In the following questions, out of the four alternatives, choose the one which can be substituted for the given words/sentences.A strong dislike.<br/> ?->(Show Answer!)

1. In the following questions, out of the four alternatives, choose the one which can be substituted for the given words/sentences.A strong dislike.

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MCQ-> In making decisions about important questions it is desirable to be able to distinguish between ‘strong’ arguments and ‘weak’ arguments ‘Strong’ arguments so far they relate to the question ‘strong’ arguments are those which are both important and directly related to the question ‘weak’ arguments are those which are of minor importance and also may not directly related to the question or may be related to a trivial aspect of the question Each question below is followed by two arguments numbered as I and II You have to decide which of the arguments is a ‘strong’ argument and which is a ‘weak’ argument. Give answer a:if only argument I is strong Give answer b:if only argument II is strong Give answer c:if either I or II strong Give answer d:if neither I nor II is strong Give answer e:if both I and II are strong.Statement:Should the habit of late coming in educational institutions be checked ? Arguments: I.No Unit it affects the work II.Yes Discipline must be maintained.....

MCQ-> In making decisions about important questions, it is desirable to be able to distinguish between 'strong' arguments and 'weak' arguments so far as they relate to the question. 'Strong' arguments are those which are both important and directly related to the questions. 'Weak' arguments are those which are of minor importance and also may not be directly related to the questions or may be related to a trivial aspect of the question. The question below is followed by two arguments numbered I and II. You have to decide which of the arguments is a 'strong' argument and which is a 'weak' argument.Give answer a: if only argument I is strong Give answer b: if only argument II is strong Give answer c: if either I or II is strong. Give answer d: if neither I nor II strong. Give answer e: if both I and II are strong.Should all the power generation and distribution units in the State Y be handed over to the private sector ? Arguments : I. Yes, the State Government are not equipped to handle generation and distribution of electricity efficiently and it is not bene cial too. II. Yes, The private companies handle generation and distribution of electricity efficiently.....

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-> In the following questions, out of the four alternatives, choose the one which can be substituted for the given words/sentences.A strong dislike.
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