DrLibSc's Test Series -10:

Questions for Practice UGC NET (Paper-1) ; (Q-01 to 50);

Designed by Mr. Niranjan Mohapatra for (www.drlibsc.blogspot.in)

Read the following passage and answer the question nos. 11 to 15:

After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going?

The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.

This is Manoj Kumar’s Desh Ki dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).

All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.

Question-

Which word Yash Chopra would not be able to pronounce?

After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going?

The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.

This is Manoj Kumar’s Desh Ki dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).

All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.

Question-

After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going?

The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.

This is Manoj Kumar’s Desh Ki dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).

All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.

Question-

After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going?

The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.

This is Manoj Kumar’s Desh Ki dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).

All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.

Question-

After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going?

The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.

This is Manoj Kumar’s Desh Ki dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).

All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.

Question-

(i) Hema Malini is the Chairperson of the Children’s Film Society, India.

(ii) Yash Chopra is the Chairman of the Central Board of Film Certification of India.

(iii) Sharmila Tagore is the Chairperson of National Film Development Corporation.

(iv) Dilip Kumar, Raj Kapoor and Preeti Zinta have all been recipients of Dada Saheb Phalke Award.

Which of the statements given above is/are correct?

(i) All flowers are not fragrant.

(ii) Most flowers are not fragrant.

(iii) None of the flowers is fragrant.

(iv) Most flowers are fragrant.

Choose the correct answer from the code given below:

Code:

Which of the following statements say the same thing?

(i) “I am a teacher” (said by Arvind)

(ii) “I am a teacher” (said by Binod)

(iii) “My son is a teacher” (said by Binod’s father)

(iv) “My brother is a teacher” (said by Binod’s sister)

(v) “My brother is a teacher” (said by Binod’s only sister)

(vi) “My sole enemy is a teacher” (said by Binod’s only enemy)

Choose the correct answer from the code given below:

Code:

Which of the following are correct ways of arguing?

(i) There can be no second husband without a second wife.

(ii) Anil is a friend of Bob, Bob is a friend of Raj, hence Anil is a friend of Raj.

(iii) A is equal to B, B is equal to C, hence A is equal to C.

(iv) If everyone is a liar, then we cannot prove it.

Choose the correct answer from the code given below:

Code:

Which of the following statement/s are ALWAYS FALSE?

(i) The sun will not rise in the East some day.

(ii) A wooden table is not a table.

(iii) Delhi city will be drowned under water.

 (iv) Cars run on water as fuel. Choose the correct answer from the code given below:

Code:

The number of students in four classes A, B, C, D and their respective mean marks obtained by each of the class are given below:

Class A            Class B            Class C            Class D

Number of students    10                    40                    30                    20

Arithmetic mean         20                    30                    50                    15

The combined mean of the marks of four classes together will be:

Arrange column II in proper sequence so as to match it with column I and choose the correct answer from the code given below:

Column I                                 Column II

Water Quality                         pH Value

(a) Neutral                               (i) 5

(b) Moderately acidic              (ii) 7

(c) Alkaline                             (iii) 4

(d) Injurious                            (iv) 8

Code:

Match List - I (Institutions) with List - II (Functions) and select the correct answer by using the code given below:

List - I (Institutions)                           List - II (Functions)

(a) Parliament                                      (i) Formulation of Budget

(b) C & A.G.                                       (ii) Enactment of Budget

(c) Ministry of Finance                       (iii) Implementation of Budget

(d) Executing Departments                 (iv) Legality of expenditure

(v) Justification of Income