We have come up with Sectional Tests for upcoming LIC AAO 2019 Prelim Exam. Practice the questions to ace the exam.
Directions(1-5): Which of the phrases (A), (B), (C), (D) given below each sentence should replace the phrase printed in bold to make the sentence grammatically correct? If the sentence is correct as it is, mark (E) ie ‘No correction required’ as the answer.
- Every death of a manual worker represents a crime, since the Prohibition of Employment as Manual Scavengers and their Rehabilitation Act, 2013 makes the use of such labour to clean septic tanks an offence of punishment with imprisonment of two years or with a fine of ₹2 lakh or both even in the first instance.
an offence punishable foran offence punishable withoffence punishment withan offence punished withNo Correction RequiredOption B
- While the country celebrates the test as a scientific achievement, it must also dwelled with the possibility that this might goad its none-too-friendly neighbour Pakistan into a competitive frenzy.
must also dwell overmust be dwelled onmust have dwelled onmust also dwell onNo Correction RequiredOption D
- At the global level, renewable sources of energy grew by 7% in 2018, but that pace is grossly insufficient, considering the rise in demand.
during 2018, but that pacein 2018, and that pacewhile in 2018, but that paceduring 2018, with that paceNo Correction RequiredOption A
- With the latest proposal, the U.S. plans to “shame” China by bringing the Azhar listing to a public debate at the UNSC. And if that fails, it was reportedly considerable a UN General Assembly statement condemning Azhar.
it is reported to be consideringit is reporting consideringit reportedly consideringit is reportedly considerableNo Correction RequiredOption E
- While none of the government’s concerns is unwarranted, it would not been unprepared as it embarked on the corridor proposal.
it should not has been unprepared asit could not have been unprepared whenit is likely not been unprepared whenit is not unprepared whenNo Correction RequiredOption B
- That’s the decision thoughtful Tories face over the coming weeks – and it’s one that is as much a matter for moral as for political judgment. The worse things look for the party – and they are likely to look dramatically ____________ after this month’s local and European parliament elections – the greater the ____________ from the grassroots for Boris Johnson to succeed Theresa May.
supreme, reticencebiggest, languorworse, clamourinferior, quietudeAll are CorrectOption C
- As mass burials for some of the Christian worshippers killed in the Easter Sunday bombings take place today, claims that the attackers were local Islamic extremists have left Sri Lanka’s Muslims – who make up 10% of the population – ____________ . Although details are scant, and doubts exist about the official government account, a senior minister announced on Monday that the attackers belonged to a new ____________ jihadist group, the National Thowheeth Jama’ath, that military intelligence had been aware of but had not acted against.
devastated, fringedestroyed, interiorwrecked, midstrazed, coreAll are CorrectOption A
- The 15th anniversary of Gareth Myett’s death in a children’s prison is being ____________ by a campaign to end child imprisonment in the UK. It is hugely appropriate – because in the intervening years, those responsible for running children’s prisons have repeatedly shown that they are ____________ of nurturing and rehabilitating the children in their care.
praised, importanthonored, adeptobserved, capablecommemorated, incapableAll are CorrectOption D
- In times of crisis and catastrophe, children are often forced to grow up quickly. We are now witnessing this premature call to ____________ on a planetary scale. As the adults in government accelerate their consumption of fossil fuels, children are leading the campaign against our species’ looming ____________ . Our survival now depends on the prospects for a global movement to follow their lead and demand an International Green New Deal.
measure, defenceeffort, existenceaction, extinctionoperation, appearanceAll are CorrectOption C
- By far the weirdest part about the piece, however, was the way it ____________ sex with procreating. From what I have heard from heterosexual friends, many straight people have sex while explicitly trying not to have babies. Yet the entire ____________ of the Journal article was that streaming has killed sex, which has in turn led to falling fertility rates.
combined, attractconflated, thrustadmixed, drawcoalesced, preventAll are CorrectOption B
- (A) The tragic death of six people who entered into a septic tank in Tamil Nadu’s Sriperumbudur town is a grim reminder /(B) that sanitation remains a low-priority area despite the high political profile of Swachh Bharat. /(C) Public understanding of the science of managing septic tanks continues to be poor, and the availability of /(D) cheap labour to clean these structures has slowed efforts to develop technologies that can safely remove and transport the waste.
into a septic tank = a septic tank
- (A) India has entered an elite space club with the Defence Research and Development Organisation blowing up a satellite in a Low Earth Orbit into smithereens. /(B) Such Indian capability to take out moving objects has never really been in doubt: the DRDO announced it as early in 2011. /(C) Indeed, India has been in the business of testing long-range missiles for years, /(D) although public attention on the space programme has been mostly on its civilian and scientific aspects.
as early in 2011. = as early as in 2011.
- (A) It is no surprise that the International Energy Agency found that India’s carbon emissions grew by 4.8% during 2018, /(B) in spite of the national focus on climate change in energy policy. There is wide recognition of the fact that Indians /(C) are not historically responsible for the problem, and it is the rich nations led by the U.S. /(D) that have pumped in the stock of carbon dioxide linked with extreme climate impacts being witnessed around the globe.
with = to
- (A) Since 2001, the JeM and Azhar have claimed responsibility for several terror attacks that resulted in the deaths of dozens /(B) of innocent persons, including, most recently, the February 14 attack on a CRPF convoy in Pulwama. /(C) Even so, China has used its veto on /(D) Azhar’s listing at the 1267 UNSC Sanctions Committee four times in the past decade, evidently to protect Pakistan.
- (A) When India and Pakistan announced in November they would operationalise a corridor from Dera Baba Nanak in Punjab /(B) to Kartarpur Sahib Gurdwara in Pakistan’s Punjab, /(C) it was hailed as a step forward in an otherwise fraught relationship. Prime Minister Narendra Modi /(D) appeared to share the optimism when he likened the initiative’s potential with the fall of the Berlin Wall.
with = to
repressedevokedspontaneoushaltedAll are CorrectOption B
hospitablenicehostilebenevolentAll are CorrectOption C
separateamorphouschaoticarrangedAll are CorrectOption D
critiqueaccoladeencomiumtributeAll are CorrectOption A
effectiveenvisagedrealisticconcreteAll are CorrectOption B
- Which among the following is not true regarding the life of Ebrahim Alkazi as discussed in the passage?
St Xavier’s College was the institution where Alkazi studied in his lifeAlkazi was the director of National School of Drama for more than 10 yearsAlkazi was influenced by a genius who passed away very early in life and Alkazi was very close to him as they worked together as wellBoth (1) and (3)All the aboveOption E
- The exhibition discussed in the passage is being held in –
New DelhiMumbaiKolkataChennaiOther than those given in optionsOption B
- What can you infer about the family background of Ebrahim Alkazi from the details
given in the passage?Ebrahim Alkazi was the son of a theatre personality very famous at that age and his father influenced him to join theatre as a child artisteAlkazi had no background of theatre as his father was a businessmanAlkazi had a relative who was interested in theatre and it was him who introduced him to theatreBoth (2) and (3)None of the aboveOption E
- Which among the following is not true regarding the exhibition that is going on in Mumbai?
The exhibition is the first of its kind in India as such a kind of exhibition has never been held in the country beforeThe exhibition is being organized by a trust which owns all the art and theatre works of Ebrahim AlkaziThe exhibition does not show all the letters exchanged between Alkazi and PadamseeBoth (1) and (2)All the aboveOption E
- Which among the following institutions Alkazi was not a part of?
St Xavier’s CollegeNational School of DramaRoyal Academy of Dramatic ArtsBoth (1) and (2)None of the aboveOption E
- Which among the following made Alkazi a national figure as he was accorded the status of being the voice of the masses in India?
Razia SultanAndha YugGandhi: The Uncharted HeroAssamOther than those given in optionsOption B
- Which among the following is similar in meaning to the word piquant as used in the passage?
HorribleSatisfyingStaticfascinatingother than those given in optionsOption D
- Which among the following is similar in meaning to the word ‘provenance’ as used in the passage?
OriginExperienceExcruciatingAssertiveOther than those given in optionsOption A
- Which among the following is opposite in meaning to the word ‘galvanized’ as used in the passage?
IncitedDemotivatedDestroyedAssessedOther than those given in optionsOption B
- Which among the following is opposite in meaning to the word ‘inextricably’ as used in the passage?
SimplyCarefullyReallyInterestinglyOther than those given in optionsOption A
Directions(11-15): In each of the following questions there are sentences. There is an error in one of the parts. Mark the option which contains error parts as your answer. If no part contains error mark option E as your answer.
Directions(21-25): In the passage given below there are 5 blanks. Every blank has four alternative words given in options (A),(B),(C), and (D). You have to tell which word is APPROPRIATE according to the context. If all are appropriate then mark your answer as “E”.
The Nyuntam Aay Yojana (NYAY), an election battle cry of the Congress, has ___21___ mixed responses, many ___22___ but some cautiously optimistic. What is common to most, however, is that they are broad-brush and involve leaps of faith. Many have defended NYAY from the Rawlsian perspective of justice. One of the two main principles of justice is that “…Social and economic inequalities are to be ___23___ so that they are… to the greatest benefit of the least advantaged”. Amartya Sen rejects this on the ground that such an allocation of primary goods (including “rights, liberties, opportunities, income and wealth”) is not synonymous with just outcomes (capabilities to do this or that, which include freedom from hunger, for example). While acknowledging this formidable ___24___, we believe that the transfer of ₹6,000 per month to the poorest 20% families ___25___ under NYAY is a step in the right direction.
Direction (21-30): Read the following passage and answer the questions that follows.
Currently showing at the National Gallery of Modern Art (NGMA) is a remarkable exhibition with a provenance that dates back to 1925. That was the year the exhibition’s subject, the legendary Ebrahim Alkazi, was born in Pune into the family of an Arab spice merchant. Titled ‘The Theatre of E. Alkazi — A Modernist Approach to Indian Theatre’, the showcase is a retrospective of the life and works of Alkazi. The driving forces behind it have been his daughter, Amal Allana, a theatre doyenne in her own right, and her husband, the stage designer Nissar Allana. The exhibition continues till later this month, when Alkazi will turn 91. And in a sidelight of curated talks, Allana provides us rare insight into the man single-handedly credited with overhauling the National School of Drama into a legitimate national institution during his long tenure as its director from 1962 to 1977. Of course, before that, Alkazi had an eventful innings in Bombay. Under the aegis of the Theatre Group and the Theatre Unit, he galvanized the English theatre scene in the city. The exhibition had its first airing in January at Delhi’s Triveni Kala Sangam, where the Alkazi family founded the Art Heritage Gallery in 1977. In this Mumbai outing, the archival material is distributed to the semicircular galleries arranged around the central stairwell at the NGMA. Mock-ups of posters of Alkazi’s celebrated productions adorn the walls of the entrance hall. If cinema hadn’t swamped popular culture with its excesses, and theatre had been much less niche, some of these imprints could have well been the iconic images of their times. For instance, the stricken countenance of Usha Amin on a poster for Medea (1961), or a fetching Alaknanda Samarth pinned to the floor as a man looms ominously over her in Miss Julie (1960), or Rohini Hattangady conferring with Naseeruddin Shah in pitch-dark make-up in Sultan Razia (1974). The original photographs were, of course, in black and white. In these reconstructions, they are overlaid with anachronistic colors and typefaces that could perhaps warrant a rethink. As with any institutional display, the occasional tackiness doesn’t really detract from the substance. Peering closer, the initials of Alkazi’s Theatre Unit, arranged into a pitchfork, become an unmistakable monogram of quality. Panels emblazoned ‘The Alkazi Times’ present the signposts of Alkazi’s life as news clippings, interspersed with actual microfiche footage — ascensions of kings and Prime Ministers, declarations of war and independence, and even snapshots from theatre history. It is certainly monumental in scale, full of information about Alkazi’s genealogy, childhood, education and illustrious career. While there is the slightest whiff of propaganda, it is whittled down by Allana’s skills as a self-effacing raconteur during the talks. Her accounts are peppered with heart-warming personal anecdotes that give us a measure of the real person behind the bronzed persona. We learn of how Alkazi came to take up the reins of Theatre Group after the untimely passing of Sultan ‘Bobby’ Padamsee, the young genius who was one of his formative influences. One of their earliest collaborations was Padamsee’s version of Oscar Wilde’s Salomé. The play was barred from performance at their alma mater, St Xavier’s College, because of its risqué material and Wilde’s festering notoriety as a gay felon even in India. It was ultimately performed at the very venue that is now housing the exhibition. Allana is thus able to touchingly fashion the showcase as a homecoming soirée. Later, there is a piquant episode at England’s Dartington Hall. As a student at the Royal Academy of Dramatic Arts, Alkazi had requested Dartington founder Leonard Elmhirst the princely sum of £4 so to return to India by ship. Elmhirst graciously complied. The letters exchanged still exist, and have been preserved (though they are not part of this exhibit). The galleries themselves, chock-a-block with photographs, come across more like a feat of collation than curation. Yet, within this preponderance of imagery, there are stories that can be pieced together. The clarion call of Dharamvir Bharati’s Andha Yug (directed by Alkazi in 1962) sounded off from the ramparts of Feroze Shah Kotla changed the manner in which Hindi theatre was presented. Its political echoes found resonance in a country undergoing massive blood-letting. Nehru and his mandarins all attended one of the earliest stagings, and the play placed Alkazi firmly on the national stage. His earlier work, though innovative, appeared to cater to the bourgeoisie. In the NSD years, we see a coalescing of a strident western approach to drama with the ‘theatre of roots’ in India — traditions lying on the cusp of an imminent decrepitude. This amalgamation may have led to the derivative mongrelisation we observe so frequently in today’s contemporary theatre. Yet at that time, it must have provided an active ferment for experimentation. The photographic stills, it must be said, are mostly posed publicity shots. They capture the calculated repose of a burnished generation of actors, many recognizable faces among them. Some, grainier in texture, but with more character, appear to have been taken mid-performance. The living breathing form, theatre’s raison d’être, is almost always absent, raising questions about the kind of archiving that would best serve theatre. In an upstairs gallery, video clips of a Hindi adaptation of Lorca’s The House of Bernarda Alba, featuring Zohra Sehgal, are looped in perpetuity. They do provide insight into his working, but are woefully inadequate as a show reel for a man whose career spanned decades. Film, in any case, can never capture the truthfulness of a live form. Such a display of theatre royalty comes inextricably linked with the idea of privilege, that of wealth, class or language perhaps, but primarily of pioneer-ship. Being the first off the stumbling blocks with his revolutionary ideas for theatre, Alkazi forged new ground at every step. Certainly, the politics of language added lustre to this glory. The power of English as an aspirational tongue has dimmed somewhat in recent times. Its colonial baggage has hopefully been obliterated. One can only speculate about how much these notions were amplified in the late 40s and 50s in a country just delivered from British rule. Yet, the imprimatur of excellence that Alkazi brought to his works does not need to be rationalized to be made sense of. In order to recreate history, it is important to bring together all the elements that went in the making of an epoch. Nissar Allana has recreated miniature facsimiles of sets from Alkazi’s plays and of the venues he nurtured himself, like the Meghdoot terrace. These are reproduced assiduously from photographs. In one reconstruction, Macbeth’s scope is enhanced in an outdoor set that exudes both Greek grandeur and an artistic sparseness. That those were heady days is an idea one cannot escape from, when we look at how close to penury theatre practitioners operate in these days.