Advertisements
Advertisements
Question
Read the given passage carefully and answer the questions given after the passage:
1. Often, we passionately pursue matters that in the future appear to be contradictory to our real intention or nature; and triumph is followed by remorse or regret. There are numerous examples of such a trend in the annals of history and contemporary life.
2. Alfred Nobel was the son of Immanuel Nobel, an inventor who experimented extensively with explosives. Alfred too carried out research and experiments with a large range of chemicals; he found new methods to blast rocks for the construction of roads and bridges; he was engaged in the development of technology and different weapons; his life revolved around rockets and cannons and gun powder. The ingenuity of the scientist brought him enough wealth to buy the Bofors armament plant in Sweden.
3. Paradoxically, Nobel's life was a busy one yet he was lonely; and as he grew older, he began suffering from guilt of having invented the dynamite that was being used for destructive purposes. He set aside a huge part of his wealth to institute Nobel Prizes. Besides honouring men and women for their extraordinary achievements in physics, chemistry, medicine and literature, he wished to honour people who worked for the promotion of peace.
4. It's strange that the very man whose name was closely connected with explosives and inventions that helped in waging wars willed a large part of his earnings for the people who work for the promotion of peace and the benefit of mankind. The Nobel Peace Prize is intended for a person who has accomplished the best work for fraternity among nations, for abolition or reduction of war and for promotion of peace.
5. Another example that comes to one's mind is that of Albert Einstein. In 1939, fearing that the Nazis would win the race to build the world's first atomic bomb, Einstein urged President Franklin D Roosevelt to launch an American programme on nuclear research. The matter was considered and a project called the Manhattan Project was initiated. The project involved intense nuclear research the construction of the world's first atomic bomb. All this while, Einstein had the impression that the bomb would be used to protect the world from the Nazis. But in 1945, when Hiroshima was bombed to end World War II, Einstein was deeply grieved and he regretted his endorsement of the need for nuclear research.
6. He also stated that had he known that the Germans would be unsuccessful in making the atomic bomb, he would have probably never recommended making one. In 1947, Einstein began working for the cause of disarmament. But, Einstein's name still continues to be linked with the bomb.
Man's fluctuating thoughts, changing opinions, varying opportunities keep the mind in a state of flux. Hence, the paradox of life: it's certain that nothing is certain in life.
Immanuel's interest in dynamites influenced Alfred's inclination for working ___________.
Options
with explosives
for humanity
with contradiction
for the Nobel Peace Prize
Advertisements
Solution
Immanuel's interest in dynamites influenced Alfred's inclination for working with explosives.
APPEARS IN
RELATED QUESTIONS
In 1954, a Bombay economist named A.D. Shroff began a forum of free Enterprise, whose ideas on economic development were somewhat at odds with those then influentially articulated by the Planning Commission of the Government of India. Shroff complained against the 'indifference, if not discouragement, with which the state treated entrepreneurs.
At the same time as Shroff, but independently of him, a journalist named Philip Spratt was writing a series of essays in favour of free enterprise. Spratt was a Cambridge communist who was sent by the party in the 1920s to the foment revolution in the subcontinent. detected in the act, he spent many years in an Indian jail. The books he read in the prison, and his marriage to an Indian woman afterward, inspired a steady move rightwards. By the 1950s, he was editing a pro-American weekly from Banglore, called mysIndia. there he inveighed against the economic policies of the government of India. These, he said, treated the entrepreneur 'as a criminal who has dared to use his brain independently of the state to create wealth and give employment’. The state’s chief planner, P.C. Mahalanobis had surrounded himself with Western leftists and Soviet academicians, who reinforced his belief in 'rigid control by the government overall activities’. The result, said Spratt, would be `the smothering of free enterprise, a famine of consumer goods, and the tying down of millions of workers to soul-deadening techniques.'
The voices of men like Spratt and Shroff were drowned in the chorus of popular support for a model of heavy industrialization funded and directed by the governments. The 1950s were certainly not propitious times for free marketers in India. But from time to time their ideas were revived. After the rupee was devalued in 1966, there were some moves towards freeing the trade regime and hopes that the licensing system would also be liberalized. However, after Indira Gandhi split the Congress Party in 1969, her government took its `left turn’, nationalizing a fresh range of industries and returning to economic autarky.
Which of the following statements can most reasonably be inferred from the information available in the passage:
If religion and community are associated with global violence in the trends of many people, then so are global poverty and inequality. There has, in fact, been an increasing tendency in recent years to justify policies of poverty removal on the ground that this is the surest way to prevent political strife and turmoil. Basing public policy - international as well as domestic- on such an understanding has some evident attractions. Given the public anxiety about wars and disorders in the rich countries in the world, the indirect justification of poverty removal -not for its own sake but for the sake of peace and quiet in the world - provides an argument that appeals to self-interest for helping the needy. It presents an argument for allocating more resources on poverty removal because of its presumed political, rather than moral, relevance.
While the temptation to go in that direction is easy to understand, it is a perilous route to take even for a worthy cause. Part of the difficulty lies in the possibility that if wrong, economic reductionism would not only impair our understanding of the world but would also tend to undermine the declared rationale of the public commitment to remove poverty. This is a particularly serious concern, since poverty and massive inequality are terrible enough in themselves, and deserve priority even if there were no connection whatsoever with violence. Just as virtue is its own reward, poverty is at least its own penalty. This is not to deny that poverty and inequality can - and do - have far-reaching consequences with conflict and strife, but these connections have to be examined and investigated with appropriate care and empirical scrutiny, rather than being casually invoked with unreasoned rapidity in support of a `good cause."
Destitution can, of course, produce provocation for defying established laws and rules. But it need not give people the initiative, courage, and actual ability to do anything very violent. Destitution can be accompanied not only by economic debility but also by political helplessness. A starving wretch can be too frail and too dejected to fight and battle, and even te protest and holler. It is thus not surprising that often enough intense and widespread suffering and misery have been accompanied by unusual peace and silence.
Indeed, many famines have occurred without there being much political rebellion or civil strife or intergroup warfare. For example, the famine years in the 1840s in Ireland were among the most peaceful, and there was little attempt by the hungry masses to intervene even as ship after ship sailed down the river Shannon with rich food. Looking elsewhere, my own childhood memories in Calcutta during the Bengal famine of 1943 include the sight of starving people dying in front of sweetshops with various layers of luscious food displayed behind the glass windows, without a single glass being broken, or law or order being disrupted.
The author asserts that basing anti-poverty measures on the avowed connections between poverty and violence has certain apparent benefits because:
Read the passage and answer the question based on it.
Civilization is basically a vital kind of grouping. Without civilizations, the world as we know it would not be. Civilizations have different qualities than regular groups of people such as nomads. For example, a civilization develops surpluses of things which helps the people be a stable community. These surpluses also create the construction and growth of cities and help develop secure, formal states. The government is also present in civilizations. One very important part of a civilization is an advanced writing method. A civilization can only be complete with all of these factors, or it will just fall apart. Nomads are nowhere close to being a civilization even though sometimes groups of nomads have good technology. The words 'culture' and 'civilization' have been often used synonymously, though they have clearly defined meanings differentiating them. 'Civilization' means the betterment of ways of living, making Nature bend to fulfill the needs of humankind. It includes also organizing societies into politically well-defined groups working collectively for improved conditions of life in matters of food, dress, communication, and so on. Thus a group considers itself as civilized, while others were looked down upon as barbarians. This has led to wars and holocausts, resulting in the mass destruction of human beings. What are the good parts of our civilization? First and foremost there are order and safety. If today I have a quarrel with another man, I do not get beaten merely because I am physically weaker and he can kick me down. I go to law, and the law will decide as fairly as it can between the two of us. Thus in disputes between man and man right has taken the place of might. Moreover, the law protects me from robbery and violence. Nobody may come and break into my house, steal my goods or run off with my children. Of course, there are burglars, but they are very rare, and the law punishes them whenever it catches them. It is difficult for us to realize how much this safety means. Without safety, these higher activities of mankind which make up civilization could not go on. The inventor could not invent, the scientist find out or the artist make beautiful things. Hence, order and safety, although they are not themselves civilization are things without which civilization would be impossible. They are as necessary to our civilization as the air we breathe is to us, and we have grown so used to them that we do not notice them any more than we notice the air. Another great achievement of our civilization is that today civilized men are largely free from the fear of pain. They still fall ill, but illness is no longer the terrible thing it used to be... Not only do men and women enjoy better health; they live longer than they ever did before, and they have a much better chance of growing up... Thirdly, our civilization is more secure than any that have gone before it. This is because it is much more widely spread... Previous civilizations were specialized and limited, they were like oases in a desert.
What according to the author has the freedom from the fear of pain led to?
Paragraph: Many great inventions are initially greeted with ridicule and disbelief. The invention of the airplane was no exception. Although many people who heard about the first powered flight on December 17, 1903 were excited and impressed, others reacted with peals of laughter. The idea of flying an aircraft was repulsive to some people. Such people called Wilbur and Orville Wright, the inventors of the first flying machine, impulsive fools. Negative reactions, however, did not stop the Wrights. Impelled by their desire to succeed, they continued their experiments in aviation.
Orville and Wilbur Wright had always had a compelling interest in aeronautics and mechanics. As young boys they earned money by making and selling kites and mechanical toys. Later, they designed a newspaper-folding machine, built a printing press, and operated a bicycle-repair shop. In 1896, when they read about the death of Otto Lilienthal, the brothers' interest in flight grew into a compulsion.
Lilienthal, a pioneer in hang-gliding, had controlled his gliders by shifting his body in the desired direction. This idea was repellent to the Wright brothers, however, and they searched for more efficient methods to control the balance of airborne vehicles. In 1900 and 1901, the Wrights tested numerous gliders and developed control techniques. The brothers' inability to obtain enough lift power for the gliders almost led them to abandon their efforts.
After further study, the Wright brothers concluded that the published tables of air pressure on curved surfaces must be wrong. They set up a wind tunnel and began a series of experiments with model wings. Because of their efforts, the old tables were repealed in time and replaced by the first reliable figures for air pressure on curved surfaces. This work, in turn, made it possible for the brothers to design a machine that would fly. In 1903 the Wrights built their first airplane, which cost less than $1,000. They even designed and built their own source of propulsion-a lightweight gasoline engine. When they started the engine on December 17, the airplane pulsated wildly before taking off. The plane managed to stay aloft for 12 seconds, however, and it flew 120 feet.
By 1905, the Wrights had perfected the first airplane that could turn, circle, and remain airborne for half an hour at a time. Others had flown in balloons and hang gliders, but the Wright brothers were the first to build a full-size machine that could fly under its own power. As the contributors to one of the most outstanding engineering achievements in history, the Wright brothers are accurately called the fathers of aviation.
The Wrights designed and built their own source of _________.
Passage in this section is followed by a group of question which is to be answered on the basis of what is stated or implied in the passage. For some questions, more than one of the choices could conceivably answer the question. However, you are to choose the best answer, that is, the response that most accurately and completely answers the question and blacken the corresponding space.
One of the most prolific authors of all time, Isaac Asimov was influential both in science fiction and in the popularization of science during the twentieth century, but he is also justly famous for the scope of his interests. Although the common claim that Asimov is the only author to have written a book in every category of the Dewey decimal system is untrue, its spirit provides an accurate picture of the man: a dedicated humanist who lauded the far-reaching power of reason. His most famous work, the Foundation trilogy, can be read as an illustration of Asimov’s belief in reason and science, but even while he expressed that belief, science itself was calling it into question.
Foundation describes a time in which a vast Empire spanning the galaxy is on the verge of collapse. Its inevitable doom is a consequence not of its size, but of the shortsightedness of its leaders. In this environment, a scientist named Hari Seldon devises an all encompassing plan to help human civilization recover from the trauma of the Empire’s coming collapse. Using mathematics, Seldon is able to predict the future course of history for thousands of years, and he takes steps that are geared toward guiding that future in a beneficial direction. The trope of the benevolent and paternalistic scientist shaping existence from behind the scenes, present in much of Asimov’s fiction, is never more explicit than in the Foundation series, which describes with an epic sweep the course and progress of the Seldon Plan.
As naive and, perhaps, self-serving as the conceit of Foundation may seem to contemporary readers, it retains to some degree its ability of comfort by offering an antidote to the complex and unpredictable nature of experience. Science in Asimov’s time was, in popular conceptions, engaged in just this pursuit: discerning immutable laws that operate beneath a surface appearance of contingency, inexplicability, and change. But even while Asimov wrote, science itself was changing. In Physics, the study of matter at the subatomic level showed that indeterminacy was not a transitory difficulty to be overcome, but an essential physical principle. In Biology, the sense of evolution as steady progress toward better-adapted forms was being disturbed by proof of a past large-scale evolution taking place in brief explosions, of frantic change. At the time of Asimov’s death, even Mathematics was gaining popular notice for its interest in chaos and inexplicability. Usually summarized in terms of the so-called ‘butterfly effect’, chaos theory showed that perfect prediction could take place only on the basis of perfect information, which was by nature impossible to obtain. Science had dispensed with the very assumptions that motivated Asimov’s idealization of it in the Seldon Plan. Indeed, it was possible to see chaos at work in Foundation itself: as sequels multiplied and began to be tied into narrative threads from Asimov’s other novels, the urge to weave one grand narrative spawned myriad internal inconsistencies that were never resolved.
Which one of the following statements best illustrates the “butterfly effect” as it is described in the passage’s third paragraph?
Read the given passage carefully and answer the questions that follow.
There is a fairly universal sentiment that the use of nuclear weapons is clearly contrary to morality and that its production probably so, does not go far enough. These activities are not only opposed to morality but also to law if the legal objection can be added to the moral, the argument against the use and the manufacture of these weapons will considerably be reinforced. Now the time is ripe to evaluate the responsibility of scientists who knowingly use their expertise for the construction of such weapons, which has deleterious effect on mankind.
To this must be added the fact that more than 50 percent of the skilled scientific manpower in the world is now engaged in the armaments industry. How appropriate it is that all this valuable skill should be devoted to the manufacture of weapons of death in a world of poverty is a question that must touch the scientific conscience.
A meeting of biologists on the Long-Term Worldwide Biological consequences of nuclear war added frightening dimension to those forecasts. Its report suggested that the long biological effects resulting from climatic changes may at least be as serious as the immediate ones. Sub-freezing temperatures, low light levels, and high doses of ionizing and ultraviolet radiation extending for many months after a large-scale nuclear war could destroy the biological support system of civilization, at least in the Northern Hemisphere. Productivity in natural and agricultural ecosystems could be severely restricted for a year or more. Post war survivors would face starvation as well as freezing conditions in the dark and be exposed to near lethal doses of radiation. If, as now seems possible, the Southern Hemisphere were affected also, global disruption of the biosphere could ensue. In any event, there would be severe consequences, even in the areas not affected directly, because of the interdependence of the world economy. In either case the extinction of a large fraction of the earth’s animals, plants and microorganism seem possible.
The population size of Homo sapiens conceivably could be reduced to prehistoric levels or below, and extinction of the human species itself cannot be excluded.
According to the passage, the argument on use and manufacture of nuclear weapons
Read the passage and answer the question following it
Artists should treat their art as art and take the process of making it as seriously as anyone takes their chosen profession. Great skill and insight are required in order to create truly original art. Transforming an idea or concept into a technically thought-provoking or emotion-arousing work of art in any medium is a talent that few people possess. And there you have the "purist's vision."
Now if an artist wants to create art and never sell it, then he or she never has to worry about how to price it. That artist can afford to be a "purist." as you put it, produce art free of any encumbrances or concerns about what the art world or any one else might think, and avoid "prostituting" or "debasing" that art by placing dollar values on it." But if you're an artist who wants to sell your art or who has to sell it in order to survive as an artist, you must use whatever tools are available to figure out how much it's worth and how best to sell it.
Let's say you're just starting out as an artist, you have little or no experience showing or selling your work, and in a period of two minutes, you produce a pencil drawing on a piece of paper. You view this drawing as highly significant in your evolution as an artist and rank its creation as the single most important creative moment of your life.
Consequently, you put a price of $20, 000 on it because only for that amount of money will you agree to part with such an important work of art. This is a "purist's vision" approach to pricing as opposed to a "realities of the marketplace" approach. From a business standpoint, you'll have an extremely difficult time selling your drawing, as you won't be able to justify the $20,000 price to real art buyers in the real art world. You have no track record of selling artin that price range, and you have few or no shows, critical reviews, or supporting data from outside sources indicating that your art has that kind of value or collectibility in the marketplace. The overwhelming majority of art buyers who have $20,000to spend look for works of art by established artists with documented track records of showing and selling art in that price range.
Your drawing is still highly significant to you, but what someone is willing to pay for it on the open market is a matter for art buyers to decide. You can price it however you wish, but you can never force anyone to buy it. That's the way the art business works. So if you want to sell it, you have to figure out what dollar amount someone is likely to pay for it on the open market and then price it at that amount. But the tale of your drawing does not end here.
The art world may, one agree with you that the product of your two-minute moment precipitates a major transformational turning point in your career, and is well worth a $20,000 asking price, but you're going to have to prove first. Aspects of that drawing will have to be reflected in your art from the moment you created it onwards, the art world will have to recognize your art both critically and from the marketing standpoints, and you will have to successfully produce, show, and sell for many years. Then one day, when your first retrospective exhibition opens at the Four-Star Museum of Art, that drawing will hang framed and captioned as the first inspiration for all subsequent work. The art world will then understand and respect its significance, and a serious collector may well be willing to pay an extraordinary price to own this historically important document of your career.
Returning for a moment to the concept of a purist artist who creates art and never sells it, sooner or later (hopefully later), that purist will pass on and leave behind a body of work. Unless that artist leaves specific instructions in his or her will for that body of work to be destroyed, it will become subject to those market forces that the artist strived for a lifetime to avoid. At the very least, it'll have to be appraised for tax, donation, or inheritance purposes. In most cases, it eventually comes onto the market either through a probable sale, an auction, or as represented by a dealer, gallery, or family member. The moral of the story is that one way or another, someone somewhere at some point in time will use tried and true methods to realistically price and either sell, donate, trade or otherwise transact any work of art that comes onto the market in any way, shape, or form. I hope that that person will be you, the artist and that you'll price your art according to what the market will bear, sell plenty of it, and have a long and rewarding career. Answer the following question indicating your option for question:
The purist's art is
Read the passage and answer the question following it
Artists should treat their art as art and take the process of making it as seriously as anyone takes their chosen profession. Great skill and insight are required in order to create truly original art. Transforming an idea or concept into a technically thought-provoking or emotion-arousing work of art in any medium is a talent that few people possess. And there you have the "purist's vision."
Now if an artist wants to create art and never sell it, then he or she never has to worry about how to price it. That artist can afford to be a "purist." as you put it, produce art free of any encumbrances or concerns about what the art world or anyone else might think, and avoid "prostituting" or "debasing" that art by placing dollar values on it." But if you're an artist who wants to sell your art or who has to sell it in order to survive as an artist, you must use whatever tools are available to figure out how much it's worth and how best to sell it.
Let's say you're just starting out as an artist, you have little or no experience showing or selling your work, and in a period of two minutes, you produce a pencil drawing on a piece of paper. You view this drawing as highly significant in your evolution as an artist and rank its creation as the single most important creative moment of your life.
Consequently, you put a price of $20, 000 on it because only for that amount of money will you agree to part with such an important work of art. This is a "purist's vision" approach to pricing as opposed to a "realities of the marketplace" approach. From a business standpoint, you'll have an extremely difficult time selling your drawing, as you won't be able to justify the $20,000 price to real art buyers in the real art world. You have no track record of selling artin that price range, and you have few or no shows, critical reviews, or supporting data from outside sources indicating that your art has that kind of value or collectibility in the marketplace. The overwhelming majority of art buyers who have $20,000to spend look for works of art by established artists with documented track records of showing and selling art in that price range.
Your drawing is still highly significant to you, but what someone is willing to pay for it on the open market is a matter for art buyers to decide. You can price it however you wish, but you can never force anyone to buy it. That's the way the art business works. So if you want to sell it, you have to figure out what dollar amount someone is likely to pay for it on the open market and then price it at that amount. But the tale of your drawing does not end here.
The art world may, one agree with you that the product of your two-minute moment precipitates a major transformational turning point in your career, and is well worth a $20,000 asking price, but you're going to have to prove first. Aspects of that drawing will have to be reflected in your art from the moment you created it onwards, the art world will have to recognize your art both critically and from the marketing standpoints, and you will have to successfully produce, show, and sell for many years. Then one day, when your first retrospective exhibition opens at the Four-Star Museum of Art, that drawing will hang framed and captioned as the first inspiration for all subsequent work. The art world will then understand and respect its significance, and a serious collector may well be willing to pay an extraordinary price to own this historically important document of your career.
Returning for a moment to the concept of a purist artist who creates art and never sells it, sooner or later (hopefully later), that purist will pass on and leave behind a body of work. Unless that artist leaves specific instructions in his or her will for that body of work to be destroyed, it will become subject to those market forces that the artist strived for a lifetime to avoid. At the very least, it'll have to be appraised for tax, donation, or inheritance purposes. In most cases, it eventually comes onto the market either through a probable sale, an auction, or as represented by a dealer, gallery, or family member. The moral of the story is that one way or another, someone somewhere at some point in time will use tried and true methods to realistically price and either sell, donate, trade or otherwise transact any work of art that comes onto the market in any way, shape, or form. I hope that that person will be you, the artist and that you'll price your art according to what the market will bear, sell plenty of it, and have a long and rewarding career. Answer the following question indicating your option for question:
For an artist to sell his piece of art at a higher price range, he/ she has to
Choose the word that is opposite to the meaning of the given word.
Colossal
Read the given passages and answer the question with the help of the information provided in the passage.
The Constitution of the United States protects both property rights and freedom of speech. At times, these rights conflict. The resolution then requires a determination as to the type of property involved. If the property is private and not open to the general public, the owner may absolutely deny the exercise of the right of free speech thereon. On the other hand, if public land is at issue, the First Amendment protections of expression are applicable. However, the exercise of free speech thereon is not absolute. Rather, it is necessary to determine the appropriateness of the forum. This requires that consideration be given to a number of factors including character and normal use of the property, the extent to which it is open to the public, and the number and types of persons who frequent it. If the forum is clearly public or clearly private, the resolution of the greater rights is relatively straight forward.
In the area of the quasi-public property, balancing these rights has produced a dilemma. This is the situation when a private owner permits the general public to use his property. When· persons seek to use the land for passing out handbills or picketing, how is a conflict between property rights and freedom of expression resolved? The precept that a private property owner surrenders his rights in proportion to the extent to which he opens up his property to the public is not new. In 1675, Lord Chief Justice Hale wrote that when private property is "affected with a public interest, it ceases to be private." Throughout the development of Anglo-American law; the individual has never possessed absolute dominion over property. Land becomes clothed with a public interest when the owner devotes his property to a use in which the public has an interest. In support of this position, the chairman of the board of the Wilde Lake Shopping Centre in Columbia, Maryland said: The only real purpose and justification of any of these centres is to serve the people in the area - not the merchants, not the developers, not the architects. The success or failure of a regional shopping centre will be measured by what it does for the people it seeks to serve. These doctrines should be applied when accommodation must be made between a shopping centre owner's private property rights and the public's right to free expression. It is hoped that when the Court is asked to balance these conflicting rights it will keep in mind what Justice Black said in 1945: "When we balance the constitutional rights of owners of property against those of the people to enjoy (First Amendment) freedom(s) ..... we remain mindful of the fact that the latter occupy a preferred position."
According to the passage, the idea that a property owner's rights decline as the property is more used by the general public
