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M.A-M.A English 4th Sem Paper - 4.6 : Linguistics and Stylistics - II(University of Pune, Pune-2013)

Saturday, 01 November 2014 01:09Nitha

M.A. (Part - II) (Semester - IV)

ENGLISH

Paper - 4.6 : Linguistics and Stylistics - II

(Optional) (2008 Pattern)

Time : 3 Hours]                                                                              [Max. Marks : 80

 

Instructions to the candidates:

1) All questions are compulsory.

2) All questions carry equal marks.

 

 

Q1) Answer any ONE of the following:      [16]


a)       Discuss how stylistics involves both linguistics and literary criticism.

OR

b)       How is ‘linguistic stylistics’ different from ‘literary stylistics’?

Q2) Answer any ONE of the following:                                                                  [16]

 

Attempt a note on the relevance of speech act theory in the study of

dramatic dialogues.

OR

Discuss the concepts of ‘ambiguity’, ‘obscurity’ and ‘indeterminacy’.

How are these concepts interrelated?

 

 

Q3) Answer any FOUR of the following questions:                                           [16]

a) What are the different stages in stylistic analysis?

b) Explain the difference between ‘proximal’ and ‘distal’ deixis.

c)       What is ‘poetic licence’? Give a few examples.

d)       What are the different narrative strategies used in fiction?

e)       Write a brief note on ‘politeness principle’. f)             Explain the significance of turn taking in drama.

P.T.O.


Q4) Answer any FOUR of the following questions:                                           [16]

 

What are the factors that contribute to the music of poetry?

What is ‘poetic diction’? Explain briefly.

Explain the term ‘performance text’.

What is ‘universe of discourse’?

What are the limitations of stylistics?

Comment on the use of ‘distal deixis’ in fiction?


Q5) Attempt a stylistic analysis of any ONE of the following:                      [16]

 

 

a)‘Love seeketh not itself to please,

Nor for itself hath any care,

But for another gives its ease,

And builds a Heaven in Hell’s despair’.

So sung a little Clod of Clay,

Trodden with the cattle’s feet,

But a Pebble of the brook

Warbled out these metres meet:

‘Love seeketh only Self to please,

To bind another to its delight,

Joys in another’s loss of ease,

And builds a Hell in Heaven’s despite.

 

[4302]-426                                                      2

 

b)  Nora :  Well, that’s the end of that. I’ll put the keys down here. The

maids Know where everything is in the house ---- better than I do, in fact. Kristine will come in the morning after I’ve left to pack up the few things I bought with me from home. I want them sent on.


Helmer : The end! Nora, will you never think of me?

Nora:         I dare say I’ll often think about you and the children and this

house.

Helmer: May I write to you, Nora?

Nora:         No, never. I won’t let you.

Helmer: But Surely I can send you ...

Nora:         Nothing, nothing.

Helmer: Can’t I help you if ever you need it?

Nora:         I said ‘no’. I don’t accept things from strangers.

Helmer: Nora, can I never be anything more to you than a stranger?

Nora:         [takes her bag]. Ah, Torvald, only by a miracle of miracles ...

Helmer: name it, this miracle of miracles!

Nora:         Both you and I would have to change to the point where ....

Oh, Torvald, I don’t believe in miracles any more.

Helmer: But I will believe. Name it. Change to the point where ....?

Nora:         Where we could make a real marriage of our lives together.

Goodbye!

[She goes out through the hall door.]

Helmer: [sinks down on a chair near the door, and covers his face with

his hands]. Nora! Nora! [he rises and looks round.] Empty! She’s gone! [with sudden hope.] The miracle of miracles . . .?

[The heavy sound of a door being slammed is heard from

below.] 


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