You have eight brief passages with 10 questions following each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives 

Time was when people looked heavenward and prayed, “Ye Gods, give us rain, keep drought away.” Today there are those who pray. “Give us rain, keep El Nino away.” 

El Nino and its atmospheric equivalent, called the Southern Oscillation, are together referred to as ENSO, and are household words today. Meteorologists recognize it as often being responsible for natural disaster worldwide. But this wisdom dawned only after countries suffered, first from the lack of knowledge, and then from the lack of coordination between policy making and the advances in scientific knowledge. 

Put simply, El Nino is a weather event restricted to certain tropical shores, especially the Peruvian coast. The event has diametrically opposite impacts on the land and sea. The Peruvian shore is a desert. But every few years, an unusually warm ocean current - El Nino - warms up the normally cold surface-waters off the Peruvian coast, causing very heavy rains in the early half of the year, 

And then, miraculously, the desert is matted green. Crops like cotton, coconuts and banana grow on the otherwise stubbornly barren land. These are the Peruvians’ anos de abundencia or years of abundance. The current had come to be termed El Nino, or the Christ Child because it usually appears as an enhancement if a mildly warm current that normally occurs here around every Christmas. 

But this boon on land is accompanied by oceanic disasters. Normally, the waters off the South American coast are among the most productive in the world because of a constant upwelling of nutrient rich cold waters from the ocean depths. During an El Nino, however waters are stirred up only from near the surface. The nutrient-crunch pushes down primary production, disrupting the food chain. Many marine species, including anchoveta (anchovies) temporarily disappear. 

This is just one damning effect of El Nino. Over the years its full impact has been studied and what the Peruvians once regarded as manna, is now seen as a major threat. 

How can we say that El Nino proves to be a boon for South American Coast ?  

You have eight brief passages with 10 questions following each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives 

Time was when people looked heavenward and prayed, “Ye Gods, give us rain, keep drought away.” Today there are those who pray. “Give us rain, keep El Nino away.” 

El Nino and its atmospheric equivalent, called the Southern Oscillation, are together referred to as ENSO, and are household words today. Meteorologists recognize it as often being responsible for natural disaster worldwide. But this wisdom dawned only after countries suffered, first from the lack of knowledge, and then from the lack of coordination between policy making and the advances in scientific knowledge. 

Put simply, El Nino is a weather event restricted to certain tropical shores, especially the Peruvian coast. The event has diametrically opposite impacts on the land and sea. The Peruvian shore is a desert. But every few years, an unusually warm ocean current - El Nino - warms up the normally cold surface-waters off the Peruvian coast, causing very heavy rains in the early half of the year, 

And then, miraculously, the desert is matted green. Crops like cotton, coconuts and banana grow on the otherwise stubbornly barren land. These are the Peruvians’ anos de abundencia or years of abundance. The current had come to be termed El Nino, or the Christ Child because it usually appears as an enhancement if a mildly warm current that normally occurs here around every Christmas. 

But this boon on land is accompanied by oceanic disasters. Normally, the waters off the South American coast are among the most productive in the world because of a constant upwelling of nutrient rich cold waters from the ocean depths. During an El Nino, however waters are stirred up only from near the surface. The nutrient-crunch pushes down primary production, disrupting the food chain. Many marine species, including anchoveta (anchovies) temporarily disappear. 

This is just one damning effect of El Nino. Over the years its full impact has been studied and what the Peruvians once regarded as manna, is now seen as a major threat. 

The years of abundance is when  

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

Artists capable of painting sporting pictures were

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

England has sporting pictures in abundance but

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

Up to the end of the eighteenth century British artists chiefly painted portraits because

Read the passage carefully and give the answer of following questions.

The interview may be conducted by letter and by telephone, as well as in person. Letter and telephone interviews are less satisfactory. Direct contact with an individual and a face-to-face relationship often provide a stimulating situation for both interviewer and interviewee. Personal reaction and interaction aid not only in rapport but also in obtaining nuances and additional information by the reactions which are more fully observed in a face-to-face relationship.

Adequate preparation for the interview is a “must”. Careful planning saves not only time but also energy of both parties concerned. The interview is used to obtain facts or subjective data such as individual opinions, attitudes, and preferences. Interviews are used to check on questionnaires which may have been used to obtain data, or when a problem being investigated is complex, or when the information needed to solve it cannot be secured easily in any other way. People will often give information orally but will not put it in writing.

Face-to-face interaction with the interviewees enables the interviewer to

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

In the history of English painting, the sporting picture is worth noting because-

Directions: Read the following passage carefully and choose the best answer to each question out of the four alternatives.

The most logical and intelligent people seem to go berserk when talking about snakes. Recently a reputed scientist said with a wise look in his eyes that sand boas have two heads. The other day someone walked into my office and stated that in his village at least cobras mate with rat snakes. About other places he was not sure, he added modestly, but that was how it was in his village.

These stories about snakes are myths. Sand boas have only one head; vine snakes do not peck your eyes out; no snake will drink milk. But it is interesting to try and trace the origin of these untruths. The one about the sand boas two heads obviously exists because the short, stumpy tail of this snake looks remarkably like the head, an effective device to fool predators. Or take the one about vine snakes pecking at eyes. It was ‘probably started by a vine snake that had a bad aim, as snakes, when provoked, will bite the most prominent projection of the offender, which is usually the nose.

But the most interesting one is about snakes coming to the scene of killing to take revenge. It so happens that when injured or under stress, a snake exudes, a large quantity of musk. Musk is a powerful sex attractant, the snakes’ equivalent of after-shave lotion. So after a snake is killed, the ground around still has this smell and naturally a snake of the same species passing by will lick its lips and come to investigate. The killer of the snake, who is probably worried if the pooja he performed was adequate to liquidate the killing of a snake, sees the second snake and is convinced that it was not.

The Irula tribals have a good answer to the query about whether cobras have jewels in their heads; “If they did, we wouldn’t be snake catchers, we would be rajas!”

Which of the following statement is true ?