In order to recognise and honour the writers of Malayalam Language and Literature, the Kerala Sahitya Academy is giving yearly awards to the eminent works in various branches of the language like poetry, drama, short story, novel, literary criticism, ?->(Show Answer!)

1. In order to recognise and honour the writers of Malayalam Language and Literature, the Kerala Sahitya Academy is giving yearly awards to the eminent works in various branches of the language like poetry, drama, short story, novel, literary criticism, humour and translation. Among the following pairs which Kerala Sahitya Academy award is incorrectly matched?

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MCQ->In order to recognise and honour the writers of Malayalam Language and Literature, the Kerala Sahitya Academy is giving yearly awards to the eminent works in various branches of the language like poetry, drama, short story, novel, literary criticism, humour and translation. Among the following pairs which Kerala Sahitya Academy award is incorrectly matched?....

MCQ->Read the following passage carefully and choose the most appropriate answer to the question out of the four alternatives. Translation is of immense importance today. With rapid commercialization, the narrow barriers between nations are fast disappearing. In the past, there used to be practically no communication amongst nations. The modern world, however, is no longer divided into water-tight compartments. We are heading towards one world, thanks to development in the fields of communication among nations today. Translation forges bonds of unity amongst people who speak different languages. Even if we do not know a particular language or the literature of a particular nation, we can know its richness and the depth of its ideas through translation. Translation also helps in understanding the rich cultural heritage of a nation. Thus a multi-lingual person has a multi-focal view of the world. Translation also serves as a mode of cultural excahnge in a multi-lingual country. It plays a pivotal role in the evolution of a pluralistic national identity. The achievement of translation is both the globalisation of culture and the promotion of intra and inter-cultural bonding. One may appreciate and enjoy through translation the plays of Shakespeare even if one does not know the English language. One may also know the rich world of Homer, Virgil, Dante, Milton, Dickens, Hardy, Leo Tolstoy, Zola and Munshi Prem Chand through translation. Translation responds to our intellectual, cultural and spiritual needs. It is necessary for information and for the exchange of ideas. Translation, which has hitherto been neglected and marginalized, has assumed importance with rapid globalization. It is now considered an art which requires mastery and perfection. A good translator is able to do away with superficiality and has a clear understanding of the text to be translated. He should have mastery over the subtle nuances of the language from which he is translating. Translating a passage of one language into another literally is not only impossible but would also result in incorrect grammar and syntax. What should be the primary concern while translating a passage from one language into another?....

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-> If translated into English, most of the ways economists talk among themselves would sound plausible enough to poets, journalists, businesspeople, and other thoughtful though non-economical folk. Like serious talk anywhere — among boat desingers and baseball fans, say — the talk is hard to follow when one has not made a habit of listening to it for a while. The culture of the conversation makes the words arcane. But the people in the unfamiliar conversation are not Martians. Underneath it all (the economist’s favourite phrase) conversational habits are similar. Economics uses mathematical models and statistical tests and market arguments, all of which look alien to the literary eye. But looked at closely they are not so alien. They may be seen as figures of speech-metaphors, analogies, and appeals to authority.Figures of speech are not mere frills. They think for us. Someone who thinks of a market as an ‘invisible hand’ and the organization of work as a ‘production function’ and his coefficients as being ‘significant’, as an economist does, is giving the language a lot of responsibility. It seems a good idea to look hard at his language.If the economic conversation were found to depend a lot on its verbal forms, this would not mean that economics would be not a science, or just a matter of opinion, or some sort of confidence game. Good poets, though not scientists, are serious thinkers about symbols; good historians, though not scientists, are serious thinkers about data. Good scientists also use language. What is more (though it remains to be shown) they use the cunning of language, without particularly meaning to. The language used is a social object, and using language is a social act. It requires cunning (or, if you prefer, consideration), attention to the other minds present when one speaks.The paying of attention to one’s audience is called ‘rhetoric’, a word that I later exercise hard. One uses rhetoric, of course, to warn of a fire in a theatre or to arouse the xenophobia of the electorate. This sort of yelling is the vulgar meaning of the word, like the president’s ‘heated rhetoric’ in a press conference or the ‘mere rhetoric’ to which our enemies stoop. Since the Greek flame was lit, though, the word has been used also in a broader and more amiable sense, to mean the study of all the ways of accomplishing things with language: inciting a mob to lynch the accused, to be sure, but also persuading readers of a novel that its characters breathe, or bringing scholars to accept the better argument and reject the worse.The question is whether the scholar- who usually fancies himself an announcer of ‘results’ or a stater of ‘conclusions’ free of rhetoric — speaks rhetorically. Does he try to persuade? It would seem so. Language, I just said, is not a solitary accomplishment. The scholar doesn’t speak into the void, or to himself. He speaks to a community of voices. He desires to be heeded, praised, published, imitated, honoured, en-Nobeled. These are the desires. The devices of language are the means. Rhetoric is the proportioning of means to desires in speech.Rhetoric is an economics of language, the study of how scarce means are allocated to the insatiable desires of people to be heard. It seems on the face of it a reasonable hypothesis that economists are like other people in being talkers, who desire listeners whey they go to the library or the laboratory as much as when they go to the office or the polls. The purpose here is to see if this is true, and to see if it is useful: to study the rhetoric of economic scholarship.The subject is scholarship. It is not the economy, or the adequacy of economic theory as a description of the economy, or even mainly the economist’s role in the economy. The subject is the conversation economists have among themselves, for purposes of persuading each other that the interest elasticity of demand for investment is zero or that the money supply is controlled by the Federal Reserve.Unfortunately, though, the conclusions are of more than academic interest. The conversations of classicists or of astronomers rarely affect the lives of other people. Those of economists do so on a large scale. A well known joke describes a May Day parade through Red Square with the usual mass of soldiers, guided missiles, rocket launchers. At last come rank upon rank of people in gray business suits. A bystander asks, “Who are those?” “Aha!” comes the reply, ”those are economists: you have no idea what damage they can do!” Their conversations do it.According to the passage, which of the following is the best set of reasons for which one needs to ‘look hard’ at an economist’s language?A. Economists accomplish a great deal through their language.B. Economics is an opinion-based subject.C. Economics has a great impact on other’s lives.D. Economics is damaging.
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MCQ-> Study the following information carefully and answer the questions given below: Eight persons S, T, U, V, W, X, Y and Z live on eight different floors of a building but not necessarily in the same order. The lowermost floor of the building is numbered one, the one above that is numbered two and so one till the topmost floor is numbered eight. Each of them also works at a different banks namely, IDBI, SBI, HDFC, BOI, PNB, TJSB, Axis Bank and SVC, but not necessarily in the same order. • Z lives on an even numbered floor. Only three persons live between Z and the one who orks at BOI. W lives immediately below the one who works at BOI. • Only three persons live between W and the one who works at Axis Bank. • V lives immediately above T. V lives on an odd numbered floor. T does not work at BOI. • Only two persons live between T and the one who works at SBI. The one who works at SBI does not live on the lowermost floor. • The one who works at SVC lives immediately above the one who works at PNB. The one who works at SVC live on an even numbered floor but not on floor numbered two. • Only one person lives between the one who works at SVC and the one who works at IDBI. • X lives immediately above S. X lives on an even numbered floor. X does not work at TJSB. • U does not work at PNB and does not live on floor numbered four.Four of the following five are alike in a certain way based on the given arrangement and hence they form a group. Which one of the following does not belong to that group?
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