DOCSLIB.ORG

Copy of OMR Sheet on Conclusion of Examination

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copy of OMR Sheet on Conclusion of Examination Signature and Name of Invigilator OMR Sheet No. : .......................................................... 1. (Signature) (To be filled by the Candidate) (Name) Roll No. 2. (Signature) (In figures as per admission card) (Name) Roll No. (In words) J 9715 PAPER - II Time : 1¼ hours] RABINDRA SANGEET [Maximum Marks : 100 Number of Pages in this Booklet : 24 Number of Questions in this Booklet : 50 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of 1. §â ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ÙÕÚU çÜç¹°Ð this page. 2. This paper consists of fifty multiple-choice type of questions. 2. §â ÂýàÙ-Âæ ×𢠿æâ Õãéçß·¤ËÂèØ ÂýàÙ ãñ´Ð 3. At the commencement of examination, the question booklet 3. ÂÚUèÿææ ÂýæÚUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU will be given to you. In the first 5 minutes, you are requested ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çÙÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð to open the booklet and compulsorily examine it as below : ÁæØð¢»ð, çÁâ·¤è Áæ¡¿ ¥æ·¤ô ¥ßàØ ·¤ÚUÙè ãñ Ñ (i) To have access to the Question Booklet, tear off the (i) ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ·ð¤ çÜ° ÂéçSÌ·¤æ ÂÚU Ü»è ·¤æ»Á ·¤è âèÜ ·¤æð paper seal on the edge of this cover page. Do not accept ȤæǸ Üð¢UÐ ¹éÜè ãé§ü Øæ çÕÙæ SÅUè·¤ÚU-âèÜU ·¤è ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢UÐ a booklet without sticker-seal and do not accept an open booklet. (ii) ·¤ßÚU ÂëDU ÂÚU ÀUÂð çÙÎðüàææÙéâæÚU ÂýàÙ-ÂéçSÌ·¤æ ·ð¤ ÂëDU ÌÍæ ÂýàÙô¢ ·¤è (ii) Tally the number of pages and number of questions in â¢Øæ ·¤ô ¥ÀUè ÌÚUã ¿ñ·¤ ·¤ÚU Üð¢U ç·¤ Øð ÂêÚðU ãñ¢UÐ ÎôáÂêæü ÂéçSÌ·¤æ the booklet with the information printed on the cover çÁÙ×ð¢ ÂëDU/ÂýàÙ ·¤× ãô¢ Øæ ÎéÕæÚUæ ¥æ »Øð ãô¢ Øæ âèçÚUØÜU ×ð¢ Ù ãô¢ page. Faulty booklets due to pages/questions missing ¥ÍæüÌ ç·¤âè Öè Âý·¤æÚU ·¤è æéçÅUÂêæü ÂéçSÌ·¤æ Sßè·¤æÚU Ù ·¤Úð¢U ÌÍæ or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ Üð discrepancy should be got replaced immediately by a Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù Ìô correct booklet from the invigilator within the period of 5 minutes. Afterwards, neither the Question Booklet ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô ¥çÌçÚUQ¤ will be replaced nor any extra time will be given. â×Ø çÎØæ ÁæØð»æÐ (iii) After this verification is over, the Test Booklet Number (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤æ Ù´ÕÚU OMR Âæ·¤ ÂÚU ¥¢ç·¤Ì ·¤Úð¢U should be entered on the OMR Sheet and the OMR Sheet ¥UõÚU OMR Âæ·¤ ·¤æ Ù´ÕÚU §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU Îð¢Ð Number should be entered on this Test Booklet. 4. ÂýØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©æÚU çß·¤Ë (1), (2), (3) ÌÍæ (4) çÎØð »Øð ãñ¢Ð 4. Each item has four alternative responses marked (1), (2), (3) ¥æ·¤ô âãè ©æÚU ·ð¤ ßëæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð and (4). You have to darken the circle as indicated below on the correct response against each item. çιæØæ »Øæ ãñÐ Example : where (3) is the correct response. ©ÎæãÚUæ Ñ ÁÕç·¤ (3) âãè ©æÚU ãñÐ 5. Your responses to the items are to be indicated in the OMR 5. ÂýàÙæ𴠷𤠩æÚU ·ð¤ßÜ ÂýàÙ ÂéçSÌ·¤æ ·ð¤ ¥ÎÚU çÎØð »Øð OMRU Âæ·¤ ÂÚU ãè Sheet given inside the Booklet only. If you mark your ¥´ç·¤Ì ·¤ÚUÙð ãñ´Ð ØçÎ ¥æ OMRU Âæ·¤ ÂÚU çÎØð »Øð ßëæ ·ð¤ ¥Üæßæ ç·¤âè response at any place other than in the circle in the OMR ¥Ø SÍæÙ ÂÚU ©æÚU ç¿ãæ¢ç·¤Ì ·¤ÚUÌð ãñ´, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ Sheet, it will not be evaluated. 6. ¥ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥çÌ× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. If you write your Name, Roll Number, Phone Number or 8. ØçÎ ¥æ OMR Âæ·¤ ÂÚU çÙØÌ SÍæÙ ·ð¤ ¥Üæßæ ¥ÂÙæ Ùæ×, ÚUæðÜ ÙÕÚU, put any mark on any part of the OMR Sheet, except for the ȤæðÙ ÙÕÚU Øæ ·¤æð§ü Öè °ðâæ ç¿q çÁââð ¥æ·¤è Âã¿æÙ ãæð â·ð¤, ¥´ç·¤Ì ·¤ÚUÌð space allotted for the relevant entries, which may disclose ãñ´ ¥Íßæ ¥ÖÎý Öæáæ ·¤æ ÂýØæð» ·¤ÚUÌð ãñ´, Øæ ·¤æð§ü ¥Ø ¥Ùéç¿Ì âæÏÙ ·¤æ your identity, or use abusive language or employ any other ÂýØæð» ·¤ÚUÌð ãñ´, Áñâð ç·¤ ¥´ç·¤Ì ç·¤Øð »Øð ©æÚU ·¤æð ç×ÅUæÙæ Øæ âÈð¤Î SØæãè âð unfair means, such as change of response by scratching or ÕÎÜÙæ Ìæð ÂÚUèÿææ ·ð¤ çÜØð ¥ØæðØ ææðçáÌ ç·¤Øð Áæ â·¤Ìð ãñ´Ð using white fluid, you will render yourself liable to 9. ¥æ·¤ô ÂÚUèÿææ â×æ# ãôÙð ¤ÂÚU ×êÜ OMR Âæ·¤ çÙÚUèÿæ·¤ ×ãôÎØ ·¤ô ÜUõÅUæÙæ disqualification. ¥æßàØ·¤ ãñ ¥õÚU ÂÚUèÿææ â×æç# ·ð¤ ÕæÎ ©âð ¥ÂÙð âæÍ ÂÚUèÿææ ÖßÙ âð ÕæãÚU 9. You have to return the original OMR Sheet to the invigilators at the end of the examination compulsorily and must not Ù Üð·¤ÚU ÁæØð¢Ð ãæÜæ´ç·¤ ¥æ ÂÚUèÿææ â×æç# ÂÚU ×êÜ ÂýàÙ-ÂéçSÌ·¤æ ÌÍæ OMR carry it with you outside the Examination Hall. You are Âæ·¤ ·¤è ÇéUÜè·ð¤ÅU ÂýçÌ ¥ÂÙð âæÍ Üð Áæ â·¤Ìð ãñ´Ð however, allowed to carry original question booklet and 10. ·ð¤ßÜ ÙèÜð/·¤æÜð ÕæÜU ßæ§ZÅU ÂðÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ duplicatewww.careerindia.com copy of OMR Sheet on conclusion of examination. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻淤 (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 10. Use only Blue/Black Ball point pen. ÂýØô» ßçÁüÌ ãñÐ 11. Use of any calculator or log table etc., is prohibited. 12. There are no negative marks for incorrect answers. 12. »ÜÌ ©æÚUæð´ ·ð¤ çÜ° ·¤æð§ü Ù·¤æÚUæ×·¤ ¥´·¤ Ùãè´ ãñ´Ð 13. In case of any discrepancy in the English and Hindi versions, 13. ØçÎ ¥´»ýðÁè Øæ çã´Îè çßßÚUæ ×ð´ ·¤æð§ü çßâ´»çÌ ãæð, Ìæð ¥´»ýðÁè çßßÚUæ ¥´çÌ× English version will be taken as final. ×æÙæ Áæ°»æÐ J-9715 !J-9715-PAPER-II! 1 P.T.O. RABINDRA SANGEET PAPER - II Note : This paper contains fifty (50) objective type questions of two (2) marks each. All questions are compulsory. 1. Which book is Tagore collection of songs ? (1) Rabbichhaya (2) Prabahini (3) Kshanika (4) Sonar Tari 2. Rabindranath dedicated his book Tasher Desh to : (1) Atulprasad Sen (2) Subhash Chandra Bose (3) Dwijendralal Roy (4) Satyendranath Tagore 3. The tal of the song Aji Mamo Mono Chahe : (1) Surphank tal (2) Chow tal (3) Ektal (4) Teora 4. To whom Rabindranath called Amar Sakal ganer Bhandari ? (1) Suchitra Mitra (2) Indira Devi Chowdharani (3) Dinendranath Tagore (4) Sarala Devi 5. Tagores anthology of songs : (1) Gitabitan (2) Sanai (3) Gora (4) Sonar Tari 6. Ada - Chowtal consists of : (1) Sixteen Matras (2) Fourteen Matras (3) Twelve Matras (4) Fifteen Matras 7. The first song of Prakriti Paryaya : (1) Nil Nabaghane Asara (2) Aji Jharo Jharo Mukharo (3) Viswa Bina Rabe (4) Megher Pare Meghe 8. Whichwww.careerindia.com song is based on Ekadashi Tal ? (1) Kanpiche Dehalata (2) Duare Dao More Rakhiya (3) O Dekha Diye Je (4) Aamar Bhuban To Aaj Holo J-9715 !J-9715-PAPER-II! 2 Paper-II ÚUÕèÎý â´»èÌ ÂýàÙÂæ - II ÙæðÅU Ñ §â ÂýàÙ-Âæ ×ð´ ¿æâ (50) Õãé-çß·¤ËÂUèØ ÂýàÙ ãñ´Ð ÂýØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ´Ð âÖè ÂýàÙ ¥çÙßæØü ãñ´Ð 1. ·¤æñÙ âè ç·¤ÌæÕ ÅñU»æðÚU ·ð¤ »èÌæð´ ·¤æ â´»ýã ãñ? (1) ÚUçÕÀUæØæ (2) ÂýÕæçãÙè (3) ÿæçæ·¤æ (4) âæðÙæÚU ÌæÚUè 2. ÚUÕèÎýÙæÍ Ùð ¥ÂÙè ÂéSÌ·¤ ÒÌæâðÚU ÎðàæÓ â×çÂüÌ ·¤è Ñ (1) ¥ÌéÜ ÂýâæÎ âðÙ ·¤æð (2) âéÖæá ¿Îý Õæðâ ·¤æð (3) çmÁðÎýÜæÜ ÚUæòØ ·¤æð (4) âØðÎýÙæÍ ÅñU»æðÚU ·¤æð 3. Ò¥Áè ×æð×æð ×æðÙæð ÀðUãðÓ »èÌ ·¤æ ÌæÜ ãñ Ñ (1) âéÚUȤ洷¤ ÌæÜ (2) ÀUæ𪤠ÌæÜ (3) °·¤ÌæÜ (4) Ìðð¥æðÚUæ 4. ÚUÕèÎýÙæÍ ç·¤âð Ò¥×æÚU â·¤Ü »æÙðÚU ִǸæÚUèÓ ·¤ãÌð Íð? (1) âéç¿æ ç×ææ (2) §´çÎÚUæÎðßè ¿æñÏÚUæÙè (3) çÎÙðÎýÙæÍ ÅñU»æðÚU (4) âÚUÜæ Îðßè 5. ÅñU»æðÚU ·¤è »èÌæð´ ·¤æ Âl ãñ Ñ (1) »èÌçÕÌæÙ (2) âÙæ§ü (3) »æðÚUæ (4) âæðÙæÚUÌæÚUè 6. Ò¥Îæ - ¿æñÌæÜÓ ×ð´ ç·¤ÌÙè ×æææ àææç×Ü ãñ´? (1) âæðÜã ×æææ (2) ¿æñÎã ×æææ (3) ÕæÚUã ×æææ (4) ÂÎýã ×æææ 7. Âý·ë¤çÌ ÂØæüØ ·¤æ ÂãÜæ »èÌ ãñ Ñ (1) ÙèÜ ÙÖæÙð ¥âæÚUæ (2) ¥Áè ÛææÚUæð-ÛææÚUæð ×é¹æÚUæð (3) çßàß çÕÙæ ÚUæÕð (4) ×ðæðÚU ÂÚðU ×ðæð 8. ·¤æñÙâæwww.careerindia.com »èÌ °·¤æÎàæè ÌæÜ ÂÚU ¥æÏæçÚUÌ ãñ? (1) ·¤æ¡ÂèÀðU ÎðãÜÌæ (2) Îé¥æÚðU Îæ¥æð ×æðÚðU ÚUæç¹Øð (3) ¥æð Îð¹ çÎØð Áð (4) ¥æ×æÚU ÖéÕÙ Ìæð ¥æÁ ãæðÜæð J-9715 !J-9715-PAPER-II! 3 Paper-II 9. In which Tal the song He mono tare Dekho is based on ? (1) Rupakra (2) Rupak (3) Teora (4) Dhamar 10. In which Raga the song Jani Tumi Phire Asibe is based on ? (1) Kanara (2) Pilu (3) Kedar (4) Bagesree 11.
Load more

Recommended publications
  • 2348-7666; Vol.3, Issue-7(4), July, 2016 Impact Factor: 3.656; Email: [email protected]
    International Journal of Academic Research ISSN: 2348-7666; Vol.3, Issue-7(4), July, 2016 Impact Factor: 3.656; Email: [email protected] In-charge of English Department, Ideal College of Arts & Sciences (A), Kakinada It may not be hyperbolic to As an educationist, reformer say that there may not be such a great politician, and follower of Brahmo Samaj, man as Tagore. Just two points are worth he assimilated the best in the oriental enough to mention here. He was the tradition. fought against the bigotry and author of our National Anthem . At least inertia of conventional Hinduism. He 40 crore Indians stand up to respect the relinquished his knight hood. National Anthem, when it is sung or As a painter, Tagore struck the played on music. He was the author of golden mean between traditionalism and the National Anthem of Bangladesh also. impressionism. “Genuinely original, There also a good number of people genuinely native”. Again, as a musician respect their National Anthem by he established a pleasing synthesis standing in attention. What else would between classical and light music, the dead soul requires to be joyous, if at Rabidra Sangeet will enjoy eternal youth. all we have belief on soul. As a dramatist, he started with verse- Above all he was the first Asian plays and ended with dance drama. He to receive the Noble Prize for English was also an actor. literature in 1913. The writing of Tagore began his poetic career at Gitanjali, written in a foreign language the age of eight and continued it until the was preferred to the writings of even the last day of his eventful life.
    [Show full text]
  • PAPER VI UNIT I Non-Fictional Prose—General
    PAPER VI UNIT I Non-fictional Prose—General Introduction, Joseph Addison’s The Spectator Papers: The Uses of the Spectator, The Spectator’s Account of Himself, Of the Spectator 1.1. Introduction: Eighteenth Century English Prose The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose. Verse was used by many poets of the age for purposes which could be realized, or realized better, through prose. Our view is that the eighteenth century was not altogether barren of real poetry. Even then, it is better known for the galaxy of brilliant prose writers that it threw up. In this century there was a remarkable proliferation of practical interests which could best be expressed in a new kind of prose-pliant and of a work a day kind capable of rising to every occasion. This prose was simple and modern, having nothing of the baroque or Ciceronian colour of the prose of the seventeenth-century writers like Milton and Sir Thomas Browne. Practicality and reason ruled supreme in prose and determined its style. It is really strange that in this period the language of prose was becoming simpler and more easily comprehensible, but, on the other hand, the language of poetry was being conventionalized into that artificial "poetic diction" which at the end of the century was so severely condemned by Wordsworth as "gaudy and inane phraseology." 1.2.
    [Show full text]
  • A Comparative Study of Gitanjali with Death Be Not Proud Abstract Death Is the Inevitable Part of Human Life
    P: ISSN NO.: 2394-0344 RNI No.UPBIL/2016/67980 VOL-3* ISSUE-12* (Part-2) March- 2019 E: ISSN NO.: 2455-0817 Remarking An Analisation Treatment of Death: A Comparative Study of Gitanjali with Death Be Not Proud Abstract Death is the inevitable part of human life. It is not predetermined. It has great power and force. It is unconquerable or invincible. Nobody can show his or her possession on Death. From the beginning of the world, it always remained a roun for all ordinary human beings and the great philosophers. It is still an intangible mystery and will remain same in the future also. Nobody will be able to solve about this mystery. This truth will remain forever behind the curtain. A number of the writers of English literature portrayed the concept of death in their literary works. They all used their own perspective in regard of death. Some writers presented Death in positive sense as; Rabindra Nath Tagore and Emily Dickinson while others presented it with negativity as we find in the works of John Donne and Dylon Thomas. Some writers took it as a medium to unite with God while others portrayed it with its cruelty and callousness. They thought that Death is merciless; it does not show any kind of pity and drives them away from their beloved ones. Rabindra Nath Tagore compares Death with God in his famous work Gitanjali and he considers that Death is the only gateway through which he can unite with Almighty or Supreme Soul. In his holy sonnet Death BeNot Proud john Donne does not treat Death in a pious manner.
    [Show full text]
  • Tagore Studies
    TAGORE STUDIES PREAMBLE Tagore Studies will be a mainly Activity, Presentation and Seminar-based Learner-Centric Course that will offer the option of taking it up as a Minor Discipline (all six courses for 18 Credits) or One-at-a-time Course (3 Credits) under Open Elective Choice where the participants would be able to engage themselves in Making a Choice, as to which Course/Courses to opt for (for instance, someone from Fine Arts and Aesthetics background may like to opt for ‗Tagore as a Culture Icon with special reference to his Painting‘ or ‗Tagore and Mass Media,‘ whereas a Literature candidate may like to go for ‗Tagore as a Poet‘ and ‗Tagore as a Fiction Writer.‘ Students enrolled in Mass Media and Communication may love to get connected to ‗Tagore and Mass Media‘ as well as ‗Tagore as a Fiction Writer.‘ Those from the History orientation may like to opt for the ‗Cultural History‘ area under ‗Tagore as a Cultural Icon‘ module). Collaboration within or across disciplines to create a joint appraisal/critique/text which could then be presented before the class for internal evaluation – by the faculty and remaining students together – in a peer review mode together.) Communication would be tested on the oral or ppt presentations that a participant may like to make on any aspect of Tagore in a Colloquium model where one person communicates and the others on the panel comment, agree, differ or substantiate etc where their performance is evaluated. Critical thinking with respect to the issues raised by Tagore in the areas on Religion, Societal Practices, Nation Building, or Politics (especially in ENG2652) on which a participant may like to write an end-semester Term Paper.
    [Show full text]
  • Rabindranath Tagore —
    Rabindranath Tagore (1861-1941) Rabindranath Tagore was a Poet, Philosopher, Musician, Writer, Educator, and the first Indian Nobel Laureate for Literature (1913). Tagore has been labeled the "King of Poets" for his beautiful and exquisite poetry. In particular Tagore had a deep love and reverence for nature which he was able to express through lyrical poetry. Rabindranath Tagore was born in 1861 in Calcutta into a wealthy and prominent Brahman family. His father was Maharishi Debendranath Tagore, a religious reformer and scholar. His mother, Sarada Devi, died when Tagore was very young. Tagore's grandfather had established a huge financial empire for himself. He helped a number of public projects, such as Calcutta Medical College. Tagore received his early education first from tutors and then at a variety of schools. Among them were Bengal Academy where he studied history and culture. At University College, London, he studied law but left after a year - he did not like the weather. Tagore started to compose poems at the age of eight. Tagore's first book, a collection of poems, appeared when he was 17; it was published by Tagore's friend who wanted to surprise him. In England Tagore started to compose the poem 'Bhagna Hridaj' (a broken heart). In 1883 Tagore married Mrinalini Devi Rai chaudhuri, with whom he had two sons and three daughters. In 1890 Tagore moved to East Bengal (now Bangladesh), where he collected local legends and folklore. Tagore & his Wife Between 1893 and 1900 he wrote seven volumes of poetry, including SONAR TARI (The Golden Boat), 1894 and KHANIKA, 1900.
    [Show full text]
  • Influence of Baul, Sufi Saints and Kabir on Tagore's Philosophical Anthropology
    Chapter- IV Influence of Baul, Sufi Saints and Kabir on Tagore's Philosophical Anthropology ('Sunaha manush bhai sabar upare manush satya tahar upare nai' - Chandidas) CRabindranath Tagore, the humanistic philosopher, and the mystic poet was influenced a lot by the unsophisticated philosophical sects of Bengal i.e .. Baul. Bauls donot' believe in on any particular forms of religion and they never use to go to any Church, temple and Masque. It is better to call them the self-learned person who is wandering for maner manush or the man of the heart. They form a way of life without any complicated religious bindings. They believe in man alone which is metaphorically expressed as - 'Achin pakhi' or 'self. ) Tagore was well acquainted with the Baul sects in his childhood. Every year there has been a fair at Bolpur and Baul sects use to gather to sing the Baul Sangeet (one kind of song composed by Lalon Phakir). Those Baul songs influenced him. Tagore was the first person who had collected folk songs and had drawn the attention of educated society to the folk songs and it's literary and cultural value. Bauls are the lower in status from the both Hindu and the Muslim communities of Bengal. Economically and socially they belong to the Page No- 34 poorest sections. They had their basic outlook anchored in the Ujaansadhana or Ulta-sadhana. It evlosizes the philosophy of the reverse path and this is the fundamental tenet of all the 'sahajiya' traditions in Bengal and else where. They like to proceed to an opposite direction from that where is followed by the general people.
    [Show full text]
  • Rabindranath Tagore 1
    2016 Gitanjali & Beyond Hau: Issue 1, Vol. 1 (2016): Tagore & Spirituality Journal http://dx.doi.org/10.14297/gnb.1.1 http://gitanjaliandbeyond.napier.ac.uk of Tagore and Beyond 1 (1): 10 - 69 Editor-in Chief: Bashabi Fraser Deputy Editor: Christine Kupfer Published by The Scottish Centre of Tagore Studies (ScoTs) Edinburgh Napier University © The contributors 2016 Editorial Board Dr Liz Adamson Dr Sangeeta Datta Artist & Curator, Edinburgh Filmmaker SD Films; College of Art. independent Tagore Scholar. Prof Fakrul Alam Prof Sanjukta Dasgupta Professor of English, Professor of English, University University of Dhaka of Calcutta. Dr Imre Bangha Prof Uma Das Gupta Associate Professor of Hindi, Historian and Tagore biographer. University of Oxford. Dr Stefan Ecks Ursula Bickelmann School of Social and Political Independent Art Historian Science, University of Edinburgh Prof Elleke Boehmer Prof Mary Ellis Gibson Writer and critic; Professor of English, Colby Professor of World Literature in College, Waterville, ME, USA. English, Director of Oxford Humanities Centre Prof Tapati Gupta English Faculty, University of Professor emer., Department of Oxford. English, Calcutta University, Tagore scholar and independent Prof Ian Brown researcher of intercultural Playwright, Poet, Emeritus theatre. Professor, Kingston University, London. Prof Kaiser Md. Hamidul Haq Poet, Professor of English Colin Cavers University of Liberal Arts, Photography, Edinburgh College Bangladesh. of Art. Dr Michael Heneise Dr Amal Chatterjee Director, The Kohima Institute Writer. Nagaland, India Dr Debjani Chatterjee Dr Dr Martin Kaempchen MBE, Poet, Writer, Creative Arts Writer and Translator of Tagore. Therapist, Associate, Royal Literary Fellow. Mary-Ann Kennedy Photography, Edinburgh Napier Dr Rosinka Chaudhuri University. Professor of Cultural Studies, Centre for Studies in Social Usha Kishore Sciences, Kolkata.
    [Show full text]
  • Rabinder Nath Tagore : Gitanjali
    B.A. PART - III ENGLISH LITERATURE (ELECTIVE) SEMESTER-VI MODULE - I LITERARY MASTER PIECES : STUDY OF CLASSICS II LESSON NO. 2.1 RABINDER NATH TAGORE : GITANJALI INTRODUCTION Structure: 6.0 Objectives 6.1 Introduction to Indian Poetry in English 6.2 Introduction to Rabinder Nath Tagore, the Poet of Gitanjali 6.2.1 His Life 6.2.2 Tagore’s Placement in Indian Writing in English 6.3 Self-Check Exercise: Activity for the Student 6.4 Answers to the Self-Check Exercise 6.0 Objectives a) to introduce the student to Indian Poetry in English. b) to introduce the student to Rabinder Nath Tagore, the Poet of Gitanjali. c) to place Tagore in the tradition of Indian Writing in English. d) to evaluate the student’s comprehension. 6.1 Introduction to Indian Poetry in English: Indian English poetry claims international recognition. It has developed into a representative and rich literary tradition during the last one hundred and eighty six years. This poetic tradition was laid down, enriched and made memorable by individual poets both major and minor from 1828 till date. The story of the growth and development of Indian poetry in English is one of tradition and experiment, convention and revolt. The most remarkable thing about this genre is that in the course of its development it has not been an imitation of English poetry or aiming at the nearness of English poetry rather it has “developed into an independent tradition that thrives on the meeting of two cultures, the Indian and English”, remarks Professor V.K. Gokak in his article “Indian Women Poets in English”.
    [Show full text]
  • Rabindra Nath Tagore Is a Soul of Literature
    Rabindra Nath Tagore is a soul of literature Vandana Shrivastava Department of English Guru Nanak Khalsa College, Karnal ABSTRACT Rabindranath Tagore (1861-1941) was the youngest son of Debendranath Tagore, a leader of the BrahmoSamaj, which was a new religious sect in nineteenth-century Bengal and which attempted a revival of the ultimate monistic basis of Hinduism as laid down in the Upanishads. He was educated at home; and although at seventeen he was sent to England for formal schooling, he did not finish his studies there. In his mature years, in addition to his many-sided literary activities, he managed the family estates, a project which brought him into close touch with common humanity and increased his interest in social reforms. He also started an experimental school at Shantiniketan where he tried his Upanishadic ideals of education. From time to time he participated in the Indian nationalist movement, though in his own non-sentimental and visionary way; and Gandhi, the political father of modern India, was his devoted friend. Tagore was knighted by the ruling British Government in 1915, but within a few years he resigned the honour as a protest against British policies in India. Tagore had early success as a writer in his native Bengal. With his translations of some of his poems he became rapidly known in the West. In fact his fame attained a luminous height, taking him across continents on lecture tours and tours of friendship. For the world he became the voice of India\’s spiritual heritage; and for India, especially for Bengal, he became a great living institution.
    [Show full text]
  • Crosscut 2010
    Crosscut Literary Magazine Volume Eighteen ii Crosscut Fall 2010 Volume Eighteen Editorial Staff Editor Matt Pifer Cover Painting “From the dock at Greg’s Camp, Summer Breeze” by Dave Haskins Thanks to Robert Clark, Julie Green, Stephanie Gross, and Frank Hubbard First Edition Press run of 200 copies; no reprinting Printed by Furbush-Roberts Printing Co. Funded by Husson University All rights to individual works are retained by their authors. For permission to reprint, contact the authors and artists directly. Address all correspondence to Editorial Staff, Crosscut magazine, Meeting House 222, Department of English, Husson University, One College Circle, Bangor, ME 04401. Husson University does not discriminate in admission, employment, or administration of its educational policies on the basis of race, religion, sexual orientation, sex, creed, national origin, or handicap. iii Contents & Contributors Introduction ......................................................................................... v Experience is a Cracked Brick ............................................................. 1 Ulrike Guthrie .................................................................................. 1 "Paddy Murphy's" (photo by Liz Grandmaison) .......................... 1 Beth Clark ........................................................................................ 2 When I Was a Student…. ............................................................ 2 Cliff Guthrie ...................................................................................
    [Show full text]
  • Mael 603,608 2020 Credit and Content Pages
    Board of Studies Prof. H.P.Shukla (Chairperson) Prof. S.A.Hamid (Retd.) Director Dept. of English School of Humanities Kumaun University Uttarakhand Open University Nainital Haldwani Prof. D.R.Purohit Prof. M.R.Verma Senior Fellow Dept. of English Indian institute of Advanced studies Gurukul Kangri University Shimla, Himachal Pradesh Haridwar Programme Developers & Editors Dr. H.P. Shukla Dr. SuchitraAwasthi (coordinator) Professor of English Assistant Professor Director, School of Humanities Dept. of English Uttarakhand Open University Uttarakhand Open University Unit Writers Prof. H. P. Shukla Semester III- Unit 1,2,3,4,8,9 Uttarakhand Open University Dr S. C. Hadeja Semester III- Unit 5 J.N.P.G. College ,Lucknow Dr S. C. Hadeja & Dr. Shalini Mishra Semester III- Unit 6 J.N.P.G. College ,Lucknow Semester IV- Unit 3 Sainik School, Ghorakhal,Nainital Mr. Saurabh Upreti Semester III- Unit 7 B. C. Tripathi Kumaun Engineering College Dwarahat Ms. Nisha Narang Semester IV- Unit- 1,2 Research Scholar, SBS college,Rudrapur Dr. Bidyut Bose Semester IV- Unit- 4, 5 DBS College Dehradun Prof.D.R Purohit Semester IV- Unit- 6,7,8,9 HNB Garhwal University Campus,Srinagar Edition: 2020 ISBN : 978-93-84632-17-5 Copyright: Uttarakhand Open University, Haldwani Published by: Registrar, Uttarakhand Open University, Haldwani Email: [email protected] Printer: CONTENTS SEMESTER III BLOCK 1 Unit 1 Rigveda: Purusha Sukta 2-13 Unit 2 Isha Upanishad 14-29 Unit 3 The Mahabharata: The Yaksha Dialogue: Introducing the text 30-44 Unit 4 The Mahabharata: The Yaksha Dialogue:
    [Show full text]
  • (Ie for Delhi Centre and Official
    UNIVERSITY GRANTS COMMISSION NET BUREAU, UDSC, NEW DELHI-21 UGC-NET to be held on 8 th September, 2013 List of Roll Numbers of Candidates who can appear in the UGC-NET scheduled to be held on 8 th September, 2013 at Delhi and Ranchi Centres. For Venue of Test please visit official website of Kirori Mal College, Delhi (i.e. www.kmcollege.ac.in ) for Delhi centre and official website of Ranchi Centre (i.e. www.ranchiuniversity.ac.in and www.ranchiuniversity.org.in ). 1.) DELHI CENTRE A) List of Roll Numbers of Candidates who have not appeared in NET on 30.06.2013. (Note: In case the Roll Number of the candidate who had not appeared in NET at Delhi Centre on 30.06.2013, is not mentioned in following list s/he may immediately contact between 1 st to 5 th Sept, 2013 “Head UGC- NET Bureau, University of Delhi, South campus, Benito Juarez Marg, New delhi-110021.) Roll_No Name of Candidate Fathers_Name Mothers_Name 17010007 YASHWANT SINGH SHIROMANI SINGH RAMA DEVI 17010010 DEEPALI TYAGI ASHOK TYAGI REKHA TYAGI 17010012 TRIPTI SINGH MOHAN SINGH KUNTAL SINGH 17010015 SAUMYA CHAND GULAB CHAND RANI SAVITRI 17010017 SATADRU SIKDAR SUSANTA KR. SIKDAR NIVA SIKDAR 17010021 AMBIKA RAJENDER SINGH DHARAM LATA 17010024 KANIKA BHATNAGAR NEERAV BHATNAGAR MANJU BHATNAGAR 17010027 NEHA GROVER ASHOK KUMAR GROVER RAGINI GROVER 17010034 SONAL DUA KISHORE KUMAR DUA ALKA DUA 17010041 ARUN KUMAR BABU LAL KAMLA DEVI 17010043 KARMVIR SINGH CHAHAR RAJVIR SINGH CHAHAR VEERMATI CHAHAR 17010048 AMIT SINGH KHOKHAR B S KHOKHAR SUSHILA KHOKHAR 17010052 ABDUL KADIR ABDUL KADEER
    [Show full text]