Why have continents have drifted apart? ?->(Show Answer!)

1. Why have continents have drifted apart?

Answer: Because of tectonic activities

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MCQ-> Directions for the following four questions: Answer the questions on the basis of the information given below.Twenty one participants from four continents (Africa, Americas, Australasia, and Europe) attended a United Nations conference. Each participant was an expert in one of four fields, labour, health, population studies, and refugee relocation. The following five facts about the participants are given.(a) The number of labour experts in the camp was exactly half the number of experts in each of the three other categories.(b) Africa did not send any labour expert. Otherwise, every continent, including Africa, sent at least one expert for each category.(c) None of the continents sent more than three experts in any category.(d) If there had been one less Australasian expert, then the Americas would have had twice as many experts as each of the other continents.(e) Mike and Alfanso are leading experts of population studies who attended the conference. They are from Australasia.Which of the following combinations is NOT possible?
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MCQ-> The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.The difficulties historians face in establishing cause-and-effect relations in the history of human societies are broadly similar to the difficulties facing astronomers, climatologists, ecologists, evolutionary biologists, geologists, and palaeontologists. To varying degrees each of these fields is plagued by the impossibility of performing replicated, controlled experimental interventions, the complexity arising from enormous numbers of variables, the resulting uniqueness of each system, the consequent impossibility of formulating universal laws, and the difficulties of predicting emergent properties and future behaviour. Prediction in history, as in other historical sciences, is most feasible on large spatial scales and over long times, when the unique features of millions of small-scale brief events become averaged out. Just as I could predict the sex ratio of the next 1,000 newborns but not the sexes of my own two children, the historian can recognize factors that made2 1 inevitable the broad outcome of the collision between American and Eurasian societies after 13,000 years of separate developments, but not the outcome of the 1960 U.S. presidential election. The details of which candidate said what during a single televised debate in October 1960 Could have given the electoral victory to Nixon instead of to Kennedy, but no details of who said what could have blocked the European conquest of Native Americans. How can students of human history profit from the experience of scientists in other historical sciences? A methodology that has proved useful involves the comparative method and so-called natural experiments. While neither astronomers studying galaxy formation nor human historians can manipulate their systems in controlled laboratory experiments, they both can take advantage of natural experiments, by comparing systems differing in the presence or absence (or in the strong or weak effect) of some putative causative factor. For example, epidemiologists, forbidden to feed large amounts of salt to people experimentally, have still been able to identify effects of high salt intake by comparing groups of humans who already differ greatly in their salt intake; and cultural anthropologists, unable to provide human groups experimentally with varying resource abundances for many centuries, still study long-term effects of resource abundance on human societies by comparing recent Polynesian populations living on islands differing naturally in resource abundance.The student of human history can draw on many more natural experiments than just comparisons among the five inhabited continents. Comparisons can also utilize large islands that have developed complex societies in a considerable degree of isolation (such as Japan, Madagascar, Native American Hispaniola, New Guinea, Hawaii, and many others), as well as societies on hundreds of smaller islands and regional societies within each of the continents. Natural experiments in any field, whether in ecology or human history, are inherently open to potential methodological criticisms. Those include confounding effects of natural variation in additional variables besides the one of interest, as well as problems in inferring chains of causation from observed correlations between variables. Such methodological problems have been discussed in great detail for some of the historical sciences. In particular, epidemiology, the science of drawing inferences about human diseases by comparing groups of people (often by retrospective historical studies), has for a long time successfully employed formalized procedures for dealing with problems similar to those facing historians of human societies. In short, I acknowledge that it is much more difficult to understand human history than to understand problems in fields of science where history is unimportant and where fewer individual variables operate. Nevertheless, successful methodologies for analyzing historical problems have been worked out in several fields. As a result, the histories of dinosaurs, nebulae, and glaciers are generally acknowledged to belong to fields of science rather than to the humanities.Why do islands with considerable degree of isolation provide valuable insights into human history?
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MCQ-> It’s taken me 60 years, but I had an epiphany recently: Everything, without exception, requires additional energy and order to maintain itself. I knew this in the abstract as the famous second law of thermodynamics, which states that everything is falling apart slowly. This realization is not just the lament of a person getting older. Long ago I learnt that even the most inanimate things we know of ―stone, iron columns, copper pipes, gravel roads, a piece of paper ―won’t last very long without attention and fixing and the loan of additional order. Existence, it seems, is chiefly maintenance.What has surprised me recently is how unstable even the intangible is. Keeping a website or a software program afloat is like keeping a yacht afloat It is a black hole for attention. I can understand why a mechanical device like a pump would break down after a while ―moisture rusts metal, or the air oxidizes membranes, or lubricants evaporate, all of which require repair. But I wasn’t thinking that the nonmaterial world of bits would also degrade. What’s to break? Apparently everything.Brand-new computers will ossify. Apps weaken with use. Code corrodes. Fresh software just released will immediately begin to fray. On their own ―nothing you did. The more complex the gear, the more (not less) attention it will require. The natural inclination toward change is inescapable, even for the most abstract entities we know of: bits.And then there is the assault of the changing digital landscape. When everything around you is upgrading, this puts pressure on your digital system and necessitates maintenance. You may not want to upgrade, but you must because everyone else is. It’s an upgrade arms race.I used to upgrade my gear begrudgingly (Why upgrade if it still works?) and at the last possible moment. You know how it goes: Upgrade this and suddenly you need to upgrade that, which triggers upgrades everywhere. I would put it off for years because I had the experiences of one “tiny” upgrade of a minor part disrupting my entire working life. But as our personal technology is becoming more complex, more co-dependents upon peripherals, more like a living ecosystem, delaying upgrading is even more disruptive. If you neglect ongoing minor upgrades, the change backs up so much that the eventual big upgrade reaches traumatic proportions. So I now see upgrading as a type of hygiene: You do it regularly to keep your tech healthy. Continual upgrades are so critical for technological systems that they are now automatic for the major personal computer operating systems and some software apps. Behind the scenes, the machines will upgrade themselves, slowly changing their features over time. This happens gradually, so we don‘t notice they are “becoming.”We take this evolution as normal.Technological life in the future will be a series of endless upgrades. And the rate of graduations is accelerating. Features shift, defaults disappear, menus morph. I’ll open up a software package I don’t use every day expecting certain choices, and whole menus will have disappeared.No matter how long you have been using a tool, endless upgrades make you into a newbie ―the new user often seen as clueless. In this era of “becoming” everyone becomes a newbie. Worse, we will be newbies forever. That should keep us humble.That bears repeating. All of us ―every one of us ―will be endless newbies in the future simply trying to keep up. Here’s why: First, most of the important technologies that will dominate life 30 years from now have not yet been invented, so naturally you’ll be a newbie to them. Second, because the new technology requires endless upgrades, you will remain in the newbie state. Third, because the cycle of obsolescence is accelerating (the average lifespan of a phone app is a mere 30 days!), you won’t have time to master anything before it is displaced, so you will remain in the newbie mode forever. Endless Newbie is the new default for everyone, no matter your age or experience.Which of the following statements would the author agree with the most?
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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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