 1 3 (A) 4 3 2 1
(B) 3 2 1 4 (B) 3 1 4 2
(C) 4 3 2 1 (C) 2 3 1 4
(D) 2 3 4 1 (D) 1 2 3 4
K – 2120 31 Paper II

83. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 85. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
±Üqr – I ±Üqr – II ±Üqr – I ±Üqr – II
(ÊÜá×Ùæ¿áÃÜá) (ÓÝ«Ü®æWÜÙÜá) I. ¨æàÊÜÃÜWÜávÜxÃÜá 1. ÊæãípæàÓÝÌËá
I. ÓÝÆáÊÜáÃÜ¨Ü 1. hÝ®Ü±Ü¨Ü PÜê£WÝX II. ¯àÆWÜÃÜ 2. ¹ÚXÄ ÃÜíWÜ
£ÊÜá¾PÜR ±Ü¨Ü¾ÎÅà ±ÜÅÍÜÔ¤ III. WÜÃÜávÜWÜíŸ 3. ÊÜÞ¨æàÍÜÌÃÜ
II. ÓÜãQÅ ¸æãÊæá¾àWèvÜ 2. hÝ®Ü±Ü¨Ü IV. WÜOæ¿áÊÜÃÜá 4. gáíg±Ü³
APÝvæËá¿á
ÓÜíPæàñÜWÜÙÜá :
A«ÜÂPÜÒ I II III IV
III. ÊÜáígÊÜá¾ 3. ÓÝí±ÜŨÝÀáPÜ (A) 2 4 3 1
hæãàWÜ£ ‘±ÜÅÓÜ㣠ñÜhæn’ (B) 3 1 2 4
(C) 4 3 1 2
IV. ±ÝÊÜWÜvÜ ®ÜÃÜÓÜÊÜá¾ 4. ÊÜáÃÜWÜÙÜ ÓÜíÃÜPÜÒOæ (D) 1 2 3 4
ÓÜíPæàñÜWÜÙÜá :
I II III IV 86. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
(A) 4 1 2 3 ±Üqr – I ±Üqr – II
(B) 1 2 4 3 I. hæ.GÓ…. ±ÜÃÜÊÜáÎÊÜ¿á 1. PܮܰvÜ hݮܱܨÜ
(C) 3 1 2 4 XàñæWÜÙÜá
(D) 2 4 1 3
II. q.G®…. ÍÜíPÜÃÜ 2. EñܤÃÜ PÜ®ÝìoPܨÜ
®ÝÃÝ¿á| hݮܱܨÜ
84. PæÙÜX®ÜÊÜâWÜÙÜ®Üá° Öæãí©ÔÄ : ÃÜíWÜ»ÜãËá
±Üqr – I ±Üqr – II III. aÜí¨ÜÅÍæàSÃÜ 3. ¨ÜQÒ| PÜ®ÝìoPܨÜ
I. PÜÃܱÝÆ 1. ÊÜáÖݨæàÊÜ¿á PÜí¸ÝÃÜ hÝ®Ü±Ü¨Ü PÝÊÜÂ
±ÜÅPÝÃÜWÜÙÜá
II. ñÜíŸãÄ 2. ÊÜáá¯ÊæíPÜo±Ü³
IV. ¹.GÓ…. WÜvÜxXÊÜás… 4. PÝvÜáWæãÆÉÃÜ
III. ñÜÊÜápæ 3. ÃÝaÜ¿á ÓÜí±ÜŨݿáWÜÙÜá
IV. PÜíÓÝÙæ 4. Ԩܪ¿á ÊÜáñÜᤠ®Üí¹PæWÜÙÜá
ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :
I II III IV I II III IV
(A) 2 1 3 4 (A) 2 3 1 4
(B) 4 3 1 2 (B) 4 2 3 1
(C) 4 3 2 1 (C) 3 1 4 2
(D) 1 4 2 3 (D) 3 4 2 1

Paper II 32 K – 2120

83. Match the following : 85. Match the following :
List – I List – II List – I List – II
(Women) (Achievements) I. Devaraguddaru 1. Manteswamy
I. Saalumarada 1. Padmashree II. Neelagara 2. Biligiri Ranga
Thimmakka awardee for folk art III. Garudagamba 3. Madeswara
II. Sukkri Bomme 2. Chairperson of IV. Ganeyavaru 4. Junjappa
Gowda Janapada
Academy Codes :
I II III IV
III. Manjamma 3. Traditional
Jogathi ‘Prasoothi (A) 2 4 3 1
Tagne’ (B) 3 1 2 4
IV. Pavagada 4. Preserving trees (C) 4 3 1 2
Narasamma (D) 1 2 3 4

Codes : 86. Match the following :
I II III IV List – I List – II
(A) 4 1 2 3 I. J. S. Paramashivaiah 1. Kannada
(B) 1 2 4 3 Janapada
Geetegalu
(C) 3 1 2 4
II. T. N. Sankara 2. Uttara
(D) 2 4 1 3 Narayana Karnatakada
Janapada
84. Match the following : Rangabhumi
List – I List – II III. Chandrasekhara 3. Dakshina
Kambara Karnatakada
I. Karapala 1. Mahadevaiah Janapada Kavya
II. Tamboori 2. Munivenkatappa Prakaragalu
III. Tamate 3. Rachaiah IV. B. S. Gaddagimath 4. Kadugollara
Sampradayagalu
IV. Kamsale 4. Siddaiah Mattu
Codes : Nambikegalu

I II III IV Codes :
I II III IV
(A) 2 1 3 4
(A) 2 3 1 4
(B) 4 3 1 2
(B) 4 2 3 1
(C) 4 3 2 1 (C) 3 1 4 2
(D) 1 4 2 3 (D) 3 4 2 1
K – 2120 33 Paper II

87. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : 89. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
±Üqr – I ±Üqr – II ±Üqr – I ±Üqr – II
I. ÇÝÊÜ~ 1. ¯à£ PÜñæWÜÙÜá (WÜÅí¥Ü) (»ÝÐæ)
II. PÜoár PÜñæWÜÙÜá 2. ÇÝÊÜ~WÝÃÜÃÜá I. ÃÝÊÜÞ¿á| 1. ×àŸãÅ
III. Wݨæ 3. WÜá±Ü¤ EñܤÃÜWÜÙÜá
II. «ÜÜÊÜá¾±Ý¨Ü 2. ÓÜíÓÜ¢ñÜ
IV. JWÜoá 4. g®Ü²Å¿á hÝn®Ü¨Ü
PÜ|g III. ¸æçŸÇ… 3. ±ÝÈ

ÓÜíPæàñÜWÜÙÜá : IV. £ÃÜáPÜáRÃÜÙ… 4. ñÜËáÙÜá
I II III IV ÓÜíPæàñÜWÜÙÜá :
(A) 2 1 4 3
I II III IV
(B) 1 2 3 4
(A) 1 3 4 2
(C) 4 2 3 1
(B) 4 3 2 1
(D) 3 1 2 4
(C) 2 3 1 4
88. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ : (D) 3 4 1 2
±Üqr – I ±Üqr – II
(ÓÜíÓæ§) (ÊÜÐÜì) 90. PæÙÜX®Ü¨Ü®Üá° Öæãí©ÔÄ :
I. ¹ÅqÐ… ¶æäàP…ÇæãàÃ… ÓæãÓæçq 1. 1888 ±Üqr – I ±Üqr – II
II. AÊæáàÄPÜ®… ¶æäàP…ÇæãàÃ… 2. 1874 (±ÜâÃÝ| PÝÊÜÂ) (E±Ü®Ý¿áQ¿áÃÜá)
ÓæãÓæçq
I. ÊæãípæàÓÝÌËá 1. b®Ü°ÊÜá¾
III. ®ÝwìP… C®…ÔroãÂp… 3. 1878
B¶… ¶æäàP…ÇæãàÃ… II. ÊÜÞ¨æàÍÜÌÃÜ 2. ÊÜÞñÜíX

IV. g®ÜìÇ… B¶… © 4. 1959 III. GÆÉÊÜá¾ 3. PÝÙÜÊÜá¾
Ãæãà¿áÇ… HοÞqP…
IV. gáíg±Ü³ 4. ¨æãvÜxÊÜá¾ ñÝÀá
ÓæãÓæçq B¶… ¸æíWÝÇ…
ÓÜíPæàñÜWÜÙÜá : ÓÜíPæàñÜWÜÙÜá :
I II III IV I II III IV
(A) 1 2 3 4 (A) 2 3 4 1
(B) 4 2 3 1 (B) 4 3 2 1
(C) 3 1 4 2 (C) 3 2 1 4
(D) 2 3 1 4 (D) 4 1 3 2
Paper II 34 K – 2120

87. Match the following : 89. Match the following :
List – I List – II List – I List – II
I. Ballad 1. Moral Tales (Book) (Language)
II. Fables 2. Ministrels I. Ramayana 1. Hebrew
III. Proverb 3. Hidden Answer II. Dhammapada 2. Sanskrit
IV. Riddle 4. Store of Popular III. Bible 3. Pali
Knowledge IV. Thirukkural 4. Tamil
Codes :
Codes :
I II III IV
I II III IV
(A) 2 1 4 3
(A) 1 3 4 2
(B) 1 2 3 4
(B) 4 3 2 1
(C) 4 2 3 1
(C) 2 3 1 4
(D) 3 1 2 4
(D) 3 4 1 2
88. Match the following :
90. Match the following :
List – I List – II
List – I List – II
(Institution) (Year)
(Epics) (Sub-heroines)
I. British folklore Society 1. 1888
I. Manteswamy 1. Chinnamma
II. American folklore Society 2. 1874
II. Madeswara 2. Mathangi
III. Nordic Institute of folklore 3. 1878
III. Ellamma 3. Kaalamma
IV. Journal of the Royal 4. 1959
IV. Junjappa 4. Doddamma Taayi
Asiatic Society of Bengal
Codes : Codes :
I II III IV I II III IV
(A) 1 2 3 4 (A) 2 3 4 1
(B) 4 2 3 1 (B) 4 3 2 1
(C) 3 1 4 2 (C) 3 2 1 4
(D) 2 3 1 4 (D) 4 1 3 2

K – 2120 35 Paper II

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Paper II 36 K – 2120

Read the passage below and answer the criticizes in a comment on the work of another
questions from 91 to 100 : Russian Scholar : “... it illustrates yet once
Most structuralists, too have realized the again the deadening conservatism that Karl
need to explain the presence of particular Marx’s approval of the social evolutionist
morphological forms in the context of culture. theories of L. H. Morgan imposes on any
Propp’s work, for example, was viciously Soviet Scholar who ventures into the domain
attacked in Russia for being anti-Marxist and of cultural/social Anthropology. Soviet
anti-Soviet. He was accused of not showing ethnologists who fail to pay at least token
the relevance of folklore to the people’s respect to Morgan’s fantasies in the form in
struggle against capitalist oppression. In which they came to be embodied in Engels’
response to this critique of his ‘Morphology the origin of the family put themselves in
of the Folktale’, Propp wrote a sequel entitled peril.... He presents myth as the product of
‘Historical Roots of the Wonder tale’. In it he a particular ‘stage of consciousness’ which
took up the job of researching the relationship was characteristic of the thinking of primitive
of form to the larger social and historical peoples at an early stage in their history.”
context. In a later response of Levi-strauss, Levi-Strauss, too tries to tie in the structures
Propp writes that he finds the cause for the of myth with the ethnography of a people.
unity of the composition of different tales Unfortunately he is forced to rely almost
in “... the stage of human society studied exclusively on the report of others. Modern
by ethnology and ethnography..... I did not social anthropologists, intellectual descendants
abandon morphological analysis, but set of B. Malinowski in terms of field methodology
myself the task of searching for the historical if not functionalist theory, are very sceptical
foundations and historical roots of the system about the possibility of reconstructing
revealed by a comparative study of wonder ethnographic settings once folklore has been
tale plots.... What really matters is that plots divorced from its context and after the fact
are engineered by the life of the people and of analysis.
the forms of thought at the early stages of
social development and that the appearance 91. V. J. Propp’s work was viciously
of these plots is historically determined.” attacked in Russia
Most contemporary western ethnologists and (A) for giving emphasis on form
folklorists would certainly not be satisfied with (B) for neglecting people’s struggles
this sort of Marxist evolutionism as a means against capitalism
of placing form in context. It is precisely the (C) for dealing with unscientific aspects
sort of thing Edmund Leach so eloquently of culture
(D) for giving importance to history
K – 2120 37 Paper II

92. ¿ÞÃæãí©Wæ Ë.hæ. ±Ýű… ËÊÜáÍÝìñܾPÜÊÝX 96. “ ÓÝÊÜ Þ iPÜ ËPÝÓÜ Ô¨ÝœíñÜ ” CÊÜ Ä Wæ
±ÜÅÊÜêñܤ®Ý¨Ü ? ÓæàĨݪX¨æ
(A) PÝÇ…ì ÊÜÞP…Õì (A) PÝÇ…ì ÊÜÞP…Õì
(B) ¶æÅvÜÄP… HíhæÇ…Õ (B) ÇæË&ÓÝóÓ…
(C) Gvܾív… Èàa… (C) GÇ….Ga…. ÊæãàWÜì®…
(D) ÇæË ÓÝóÓ… (D) Gv…ÊÜáív… Èàa…

93. ±Ýű… “×ÓÝrÄPÜÇ… ÃÜãp…Õ B¶… © ÊÜívÜÃ… 97. ÊÜÞWÜì®…ÃÜÊÃ
Ü Ü Ô¨ÝœíñÜ©í¨Ü ±ÜÅ»ÝËÓÜƳorÊÃÜ áÜ
pæàÇ…” ±ÜâÓܤPÜÊÜ®Üá° ¿ÞÊÝWÜ ŸÃæ¨ÜÃÜá ? ¿ÞÃÜá ?
(A) BñÜ ¯¨ÜÍÜì®ÝñܾPÜ ÓÜíÃÜaÜ®ÝÍÝÓÜŒÊÜ®Üá° (A) Ë.hæ.±Ýű…
G¨ÜáÄÔ¨ÝWÜ (B) Gv…ÊÜáív… Èàa…
(B) BñÜ ÃÜã±ÜÃÜaÜ®ÝÍÝÓÜŒ ËÍæÉàÐÜOæ¿á®Üá° (C) ÇæË&ÓÝóÓ…
ñÜÂiÔ¨ÝWÜ (D) HíhæÇ…Õ
(C) BñÜ ÓæãàËÁáñ… ÊÜÞQÕìÓÜrÄí¨Ü
qàPæWæãÙÜWݨÝWÜ 98. ÊÜívÜÃ… pæàÇ…Õ (A¨Üá½ñÜ PÜñæWÜÙÜá) ÊÜáñÜᤠË᥅
(D) BñÜ ËÍæÉàÐÜOæ¿á ñÜáÆ®ÝñܾPÜ Ë«Ý®ÜÊÜ®Üá° WÜÙÜá (±ÜâÃÝ| PÜñæWÜÙÜá)
ñÜÂiÔ¨ÝWÜ (A) ÓÜíÃÜaܯà¿áÊÝX ÓÜÊÜÞ®Ü
(B) QÅ¿ÞñܾPÜÊÝX ÓÜÊÜÞ®Ü
94. ±Ýű… ñܮܰ “×ÓÝrÄPÜÇ… ÃÜãp…Õ B¶… ÊÜívÜÃ… (C) ÓÜÊÜÞg ±ÜÅWÜ£¿á BÃÜí»Ü¨Ü Ô§£Wæ
pæàÇ…Õ” ®ÜÈÉ D Aí£ÊÜá ¯|ì¿áPæR ŸÃÜáñݤÃæ ÓæàĨÜÊÜâWÜÙÜá
(A) ÊÜ í vÜ Ã … pæ à Ç…Õ®Ü (A¨Ü á ½ñÜ PÜ ñ æ W Ü Ù Ü ) (D) A±ÜÅhÝn±ÜäÊÜìPÜÊÝX ÖÜáqrŸí¨ÜÊÜâWÜÙÜá
PÜ¥ÝÊÜÓÜá¤WÜÙÜ ñÜáÆ®ÝñܾPÜ A«Ü¿á®ÜÊÜâ
¿ÞÊÜ â ¨æ à ¯ÐÜ u ¶Ü È ñÝíÍÜ W Ü Ù Ü ® Ü á ° 99. ¿ÞÃÜá BÃÝÊÜá PÜábì ÊÜÞ®ÜÊÜÍÝÓÜŒgn Gí¨Üá
¯àvÜáÊÜâ©ÆÉ qàPæWæãÙÜWݨÜÊÜÃÜá ?
(B) ÓÜíÃÜaÜ®Ý ËÍæÉàÐÜOæ¿áÈÉ (A) ÊÜÞÂÈ®èÔR
ÊÜÞ®ÜÊÜPÜáÆÍÝÔŒà¿á ËÊÜÃÜOæ¿á (B) ÇæË&ÓÝóÓ…
¨ÜñݤíÍÜ ±ÜÅÁãàg®ÜPÝÄ¿ÞX¨æ (C) Gv…ÊÜáív… Èàa…
(C) aÝÄ£ÅPÜ ËÍæÉàÐÜOæ¿áá ÓÜíÃÜaÜ®Ý (D) HíhæÇ…Õ
ËÍæÉàÐÜOæ¿á®Üá° ÖæãÃÜXvÜáñܤ¨æ 100. ÊÜÞ®ÜÊÜPÜáÆÍÝÔŒà¿á ËÊÜÃÜOæ ®ÜÊÜáWæ C¨ÜPæR
(D) ÊÜívÜÃ… pæàÇ…WÜÙÜ PÜ¥ÝÊÜÓÜá¤WÜÙÜá ®æÃÜÊÝWÜáñܤ¨æ
±ÜÅWÜ£¿á Êæã¨ÜÆ ZorPæR ÓæàÄ¨Ü g®ÜÄí¨Ü (A) g®ÜÃÜ ±ÜÅhæn¿á Zor¨æãí©Wæ
Ë®ÝÂÓÜWæãÚÓÜƳqrÊæ PܥܮÜÊæäí¨ÜÃÜ ÓÜíÃÜaÜ®æ¿á ÓÜÖÜÓÜíŸí«Ü
95. ÊÜÞQÕìÓ…r ËPÝÓÜ Gí¨ÜÃæ H±ÜìwÓÜÆá
(A) BPÜꣿá®Üá° ÓÜí¨Ü¼àìPÜÃÜ|WæãÚÓÜáÊÜâ¨Üá (B) PܥܮÜWÜÙÜ®Üá° ÊÜXìàPÜÄÓÜÆá
(C) PܥܮÜÊæäí¨ÜÃÜ PÜÇÝËáàÊÜÞíÓæ¿á
(B) BPÜꣿá®Üá° aÜÄñæÅ¿á ÖæãÃÜXvÜáÊÜâ¨Üá
B¿ÞÊÜáWÜÙÜ®Üá° b£ÅÓÜÆá
(C) ÓÜí¨Ü»ÜìÊÜ®Üá° ±ÜtÂàPÜÄÓÜáÊÜâ¨Üá
(D) PܥܮÜÊæäí¨ÜÃÜ ÊÜáãÆÊÜ®Üá° ËÊÜÄÓÜÆá
(D) aÜÄñæÅ¿á A&ÃæàUà¿á ±ÜÅWÜ£
Paper II 38 K – 2120

92. Whom did V. J. Propp critically engage ? 96. Theory of Social Evolution belongs to
(A) Karl Marx (A) Karl Marx
(B) Frederik Engels (B) Levi-Strauss
(C) Edmund Leach (C) L. H. Morgan
(D) Levi-Strauss (D) Edmund Leach

93. When did Propp wrote the book “Historical 97. Who was influenced by Morgan’s
Roots of the Wonder Tale” ? theories ?
(A) When he encountered with (A) V. J. Propp
paradigmatic structuralism (B) Edmund Leach
(B) When he abandoned (C) Levi-Strauss
morphological analysis (D) Engels
(C) When he was criticized by Soviet
Marxists 98. Wonder tales and myths are
(D) When he abandoned comparative (A) Structurally similar
mode of analysis (B) Functionally similar
(C) Belonging to the early stage of
94. In ‘Historical Roots of Wonder Tales’ social development
Propp concludes that (D) Originated unconsciously
(A) Comparative study of Wonder tale
plots does not yield any faithful 99. Who was criticized as an arm chair
results anthropologist ?
(B) Ethnographic data is useful in (A) Malinowski
structural analysis
(B) Levi-Strauss
(C) Historical analysis excludes
(C) Edmund Leach
structural analysis
(D) Engels
(D) Plots of wonder tale are designed
by the people who belong to the
early stage of development 100. Ethnography helps us
(A) to correlate the structure of a
95. Marxist evolutionism means narrative with people’s stage of
consciousness
(A) Contextualising the form
(B) to classify narratives
(B) Placing the form outside history (C) to delineate the aesthetic
(C) Textualise the context dimensions of a narrative
(D) Non-linear development of history (D) to explain the origin of a narrative

K – 2120 39 Paper II

bñÜᤠŸÃÜÖÜPÝRX ÓܧÙÜ
Space for Rough Work

Paper II 40 K – 2120