Write one word for the following group of words One who breaks established customs or beliefs ?->(Show Answer!)

1. Write one word for the following group of words One who breaks established customs or beliefs

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MCQ-> The English alphabet is divided into five groups. Each group starts with the vowel and the consonants immediately following that vowel and the consonants immediately following that vowel are included in that group. Thus, the letters A, B, C, D will be in the first group, the letters E, F, G, H will be in the second group and so on. The value of the first group is fixed as 10, the second group as 20 and so on. The value of the last group is fixed as 50. In a group, the value of each letter will be the value of that group. To calculate the value of a word, you should give the same value of each of the letters as the value of the group to which a particular letter belongs and then add all the letters of the word: If all the letters in the word belong to one group only, then the value of that word will be equal to the product of the number of letters in the word and the value of the group to which the letters belong. However, if the letters of the words belong to different groups, then first write the value of all the letters. The value of the word would be equal to the sum of the value of the first letter and double the sum of the values of the remaining letters.For Example : The value of word ‘CAB’ will be equal to 10 + 10 + 10 = 30, because all the three letters (the first letter and the remaining two) belong to the first group and so the value of each letter is 10. The value of letter BUT = $$10 + 2 \times 40 + 2 \times 50 = 190$$ because the value of first letter B is 10, the value of T = 2 $$\times$$ 40 (T belongs to the fourth group) and the value of U = 2 $$\times$$ 50 (U belongs to the fifth group). Now calculate the value of each word given in questions 161 to 165 :AGE
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MCQ-> Please read the passage below and answer the questions that follow:Rene Descartes’ assertion that ideas may be held true with certainty if they are “clear and distinct” provides the context for Peirce’s title, “How to Make Our Ideas Clear.” Peirce argued that an idea may seem clear if it is familiar. Distinctness depends on having good definitions, and while definitions are desirable they do not yield any new knowledge or certainty of the truth of empirical propositions. Peirce argues that thought needs more than a sense of clarity; it also needs a method for making ideas clear. Once we have made an idea clear, then we can begin the task of determining its truth. The method that Peirce offers came to be known as the pragmatic method and the epistemology on which it depends is pragmatism. Peirce rejected Descartes’ method of doubt. We cannot doubt something, for the sake of method, that we do not doubt in fact. In a later essay, he would state as his rule “Dismiss make-believes.” This refers to Descartes’ method of doubting things, in the safety of his study, such things as the existence of the material world, which he did not doubt when he went out on the street. Peirce proposed that a philosophical investigation can begin from only one state of mind, namely, the state of mind in which we find ourselves when we begin. If any of us examines our state of mind, we find two kinds of thoughts: beliefs and doubts. Peirce had presented the interaction of doubt and belief in an earlier essay “The Fixation of Belief”.Beliefs and doubts are distinct. Beliefs consist of states of mind in which we would make a statement; doubts are states in which we would ask a question. We experience a doubt as a sense of uneasiness and hesitation. Doubt serves as an irritant that causes us to appease it by answering a question and thereby fixing a belief and putting the mind to rest on that issue. A common example of a doubt would be arriving in an unfamiliar city and not being sure of the location of our destination address in relation to our present location. We overcome this doubt and fix a belief by getting the directions. Once we achieve a belief, we can take the necessary action to reach our destination. Peirce defines a belief subjectively as something of which we are aware and which appeases the doubt. Objectively, a belief is a rule of action. The whole purpose of thought consists in overcoming a doubt and attaining a belief. Peirce acknowledges that some people like to think about things or argue about them without caring to find a true belief, but he asserts that such dilettantism does not constitute thought. The beliefs that we hold determine how we will act. If we believe, rightly or wrongly, that the building that we are trying to reach sits one block to our north, we will walk in that direction. We have beliefs about matters of fact, near and far. For example, we believe in the real objects in front of us and we believe generally accepted historical statements. We also believe in relations of ideas such as that seven and five equal twelve. In addition to these we have many beliefs about science, politics, economics, religion and so on. Some of our beliefs may be false since we are capable of error. To believe something means to think that it is true.According to Peirce, for a particular thought, which of the following statements will be correct?
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MCQ->Write one word for the following group of words - One who breaks established customs or beliefs?....

MCQ-> Write one word for the following group of words One who breaks established customs or beliefs....

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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