PAPER 1 : 

Section A

Development of Urdu Language

1. Development of Indo-Aryan
   1. Old Indo-Aryan
   2. Middle Indo-Aryan
   3. New Indo-Aryan. 
2. Western Hindi and its dialects Brij Bhasha Khadi Boli, Haryanavi, Kannauji, Bundeli—Theories about the origin of Urdu language.
3. Dakhani Urdu—origin and development, its significant linguistic features. 
4. Social and Cultural roots of Urdu language— and its distinctive features. Script, Phonology, Morphology, Vocabulary. 

Section B

1. Genres and their development :
   1. Poetry: Ghazal, Masnavi, Qasida, Marsia, Rubai Jadid Nazm. 
   2. Prose : Novel, Short Story, Dastan, Drama, Inshaiya, Khutoot, Biography. 
2. Significant features of:
   1. Deccani, Delhi and Lucknow schools, 
   2. Sir Syed movement, Romantic movement, Progressive movement, Modernism. 
3. Literary Criticism and its development with reference to Hali, Shibli, Kaleemuddin Ahmad, Ehtisham Hussain, Ale-Ahmad Suroor. 
4. Essay writing (covering literary and imaginative topics). 

PAPER 2 : 

This paper will require first hand reading of the texts prescribed and will be designed to test the candidate’s critical ability. 

Section A

Section B

PAPER 1 : 

Section A: Language

1. Place of Telugu among Dravidian languages and its antiquity—Etymological History of  Telugu,Tenugu and Andhra. 
2. Major linguistic changes in phonological, morphological, grammatical and syntactical levels, from Proto-Dravidian to old Telugu and from  old Telugu to Modern Telugu. 
3. Evolution of spoken Telugu when compared to classical Telugu-Formal and functional view of Telugu language. 
4. Influence of other languages and its impact on Telugu.  
5. Modernization of Telugu language:
   1. Linguistic and literary movements and  their role in modernization of Telugu. 
   2. Role of media in modernization of Telugu (News-papers, Radio, TV etc.)
   3. Problems of terminology and mechanisms in coining new terms in Telugu in various discourses including scientific and technical.
6. Dialects of Telugu—Regional and social variations and problems of Standardization. 
7. Syntax—Major divisions of Telugu sentences—simple, complex and compound sentences—Noun and verb predications—Processes of nominalization and relativization—Direct and indirect reporting-conversion  processes. 
8. Translation—Problems of translation, cultural, social and idiomatic—Methods of translation—Approaches to translation—Literary and other kinds of translation—Various uses of translation. 

Section B: Literature

1. Literature in Pre-Nannaya Period—Marga and Desi poetry. 
2. Nannaya Period—Historical and literary background of Andhra Mahabharata. 
3. Saiva poets and their contribution—Dwipada, Sataka, Ragada, Udaharana. 
4. Tikkana and his place in Telugu literature. 
5. Errana and his literary works—Nachana Somana and his new approach to poetry.  
6. Srinatha and Potana—Their works and contribution. 
7. Bhakti poets in Telugu literature—Tallapaka  Annamayya, ramadasu, tyagayya. 
8. Evolution of prabandhas—Kavya and prabandha. 
9. Southern school of Telugu literature-raghunatha Nayaka, chemakura vankatakavi and women poets-Literary forms like yakshagana, prose and padakavita. 
10. Modern Telugu Literature and literary forms—Novel, Short Story, Drama, Playlet and poetic forms.  
11. Literary Movements: Reformation, Nationalism, Neo-classisicism, Romanticism and Progressive, Revolutionary movements.  
12. Digambarakavulu, feminist and dalit Literature. 
13. Main divisions of folk literature—Performing folk arts.

PAPER 2 : 

This paper will require first hand reading of the  prescribed texts and will be designed to test the candidate’s critical ability, which will be in relation to the following approaches :— 

• Aesthetic approach—Rassa, Dhawani, Vakroti and Auchitya—Formal and Structural-Imagery and Symbolism. 
• Sociological, Historical, Ideological, Psychological approaches. 

Section A

1. Nannaya-Dushyanta Chritra (Adiparva 4th Canto verses 5—109).  
2. Tikkana-Sri Krishna Rayabaramu (Udyoga parva-3rd Canto verses 1—144). 
3. Srinath-Guna Nidhi Katha (Kasikhandam, 4th Canto, verses 76—133). 
4. Pingali Surana-sugatri Salinulakatha (Kalapurno-dayamu 4 Canto verses, 60—142). 
5. Molla-Ramayanamu (Balakanda including avatarika). 
6. Kasula Purushothama Kavi—Andhra Nayaka Satakamu. 

Section B

7. Gurajada Appa Rao—Animutyalu (Short stories). 
8. Viswanatha Satyanarayana—Andhra prasasti. 
9. Devulapalli Krishna Sastry—Krishnapaksham (excluding Uravsi and Pravasam). 
10. Sri Sri-Maha prastanam.  
11. Jashuva-Gabbilam (Part I). 
12. C. Narayana Reddy—Karpuravasanta rayalu.  
13. Kanuparti Varalakshmamma—Sarada lekhalu (Part I). 
14. Atreya—N.G.O.  
15. Racha Konda Viswanatha Sastry—Alpajaeevi.

PAPER 1 : 

Section A

Part 1: History of Tamil Language

1. Major Indian Language Families—The place of Tamil among Indian Languages in general and Dravidian in particular—Enumeration and Distribution of Dravidian languages.
2. The language of Sangam Literature—The language of medieval Tamil : Pallava Period only—Historical study of Nouns, Verbs, Adjectives,  Adverbs—Tense markers and case markers in Tamil. 
3. Borrowing of words from other languages into Tamil—Regional and social dialects—difference between literary and spoken Tamil. 

Part 2: History of Tamil Literature

1. Tolkappiyam-Sangam Literature—The division of Akam and Puram—The secular characteristics of Sangam Literature—The development of Ethical literature—Silappadikaram and Manimekalai. 

Part 3: Devotional Literature(Alwars and Nayanamars) 

1. The bridal mysticism in Alwar hymns—Minor literary forms (Tutu, Ula, Parani, Kuravanji). 
2. Social factors for the development of Modern Tamil Literature; Novel, Short Story and New Poetry—The impact of various political ideologies on modern writings. 

Section B 

Part 1: Recent trends in Tamil Studies

1. Approaches to criticism: Social, psychological, historical and moralistic—the use of criticism—the various techniques in literature; Ullurai, Iraicchi, Thonmam (Myth) Otturuvagam (allegory), Angadam (Satire), Meyappadu, Padimam (image), Kuriyeedu (Symbol), Irunmai (Ambiguity)—The concept of comparative literature-the principle of comparative literature. 

Part 2: Folk literature in Tamil

Ballads, Songs, proverbs and riddles — Sociological study of Tamil folklore. Uses of translation — Translation of Tamil works into other languages- Development of journalism in Tamil. 

Part 3: Cultural Heritage of the Tamils 

1. Concept of Love and War—Concept of Aram-the ethical codes adopted by the ancient Tamils in their warfare-customs beliefs, rituals, modes of worship in the five Thinais.
2. The Cultural changes as revealed in post sangam literature—cultural fusion in the mediaeval period (Jainism and Buddhism). The development of arts and architecture through the ages (Pallavas, later Cholas, and Nayaks). The impact of various political, social, religious and cultural movements on Tamil Society. The role of mass media in the cultural change of contemporary Tamil society. 

PAPER 2 : 

The paper will require first-hand reading of the text prescribed and will be designed to test the critical ability of the candidate. 

Section A 

Part 1: Ancient Literature

1. Kuruntokai (1—25 poems) 
2. Purananuru (182—200 poems) 
3. Tirukkural Porutpal: ArasiyalumAmaichiyalum(from Iraimatchi to Avaianjamai). 

Part 2: Epic Literature

1. Silappadikaram: Madhurai Kandam only. 
2. Kambaramayanam: Kumbakarunan Vadhai Padalam. 

Part 3: Devotional Literature

1. Tiruvasagam: Neetthal Vinnappam 
2. Tiruppavai: (Full Text). 

Section B: Modern Literature

Part 1: Poetry and Prose

Poetry 

1. Bharathiar: Kannan Pattu 
2. Bharathidasan: Kudumba Vilakku 
3. Naa. Kamarasan: Karappu Malarkal 

Prose 

1. Mu. Varadharajanar: Aramum Arasiyalum 
2. C. N. Annadurai: Ye! Thazhntha Tamilagame. 

Part 2: Novel, Short Story and Drama 

1. Akilon; Chittairappavai 
2. Jayakanthan: Gurupeedam 
3. Cho:  Yaurkkum Vetkamillai 

Part 3: Folk Literature

1. Muthuppattan kathai Edited by Na. Vanamamalai, (Publication : Madurai Kamaraj University). 
2. Malaiyaruvi, Edited by Ki. Va Jagannathan (Publication : Saraswathi Mahal, Thanjavur). 

PAPER 1 : 

Section A

1.

1. Origin and evolution of Sindhi language—views of different scholars. 
2. Significant linguistic features of Sindhi language, including those pertaining to its phonology, morphology and syntax. 
3. Major dialects of the Sindhi language. 
4. Sindhi vocabulary—stages of its growth, including those in the pre-partition and post-partition periods. 
5. Historical study of various Writing Systems (Scripts) of Sindhi. 
6. Changes in the structure of Sindhi language in India, after partition, due to influence of other languages and social conditions. 

Section B

2. Sindhi literature through the ages in context of socio-cultural conditions in the respective periods : 

1. Early mediaeval literature up to 1350 A.D. including folk literature. 
2. Late mediaeval period from 1350 A.D. to 1850 A.D.  
3. Renaissance period from 1850 A.D. to 1947 A.D. 
4. Modern period from 1947 and onwards. 

(Literary genres in Modern Sindhi literature and experiments in poetry, drama, novel, short story, essay, literary criticism, biography, autobiography, memoirs and travelogues.) 

PAPER 2 : 

This paper will require first-hand reading of the texts prescribed and will be designed to test the candidate’s critical ability. 

Section A

References to context and critical appreciation of the texts included in this section. 

(1) Poetry

1. ‘‘Shah Jo Choond Shair’’: ed. H.I. Sadarangani, Published by Sahitya Akademi (First 100 pages). 
2. ‘‘Sachal Jo Choond Kalam’’: ed. Kalyan B. Advani Published by Sahitya Akademi (Kafis only). 
3. ‘‘Sami-a-ja Choond Sloka’’: ed. B.H. Nagrani Published by Sahitya Akademi (First 100 pages). 
4. ‘‘Shair-e-Bewas’’: by Kishinchand Bewas(“Saamoondi Sipoon’’ portion only). 
5. ‘‘Roshan Chhanvro’’: Narayan Shyam. 
6. ‘‘Virhange Khapoi je Sindhi Shair jee Choond’’: ed. H.I. Sadarangani, published by Sahitya Akademi. 

(2) Drama

7. ‘‘Behtareen Sindhi Natak’’  (One-act Plays): Edited by  M. Kamal Published by Gujarat Sindhi Academy. 
8. ‘‘Kako Kaloomal’’ (Full-length Play): by Madan Jumani. 

Section B

References to context and critical appreciation of the texts included in this section. 

1. ‘Pakheeara Valar Khan Vichhrya’ (Novel): by Gobind Malhi. 
2. ‘Sat Deenhan’ (Novel): by Krishin Khatwani. 
3. ‘Choond Sindhi Kahaniyon’ (Short Stories) Vol. III. : Edited by Prem Prakash, published by Sahitya  Akademi. 
4. ‘Bandhan’ (Short Stories): Sundari Uttamchandani. 
5. ‘Behtareen Sindhi Mazmoon’ (Essays): Edited by Hiro Thakur, published by Gujarat Sindhi Academi. 
6. ‘Sindhi Tanqeed’ (Criticism): Edited by Harish Vaswani: Published by Sahitya Akademi. 
7. ‘Mumhinjee Hayati-a-ja Sona Ropa varqa’ (Autobiography): by Popati Hiranandani. 
8. ‘‘Dr. Choithram Gidwani’’ (Biography): by Vishnu Sharma.    

PAPER 1 : 

Section A 

Part 1: History of Santhali Language 

1. Main Austric Language family, population and distribution. 
2. Grammatical structure of Santhali Language. 
3. Important characters of Santhali Language: Phonology, Morphology, Syntax, Semantics, Translation, Lexicography. 
4. Impact of other languages of Santhali. 
5. Standardisation of Santhali Language. 

Part 2: History of Santhali Literature

1. Literary trend of the following four periods of history of Santhali Literature.
   1. Ancient Literature before 1854. 
   2. Missionary period Literature between 1855 to 1889 AD. 
   3. Medieval period: Literature between 1890 to 1946 AD. 
   4. Modern period : Literature from 1947 AD to till date. 

      2.   Writing tradition in History of Santhali literature.

Section‐B

Literary forms— Main characteristics, history and development of following literary forms. 

Part 1: Folk Literature in Santhali—folk song, folk tale, phrase, idioms puzzles, and Kudum. 

Part 2: Modern literature in Santhali 

1. Development of poetry and prominent poets. 
2. Development of prose and prominent writers.
   1. Novels and prominent Novelists. 
   2. Stories and prominent story writers. 
   3. Drama and Prominent Dramatist. 
   4. Criticism and prominent critics. 
   5. Essay, sketches, memoirs, travelogues and prominent writers. 

Santhali writers: Shyam Sundar Hembram, Pandit Raghunath Murmu, Barha Beshra, Sadhu Ramchand Murmu, Narayan Soren ‘Toresutam’, Sarda Prasad Kisku, Raghunath Tudu, Kalipada Soren, Sakla Soren, Digamber Hansda, Aditya Mitra ‘Santhali’, Babulal Murmu ‘Adivasi’, Jadumani Beshra, Arjun Hembram, Krishna Chandra Tudu, Rupchand Hansda, Kalendra Nath Mandi, Mahadev, Hansda, Gour Chandra Murmu, Thakur Prasad Murmu, Hara Prasad Murmu, Uday Nath Majhi, Parimal Hembram, Dhirendra Nath Baske, Shyam Charan Hembram, Damayanti Beshra, T.K. Rapaj, Boyha Biswanath Tudu. 

Part 3: Cultural Heritage of Santhali  tradition, customs, festival and rituals (birth, marriage and death).

PAPER 2 : 

This paper will require in-depth reading of the following texts and the questions will be designed to test the candidates’ critical ability.

Section A: Ancient Literature:

Prose 

1. Kherwal Bonso Dhorom Puthi—Majhi Ramdas Tudu “Rasika”. 
2. Mare Hapramko Reyak Katha—L.O. Scrafsrud. 
3. Jomsim Binti Lita—Mangal Chandra Turkulumang  Soren. 
4. Marang Buru Binti—Kanailal Tudu. 

Poetry

1. Karam Sereng—Nunku Soren. 
2. Devi Dasain Sereng—Manindra Hansda. 
3. Horh Sereng—W.G. Archer. 
4. Baha Sereng—Balaram Tudu. 
5. Dong Sereng—Padmashri Bhagwat Murmu ‘Thakur’. 
6. Hor Sereng—Raghunath Murmu. 
7. Soros Sereng—Babulal Murmu “Adivasi”. 
8. More Sin More Ndia—Rup Chand Hansda. 
9. Judasi Madwa Latar—Tez Narayan Murmu. 

Section B: Modern Literature

Part 1—Poetry

1. Onorhen Baha Dhalwak—Paul Jujhar Soren. 
2. Asar Binti—Narayan Soren “Tore Sutam”. 
3. Chand Mala—Gora Chand Tudu. 
4. Onto Baha Mala—Aditya Mitra “Santhali”. 
5. Tiryo Tetang—Hari Har Hansda. 
6. Sisirjon Rar—Thakur Prasad Murmu. 

Part 2—Novels

1. Harmawak Ato—R.Karstiars (Translator—R.K. Kisku Rapaz). 
2. Manu Mati—Chandra Mohan Hansda. 
3. Ato Orak—Doman Hansdak. 
4. Ojoy Gada Dhiph re—Nathenial Murmu. 

Part 3—Stories

1. Jiyon Gada—Rup Chand Hansda and Jadumani  Beshra. 
2. Mayajaal—Doman Sahu ‘Samir’ and Padmashri Bhagwat Murmu ‘Thakur’. 

Part 4—Drama

1. Kherwar Bir—Pandit Raghunath Murmu. 
2. Juri Khatir—Dr. K.C. Tudu. 
3. Birsa Bir—Ravi Lal Tudu. 

Part 5—Biography

Santal Ko Ren Mayam Gohako—Dr. Biswanath Hansda. 

PAPER 1 : 

There will be three questions as indicated in the Question Paper which must be answered in Sanskrit. The Remaining questions must be answered either in Sanskrit or in the medium of examination opted by the candidate.

Section A 

1. Significant features of the grammar, with particular stress on Sanjna, Sandhi, Karaka, Samasa, Kartari and Karmani vacyas (voice usages) (to be answered in Sanskrit). 
2. (a) Main characteristics of Vedic Sanskrit language 

(b) Prominent feature of classical Sanskrit language 

(c) Contribution of Sanskrit to linguistic studies 

3. General Knowledge of :—
   1. Literary history of Sanskrit 
   2. Principal trends of literary criticism
   3. Ramayana 
   4. Mahabharata
   5. The origin and development of literary genres of :
      1. Mahakavya
      2. Rupaka (drama)
      3. Katha 
      4. Akhyayika 
      5. Campu 
      6. Khandakavya 
      7. Muktaka Kavya. 

Section B

4. Essential of Indian Culture with stress on :
   1. Purusãrthas 
   2. Samskãras 
   3. Varnãsramavyavasthã 
   4. Arts and fine arts 
   5. Technical Sciences. 
5. Trends of Indian Philosophy
   1. Mïmansã 
   2. Vedãnta 
   3. Nyaya 
   4. Vaisesika 
   5. Sãnkhya 
   6. Yoga 
   7. Bauddha 
   8. Jaina 
   9. Carvãka 
6. Short Essay (in Sanskrit) 
7. Unseen passage with the questions (to be answered in Sanskrit).

PAPER 2 : 

Section A 

Note: Question from Group 4 is to be answered in Sanskrit only. Questions from Groups 1, 2 and 3 are to be answered either in Sanskrit or in the medium opted by the candidate.

General study of the following groups :— 

Group 1

1. Raghuvamsam—Kalidasa 
2. Kumarasambhavam—Kalidasa
3. Kiratarjuniyam—Bharavi 
4. Sisupalavadham—Magha 
5. Naisadhiyacaritam—Sriharsa 
6. Kadambari—Banabhatta 
7. Dasakumaracaritam—Dandin 
8. Sivarajyodayam—S.B. Varnekar 

Group 2

1. Isãvãsyopanisad 
2. Bhagavadgitã
3. Sundarakanda of Valmiki’s Ramayana 
4. Arthasastra of Kautilya 

Group 3

1. Svapanavasavadattam—Bhasa 
2. Abhijnanasakuntalam—Kalidasa 
3. Mricchakatikam—Sudraka 
4. Mudraraksasam—Visakhadatta 
5. Uttararamacaritam—Bhavbhuti 
6. Ratnavali—Sriharshavardhana 
7. Venisamharam—Bhattanarayana 

Group 4: Short notes in Sanskrit on the following :— 

1. Meghadutam—Kalidasa 
2. Nitisatakam—Bhartrhari 
3. Pancatantra— 
4. Rajatarangini—Kalhana 
5. Harsacaritam—Banabhatta 
6. Amarukasatakam—Amaruka   
7. Gitagovindam—Jayadeva. 

Section B

Note: Questions from Groups 1 & 2 are to be answered in Sanskrit only. Questions from Groups 3 and 4 are to be answered either in Sanskrit or in the Medium opted by the candidate.

This section will require first hand reading of the following selected texts :— 

Group 1

1. Raghuvamsam—CantoI, Verses 1 to 10 
2. Kumarasambhavam—Canto I, Verses1 to 10
3. Kiratarjuniyaue—Canto I, Verses 1 to 10 

Group 2

1. Isavasyopanisad—Verses—1, 2, 4, 6, 7, 15 and 18  
2. Bhagavatgita II Chapter Verses13 to 25
3. Sundarakandam of Valmiki Canto15,  Verses  15  to  30   (Geeta   Press Edition)

Group 3

1. Meghadutam—Verses 1 to 10 
2. Nitisatakam—Verses 1 to 10 (Edited by D.D. Kosambi Bharatiya Vidya Bhavan Publication)
3. Kadambari—Sukanasopadesa  (only) 

Group 4

1. Svapnavasavadattam Act VI 
2. Abhijnansakuntalam Act IV Verses 15 to 30 (M.R. Kale Edition)  
3. Uttararamacaritam Act I Verses 31 to 47 (M.R. Kale Edition). 

PAPER 1 : 

Section A

1. Origin of Punjabi Language; different stages of development and recent development in Punjabi Language;  characteristics of Punjabi phonology and the study of its tones; classification of vowels and consonants. 
2. Punjabi morphology; the number-gender system (animate and inanimate), prefixes, affixes and different categories of Post positions; Punjabi word formation; Tatsam. Tad Bhav. forms; Sentence structure, the notion of subject and object in Punjabi; Noun  and verb phrases. 
3. Language and dialect: the notions of dialect and idiolect: major dialects of Punjabi: Pothohari, Majhi, Doabi, Malwai, Paudhi; the validity of speech variation on the basis of social stratification, the distinctive features of various dialects with special reference to tones Language and script; origin and development of Gurumukhi; Suitability of Gurumukhi for Punjabi. 
4. Classical background: Nath Jogi Sahit. 

Medieval Literature: Gurmat, Suti, Kissa and Var: janamsakhis. 

Section B

1. Modern trends
   1. Mystic, romantic, progressive and neomystic (Vir Singh, Puran Singh, Mohan Singh, Amrita Pritam, Bawa Balwant, Pritam Singh Safeer, J. S. Neki). 
   2. Experimentalist (Jasbir Singh Ahluwalia, Ravinder Ravi, Ajaib Kamal). 
   3. Aesthetes (Harbhajan Singh, Tara Singh). Neo-progressive (Pash, Jagtar, Patar). 
2. Folk Literature: Folk songs, Folk tales, Riddles, Proverbs. 

Epic: (Vir Singh, Avtar Singh Azad, Mohan Singh). 

Lyrics: (Gurus, Sufis and Modern Lyricists-Mohan Singh, Amrita Pritam, Shiv Kumar, Harbhajan Singh). 

3. Drama: (I.C. Nanda, Harcharan Singh, Balwant Gargi, S.S. Sekhon, Charan Das Sidhu). 

Novel: (Vir Singh, Nanak Singh, Jaswant Singh Kanwal, K.S. Duggal, Sukhbir, Gurdial Singh, Dalip Kaur Tiwana, Swaran Chandan). 

Short Story: (Sujan Singh, K. S. Virk, Prem Parkash, Waryam Sandhu). 

4. Socio-cultural Sanskrit, Persian and Western.

Literary influences; 

Essay: (Puran Singh, Teja Singh, Gurbaksh Singh). 

Literary Criticism: (S.S. Sekhon, Attar Singh, Kishan Singh, Harbhajan Singh, Najam Hussain Sayyad). 

PAPER 2 : 

This paper will require first-hand reading of the texts prescribed and will be designed to test the candidate’s critical  ability. 

Section A

1. Sheikh Farid: The complete Bani as included in the Adi Granth. 
2. Guru Nanak: Japu Ji. Baramah. Asa di Var. 
3. Bulleh Shah: Kafian 
4. Waris Shah: Heer 

Section B

1. Shah Mohammad: Jangnama (Jang Singhante Firangian) 

Dhani Ram Chatrik: Chandan Vari 

(Poet): Sufi Khana and Nawan Jahan 

2. Nanak Singh: Chitta Lahu

(Novelist): Pavittar Papi

                 Ek Mian Do Talwaran 

3. Gurbaksh Singh Zindagi-di-Ras 

(Essayist): Nawan Shivala 

                  Merian Abhul Yadaan.

Balraj Sahni: Mera Roosi Safarnama

(Travelogue): Mera Pakistani Safarnama

4. Balwant Gargi: Loha Kutt 

(Dramatist): Dhuni-di-Agg 

                    Sultan Razia

5. Sant Singh Sekhon: Sahityarth

(Critic): Parsidh Punjabi Kavi

             Punjabi Kav Shiromani. 

PAPER 1 : 

Section A: History of Odia Language

1. Origin and development of Odia Language— Influence of Austric, Dravidian, Perso—Arabic and English on Odia Language. 
2. Phonetics and Phonemics: Vowels, Consonants Principles of changes in Odia sounds. 
3. Morphology: Morphemes (free, bound compound and complex), derivational and inflectional affixes, case inflection, conjugation of verb.
4. Syntax: Kinds of sentences and their trans-formation, structure of sentences. 
5. Semantics—Different types of change in meaning. Euphemism. 
6. Common errors in spellings, grammatical uses and construction of sentences.
7. Regional variations in Odia Language (Western, Southern and Northern Odia) and Dialects (Bhatri and Desia). 

Section B: History of Odia Literature 

1. Historical backgrounds (social, cultural and political) of Odia Literature of different periods.
2. Ancient epics, ornate kavyas and padavalis.
3. Typical structural forms of Odia Literature (Koili, Chautisa, Poi, Chaupadi, Champu).
4. Modern trends in poetry, drama, short story, novel essay and literary criticism.

PAPER 2 : Critical Study of texts— 

The paper will require first hand reading of the text and test the critical ability of the candidate. 

Section A: Poetry 

Ancient:

1. Sãralã Dãs—Shanti Parva from Mahãbhãrata. 
2. Jaganãth Dãs—Bhãgabata, XI Skadhã—Jadu Avadhuta Sambãda

Medieval:

3. Dinakrushna Dãs—Raskallola—(Chhãndas—16 & 34)
4. Upendra Bhanja—Lãvanyabati (Chhãndas—1 & 2). 

Modern:

5. Rãdhãnath Rãy—Chandrabhãgã. 
6. Mãyãdhar Mänasinha—Jeevan—Chitã. 
7. Sãtchidananda Routray—Kabitã—1962. 
8. Ramãkãnta Ratha—Saptama Ritu. 

Section B: 

Drama:

9. Manoranjan Dãs—Kätha-Ghoda. 
10. Bijay Mishra—Tata Niranjanä. 

Novel:

11. Fakir Mohan Senãpati—Chhamãna Ãthaguntha. 
12. Gopinãth Mohãnty—Dãnãpani. 

Short Story:

13. Surendra Mohãnty—Marãlara Mrityu. 
14. Manoj Dãs—Laxmira Abhisãra. 

Essay: 

15. Chittaranjan Dãs—Tranga O Tadit (First Five essays). 
16. Chandra Sekhar Rath—Mun Satyadharmã Kahuchhi (First five essays). 

PAPER 1 : 

Section A

1. History of the origin and  development of Nepali as one of the new Indo Aryan Languages. 
2. Fundamentals of Nepali Grammar and phonology:
   1. Nominal forms and categories:— Gender, Number, Case, Adjectives, Pronouns, Avyayas
   2. Verbal forms and categories:—  Tense, Aspects, Voice, Roots and Fixes
   3. Nepali Swara and Vyanjana; 
3. Major Dialects of Nepali 
4. Standardisation and Modernisation of Nepali with special reference to language movements (viz. Halanta Bahiskar, Jharrovad etc.) 
5. Teaching of Nepali language in India—Its history and development with special reference to its socio-cultural aspects. 

Section B

1. History of Nepali  literature with special reference to its development in India. 
2. Fundamental concepts and theories of Literature: Kavya/Sahitya, Kavya Prayojan, Literary genres, Shabda Shakti, Rasa, Alankara, Tragedy, Comedy, Aesthetics, Stylistics. 
3. Major literary trends and movements— Swachchhandatavad, Yatharthavad, Astitwavad, Ayamik  Movement, Contemporary  Nepali  writings, Postmodernism. 
4. Nepali folk tales (the following folk-form only)—Sawai, Jhyaurey, Selo, Sangini, Lahari. 

PAPER 2 : 

This paper will require first hand reading of the texts prescribed below and questions will be designed to test the candidate’s critical acumen. 

Section A

Section B