Antonym of sense ?->(Show Answer!)

1. Antonym of sense

Answer: nonsense

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MCQ-> Read the following passage and answer the questions that follow: Economists have spent most of the 20th century ignoring psychology, positive or otherwise. But today there is a great deal of emphasis on how happiness can shape global economies, or — on a smaller scale — successful business practice. This is driven, in part, by a trend in "measuring" positive emotions, mostly so they can be optimized. Neuroscientists, for example, claim to be able to locate specific emotions, such as happiness or disappointment, in particular areas of the brain. Wearable technologies, such as Spire, offer data-driven advice on how to reduce stress.We are no longer just dealing with "happiness" in a philosophical or romantic sense — it has become something that can be monitored and measured, including by our behavior, use of social media and bodily indicators such as pulse rate and facial expressions.There is nothing automatically sinister about this trend. But it is disquieting that the businesses and experts driving the quantification of happiness claim to have our best interests at heart, often concealing their own agendas in the process. In the workplace, happy workers are viewed as a "win-win." Work becomes more pleasant, and employees, more productive. But this is now being pursued through the use of performance-evaluating wearable technology, such as Humanyze or Virgin Pulse, both of which monitor physical signs of stress and activity toward the goal of increasing productivity.Cities such as Dubai, which has pledged to become the "happiest city in the world," dream up ever-more elaborate and intrusive ways of collecting data on well-being — to the point where there is now talk of using CCTV cameras to monitor facial expressions in public spaces. New ways of detecting emotions are hitting the market all the time: One company, Beyond Verbal, aims to calculate moods conveyed in a phone conversation, potentially without the knowledge of at least one of the participants. And Facebook [has] demonstrated . . . that it could influence our emotions through tweaking our news feeds — opening the door to ever-more targeted manipulation in advertising and influence.As the science grows more sophisticated and technologies become more intimate with our thoughts and bodies, a clear trend is emerging. Where happiness indicators were once used as a basis to reform society, challenging the obsession with money that G.D.P. measurement entrenches, they are increasingly used as a basis to transform or discipline individuals.Happiness becomes a personal project, that each of us must now work on, like going to the gym. Since the 1970s, depression has come to be viewed as a cognitive or neurological defect in the individual, and never a consequence of circumstances. All of this simply escalates the sense of responsibility each of us feels for our own feelings, and with it, the sense of failure when things go badly. A society that deliberately removed certain sources of misery, such as precarious and exploitative employment, may well be a happier one. But we won't get there by making this single, often fleeting emotion, the over-arching goal.From the passage we can infer that the author would like economists to:
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MCQ-> The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.Human Biology does nothing to structure human society. Age may enfeeble us all, but cultures vary considerably in the prestige and power they accord to the elderly. Giving birth is a necessary condition for being a mother, but it is not sufficient. We expect mothers to behave in maternal ways and to display appropriately maternal sentiments. We prescribe a clutch of norms or rules that govern the role of a mother. That the social role is independent of the biological base can be demonstrated by going back three sentences. Giving birth is certainly not sufficient to be a mother but, as adoption and fostering show, it is not even necessary! The fine detail of what is expected of a mother or a father or a dutiful son differs from culture to culture, but everywhere behaviour is coordinated by the reciprocal nature of roles. Husbands and wives, parents and children, employers and employees, waiters and customers, teachers and pupils, warlords and followers; each makes sense only in its relation to the other. The term ‘role’ is an appropriate one, because the metaphor of an actor in a play neatly expresses the rule-governed nature or scripted nature of much of social life and the sense that society is a joint production. Social life occurs only because people play their parts (and that is as true for war and conflicts as for peace and love) and those parts make sense only in the context of the overall show. The drama metaphor also reminds us of the artistic licence available to the players. We can play a part straight or, as the following from J.P. Sartre conveys, we can ham it up.Let us consider this waiter in the cafe. His movement is quick and forward, a little too precise, a little too rapid. He comes towards the patrons with a step a little too quick. He bends forward a little too eagerly; his voice, his eyes express an interest a little too solicitous for the order of the customer. Finally there he returns, trying to imitate in his walk the inflexible stiffness of some kind of automaton while carrying his tray with the recklessness of a tightrope-walker....All his behaviour seems to us a game....But what is he playing? We need not watch long before we can explain it: he is playing at being a waiter in a cafe. The American sociologist Erving Goffman built an influential body of social analysis on elaborations of the metaphor of social life as drama. Perhaps his most telling point was that it is only through acting out a part that we express character. It is not enough to be evil or virtuous; we have to be seen to be evil or virtuous. There is distinction between the roles we play and some underlying self. Here we might note that some roles are more absorbing than others. We would not be surprised by the waitress who plays the part in such a way as to signal to us that she is much more than her occupation. We would be surprised and offended by the father who played his part ‘tongue in cheek’. Some roles are broader and more far-reaching than others. Describing someone as a clergyman or faith healer would say far more about that person than describing someone as a bus driver.What is the thematic highlight of this passage?
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MCQ-> The highest priced words are ghost-written by gagmen who furnish the raw material for comedy over the air and on the screen. They have a word-lore all their own, which they practise for five to fifteen hundred dollars a week, or fifteen dollars a gag at piece rates. That's sizable rate for confounding acrimony with matrimony, or extracting attar of roses from the other.Quite apart from the dollar sign on it, gagmen's word-lore is worth a close look, if you are given to the popular American pastime of playing with words — or if you're part of the 40 per cent who make their living in the word trade. Gag writers' tricks with words point up the fact that we have two distinct levels of language: familiar, ordinary words that everybody knows; and more elaborate words that don't turn up so often, but many of which we need to know if we are to feel at home in listening and reading today.To be sure gagmen play hob with the big words, making not sense but fun of them. They keep on confusing bigotry with bigamy, illiterate with illegitimate, monotony with monogamy, osculation with oscillation. They trade on the fact that for many of their listeners, these fancy terms linger in a twilight zone of meaning. It’s their deliberate intent to make everybody feel cozy at hearing big words, jumbled up or smacked down. After all, such words loom up over-size in ordinary talk, so no wonder they get the bulldozer treatment from the gagmen.Their wrecking technique incidentally reveals our language as full of tricky words, some with 19 different meanings, others which sound alike but differ in sense. To ring good punning changes, gag writers have to know their way around in the language. They don't get paid for ignorance, only for simulating it.Their trade is a hard one, and they regard it as serious business. They never laugh at each other's jokes; rarely at their own. Like comediennes, they are usually melancholy men in private life.Fertile invention and ingenious fancy are required to clean up ‘blue’ burlesque gags for radio use. These shady gags are theoretically taboo on the air. However, a gag writer who can leave a faint trace of bluing when he launders the joke is all the more admired — and more highly paid. A gag that keeps the blue tinge is called a ‘double intender’, gag-land jargon for double entendre. The double meaning makes the joke funny at two levels. Children and other innocents hearing the crack for the first time take it literally, laughing at the surface humour; listeners who remember the original as they heard it in vaudeville or burlesque, laugh at the artfulness with which the blue tinge is disguised.Another name for a double meaning of this sort is ‘insinuendo’. This is a portmanteau word or ‘combo’, as the gagmen would label it, thus abbreviating combination. By telescoping insinuation and innuendo, they get insinuendo, on the principle of blend words brought into vogue by Lewis Caroll. ‘Shock logic’ is another favourite with gag writers. Supposedly a speciality of women comediennes, it is illogical logic more easily illustrated than defined. A high school girl has to turn down a boy's proposal, she writes:Dear Jerry, I'm sorry, but I can't get engaged to you. My mother thinks I am too young to be engaged and besides, I'm already engaged to another boy. Yours regretfully. Guess who.Gag writers' lingo is consistently funnier than their gags. It should interest the slang-fancier. And like much vivid jargon developed in specialised trades and sports, a few of the terms are making their way into general use. Gimmick, for instance, in the sense either of a trick devised or the point of a joke, is creeping into the vocabulary of columnists and feature writers.Even apart from the trade lingo, gagmen's manoeuvres are of real concern to anyone who follows words with a fully awakened interest. For the very fact that gag writers often use a long and unusual word as the hinge of a joke, or as a peg for situation comedy, tells us something quite significant: they are well aware of the limitations of the average vocabulary and are quite willing to cash in on its shortcomings.When Fred Allens' joke-smiths work out a fishing routine, they have Allen referring to the bait in his most arch and solemn tones: "I presume you mean the legless invertebrate." This is the old minstrel trick, using a long fancy term, instead of calling a worm a worm. Chico Marx can stretch a pun over 500 feet of film, making it funnier all the time, as he did when he rendered, "Why a duck?"And even the high-brow radio writers have taken advantage of gagmen's technique. You might never expect to hear on the air such words as lepidopterist and entymologist. Both occur in a very famous radio play by Norman Corvine, ‘My client Curly’, about an unusual caterpillar which would dance to the tune ‘yes, sir, she's my baby’ but remained inert to all other music. The dancing caterpillar was given a real New York buildup, which involved calling in the experts on butterflies and insects which travel under the learned names above. Corvine made mild fun of the fancy professional titles, at the same time explaining them unobtrusively.There are many similar occasions where any one working with words can turn gagmen's trade secrets to account. Just what words do they think outside the familiar range? How do they pick the words that they ‘kick around’? It is not hard to find out.According to the writer, a larger part of the American population
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MCQ->Today's high school students spend too much time thinking about trivial and distracting matters such as fashion. Additionally, they often dress inappropriately on school grounds. Rather than spending time writing another detailed dress policy, we should make school uniforms mandatory. If students were required to wear uniforms, it would increase a sense of community and harmony in our schools and it would instill a sense of discipline in our students. Another positive effect would be that teachers and administrators would no longer have to act as clothing police, freeing them up to focus on more important issues. This paragraph best supports the statement that...

MCQ->Read the following passage carefully and choose the most appropriate answer to the question out of the four alternatives. All art is, in an important sense, an escape. There is a sense in which the capacity to escape from his present experience, to use his accumulated consciousness of the past to project a vision of the future, is man's greatest and distinguishing ability. We must not forget the force of Aristotle's argument that poetry is valuable precisely because it shows men not simply as they are, but as they ought to be or (in terms more sympathetic to us today) as they are capable of becoming. Aristotle's argument support the view that poetry shows...