Antonyms of Clumsy ? ?->(Show Answer!)

1. Antonyms of Clumsy ?

Answer: Graceful

Reply

Comments

Tags

Show Similar Question And Answers

QA->Antonyms of Clumsy ?....

QA->Antonyms of Absent ?....

QA->Antonyms of Abundant ?....

QA->Antonyms of Accept ?....

QA->Antonyms of Accurate ?....

MCQ->a)dubious b)simple c)clumsy wall hangings etc...

MCQ-> Read the following passage and answer the given questions. After the Second World War, the leaders of the Western world tried to build institutions to prevent the conflicts of the preceding decades from recurring. They wanted to foster both prosperity and interdependence, to 'make war not only unthinkable but materially impossible'. Their work bore fruit. Expanded global trade has raised incomes around the world. While globalisation is sometimes portrayed as a corporate plot against the workers; that was not how it was seen before 1914. British trade unions were in favour of free trade, which kept down food prices for their members and also opened up markets for the factories in which they worked. Yet, as the Brexit vote demonstrates globalisation now seems to be receding. Most economists have been blindsided by the backslash. Free trade can be a hard sell politically. The political economy of trade is treacherous. Its benefits, though substantial, are dilute, but its costs are often concentrated. This gives those affected a strong incentive to push for protectionism. Globalisation itself thus seems to create forces that erode political support for integration. Deeper economic integration required harmonisation of laws and regulations across countries. Differences in rules on employment contracts or product safety requirements, for instance, act as barriers to trade. Trade agreements like the TransPacific Partnership focus more on "nontariff barriers" than they do on tariff reduction. The net impact of this is likely to be that some individuals, consumers and businesses are not likely to be as benefitted as others and given rise to discontent. Thus the consequences of such trade agreements often run counter to popular preferences. Joseph Stiglitz, a Nobel Prize winner, has warned that companies influence over trade rules harms workers and erodes support for trade liberalisation. Clumsy government efforts to compensate workers hurt by globalisation contributed to the global financial crisis, by facilitating excessive household borrowing, among other things. Researchers have also documented how the cost of America's growing trade with China has fallen disproportionately on certain American cities. Such costs perpetuate a cycle of globalisation. Periods of global integration and technological progress generate rising inequality, which inevitably triggers two countervailing forces, one beneficial and one harmful. On the one hand, governments tend to respond to rising inequality by increasing redistribution and investing in education, on the other, inequality leads to political upheaval and war. The first great era of globalisation, which ended in 1914, gave way to a long period of declining inequality, in which harmful forces played a bigger rise than beneficial ones. History might repeat itself, he warns. Such warnings do not amount to arguments against globalisation. As many economists are quick to note, the benefits of openness are massive. It is increasingly clear, however, that supporters of economic integration underestimated the risks both that big slices of society would feel left behind and that nationalism would continue to provide an alluring alternative. Either error alone might have undercut support for globalisation and the relative peace and prosperity it has brought in combination, they threaten to reverse it.What can be concluded from the example of Britain cited in the passage ?
...

MCQ->Arrange the given words in the sequence in which they occur in the dictionary. 1. Clump 2. Clown 3. Climax 4. Clumsy 5. Climb...

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
...

MCQ->Choose the most logical order of sentences from among the given choices to construct a coherent paragraph.A. Although there are large regional variations, it is not infrequent to find a large number of people sitting here and there and doing nothing.B. Once in office, they receive friends and relatives who feel free to call any time without prior appointment.C. While working, one is struck by the slow and clumsy actions and reactions, indifferent attitudes, procedure rather than outcome orientation, and the lack of consideration for others.D. Even those who are employed often come late to the office and leave early unless they are forced to be punctual.E. Work is not intrinsically valued in India.F. Quite often people visit ailing friends and relatives or go out of their way to help them in their personal matters even during office hours.[CAT 2001]...