In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Protection or exemption from something, especially an obligation or penalty<br/> ?->(Show Answer!)

1. In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Protection or exemption from something, especially an obligation or penalty

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MCQ-> In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Protection or exemption from something, especially an obligation or penalty
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/phrases are printed in bold to help you to locate them while answering some of the questions. The outside world has pat answers concerning extremely impoverished countries, especially those in Africa. Everything comes back, again and again, to corruption and misrule. Western officials argue that Africa simply needs to behave itself better, to allow market forces to operate without interference by corrupt rulers. Ye the critics of African governance have it wrong. Politics simply can't explain Africa's prolonged economic crisis. The claim that Africa's corruption is the basic source of the problem does not withstand serious scrutiny. During the past decade I witnessed how relatively well-governed countries in Africa, such as Ghana, Malawi, Mali and Senegal, failed to prosper, whereas societies in Asia perceived to have extensive corruption, such as Bangladesh, Indonesia and Pakistan, enjoyed rapid economic growth. What is the explanation? Every situation of extreme poverty around the world contains some of its own unique causes, which need to be diagnosed as a doctor would a patient. For example, Africa is burdened with malaria like no other part of the world, simply because it is unlucky in providing the perfect conditions for that disease; high temperatures, plenty of breeding sites and particular species of malaria-transmitting mosquitoes that prefer to bite humans rather than cattle.Another myth is that the developed world already gives plenty of aid to the world's poor. Former U.S. Secretary of the Treasury, Paul O'Neil expressed a common frustration when he remarked about aid for Africa : "We've spent trillions of dollars on these problems and we have damn near nothing to show for it". O'Neil was no foe of foreign aid. Indeed, he wanted to fix the system so that more U.S. aid could be justified. But he was wrong to believe that vast flows of aid to Africa had been squandered. President Bush said in a press conference in April 2004 that as "the greatest power on the face of the earth, we have an obligation to help the spread of freedom. We have an obligation to feed the hungry". Yet how does the U.S. fulfill its obligation? U.S. aid to farmers in poor countries to help them grow more food runs at around $200 million per year, far less than $1 per person per year for the hundreds of millions of people living in subsistence farm households.From the world as a whole, the amount of aid per African per year is really very small, just $30 per sub- Saharan African in 2002. Of that modest amount, almost $5 was actually for consultants from the donor countries, more than $3 was for emergency aid, about $4 went for servicing Africa's debts and $ 5 was for debt-relief operations. The rest, about $12, went to Africa. Since the "money down the drain" argument is heard most frequently in the U.S., it's worth looking at the same calculations for U.S. aid alone. In 2002, the U.S. gave $3 per sub-Saharan African. Taking out the parts for U.S. consultants and technical cooperation, food and other emergency aid, administrative costs and debt relief, the aid per African came to grand total of 6 cents.The U.S. has promised repeatedly over the decades, as a signatory to global agreements like the Monterrey Consensus of 2002, to give a much larger proportion of its annual output, specifically upto 0.7% of GNP, to official development assistance. The U.S. failure to follow through has no political fallout domestically, of course, because not one in a million U.S. citizens even knows of statements like the Monterrey Consensus. But no one should underestimate the salience that it has around the world. Spin as American might about their nation's generosity, the poor countries are fully aware of what the U.S. is not doing.The passage seems to emphasize that the outside world has
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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-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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