Choose the pair in which the words are differently related from the rest. ?->(Show Answer!)

1. Choose the pair in which the words are differently related from the rest.

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MCQ-> Directions : In the following questions, you have two brief passages with 5 questions in each passage, Read the passages carefully and choose the best answer to each question out of the four alternatives. PASSAGE -I Stuck with be development dilemma? Stay away from management courses. Seriously, one of the biggest complaints that organisations have about management courses is that they fail to impact the participants' on-the-job behaviour. Some management trainers stress the need for follow-up and reinforcement on the job. Some go so far as briefing the participants' managers on what behaviour they should be reinforcing back on the job. Others include a follow-up training day to review the progress of the participants. None of this is really going far enough. The real problem is that course promoters view development as something which primarily, takes place in a classroom. A course is an event and events are, by definition limited in time. When you talk about follow-up after a course, it is seen as a nice idea, but not as an essential part of the participants' development programme. Any rational, empowered individual should be able to take what has been learnt in a course and transfer it to the work place or so the argument goes. Another negative aspect of the course mindset is that, primarily, development is thought to be about skill-acquisition. So, it is felt that the distinction between taking the course and behaving differently in the work place parallels the distinction between skill-acquisition and skill-application. But can such a sharp distinction be maintained ? Skills are really acquired only in the context of applying them on the job, finding them effective and therefore, reinforcing them. The problem with courses is that they are events, while development is an on-going process which, involves, within a complex environment, continual interaction, regular feedback and adjustment. As we tend to equate development with a one-off event, it is difficult to get seriously motivated about the follow-up. Anyone paying for a course tends to look at follow-up as an unnecessary and rather costly frill. PASSAGE II One may look at life, events, society, history, in another way. A way which might, at a stretch, be described as the Gandhian way, though it may be from times before Mahatma Gandhi came on the scene. The Gandhian reaction to all the grim poverty, squalor and degradation of the human being would approximate to effort at self-change and self-improvement, to a regime of living regulated by discipline from within. To change society, the individual must first change himself. In this way of looking at life and society, words too begin to mean differently. Revolution, for instance, is a term frequently used, but not always in the sense it has been in the lexicon of the militant. So also with words like peace and struggle. Even society may mean differently, being some kind of organic entity for the militant, and more or less a sum of individuals for the Gandhian. There is yet another way, which might, for want of a better description, be called the mystic. The mystic's perspective measures these concerns that transcend political ambition and the dynamism of the reformer, whether he be militant or Gandhian. The mystic measures the terror of not knowing the remorseless march of time:he seeks to know what was before birth, what comes after death. The continuous presence of death, of the consciousness of death, sets his priorities. and values: militants and Gandhians kings and prophets must leave all that they have built:all that they have un-built and depart when messengers of the buffalo-riding Yama come out of the shadows. Water will to water, dust to dust. Think of impermanence. Everything passes.What is the passage about?
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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-> in each of the following questions, a related pair of figures (numbered) is followed by five numbered pairs of figures. Out of these five, four have relationship similar to that in the unnumbered pair. Only one pair of figures does not have similar relationship. Select that pair of figures which does not have a similar relationship tot that in the unnumbered pair. Number of that pair is your answer.

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MCQ->Choose the pair in which the words are differently related from the rest.....

MCQ-> Directions: In each of the following questions a pair of capitalised words is followed by four pair of words. You are required to mark as the answer the pair of words which have a relationship between them most similar to the relationship between the capitalised pair.Liquid : Gaseousness
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