The technique of printing was first developed by ? ?->(Show Answer!)

1. The technique of printing was first developed by ?

Answer: The Chinese

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MCQ-> The passage below is accompanied by a set of six questions. Choose the best answer to each question.I used a smartphone GPS to find my way through the cobblestoned maze of Geneva's Old Town, in search of a handmade machine that changed the world more than any other invention. Near a 13th-century cathedral in this Swiss city on the shores of a lovely lake, I found what I was looking for: a Gutenberg printing press. "This was the Internet of its day — at least as influential as the iPhone," said Gabriel de Montmollin, the director of the Museum of the Reformation, toying with the replica of Johann Gutenberg's great invention.Before the invention of the printing press, it used to take four monks up to a year to produce a single book. With the advance in movable type in 15th-century Europe, one press could crank out 3,000 pages a day. Before long, average people could travel to places that used to be unknown to them — with maps! Medical information passed more freely and quickly, diminishing the sway of quacks. The printing press offered the prospect that tyrants would never be able to kill a book or suppress an idea. Gutenberg's brainchild broke the monopoly that clerics had on scripture. And later, stirred by pamphlets from a version of that same press, the American colonies rose up against a king and gave birth to a nation.So, a question in the summer of this 10th anniversary of the iPhone: has the device that is perhaps the most revolutionary of all time given us a single magnificent idea? Nearly every advancement of the written word through new technology has also advanced humankind. Sure , you can say the iPhone changed everything. By putting the world's recorded knowledge in the palm of a hand, it revolutionized work, dining, travel and socializing. It made us more narcissistic — here's more of me doing cool stuff! — and it unleashed an army of awful trolls. We no longer have the patience to sit through a baseball game without that reach to the pocket. And one more casualty of Apple selling more than a billion phones in a decade's time: daydreaming has become a lost art.For all of that, I'm still waiting to see if the iPhone can do what the printing press did for religion and democracy...the Geneva museum makes a strong case that the printing press opened more minds than anything else...it's hard to imagine the French or American revolutions without those enlightened voices in print...Not long after Steve Jobs introduced his iPhone, he said the bound book was probably headed for history's attic. Not so fast. After a period of rapid growth in e-books, something closer to the medium for Chaucer's volumes has made a great comeback.The hope of the iPhone, and the Internet in general, was that it would free people in closed societies. But the failure of the Arab Spring, and the continued suppression of ideas in North Korea, China and Iran, has not borne that out. The iPhone is still young. It has certainly been "one of the most important, world-changing and successful products in. history," as Apple C.E.O. Tim Cook said. But I'm not sure if the world changed for the better with the iPhone — as it did with the printing press — or merely changed.The printing press has been likened to the Internet for which one of the following reasons?
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If there are no upsets (a lower seeded player beating a higher seeded player) in the first round, and only match Nos. 6, 7, and 8 of the second round result in upsets, then who would meet Lindsay Davenport in quarter finals, in case Davenport reaches quarter finals?
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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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