CLAT Practice Test- 32 - CLAT MCQ

Directions: Read the passage and answer the question that follows.

Learn anywhere, any time without pressure and boredom. Flexible learning and learner autonomy are the greatest benefits of e-learning. Thanks to the pandemic, online learning has become popular and has led to questions about the effectiveness of traditional face-to-face classroom instruction and discussions on the need to integrate technology into teaching and learning, to design creative online learning content and to continue flexible learning. When virtual instruction suddenly replaced traditional classroom teaching across the globe, teachers and students initially struggled to use video conferencing tools for learning and communication. Now most of them are comfortable using these tools though the digital divide is a major problem. Now, after a year-long break, educational institutions have reopened partially and students have started attending physical classes. A few weeks ago, a survey group posted a query on social media about whether online education will be as popular as it is now after the pandemic is over. The reactions were mixed and varied. As both modes have their own advantages and disadvantages, some learners and educators prefer a blended approach that combines online material with traditional classroom teaching. It paves the way for flexible learning. Face-to-face interaction with teachers and fellow students is essential to develop the much-needed 21st century skills: the 4Cs of communication, collaboration, creativity and critical thinking. But with online learning, students can learn anywhere, any time, at their own pace. With constant developments in Internet technology and communication channels, students have access to quality materials in the form of videos from top educational institutions. Looking at the pandemic positively, we can say that teachers have learned that they can learn new skills and integrate technology into teaching. Quite astonishingly, more and more teachers are comfortable using video conferencing tools and have realised the importance of being creative and innovative to teach effectively online. Many students have realised that it is not worth attending physical classes in teaching factories. Fortunately, there are some universities that are ready to offer online UG and PG programmes at an affordable cost. Even parents see justification in opting for online courses. Though there are many advantages of online education, in a country like India, where a vast majority of students do not have access to the Internet, it is not possible to focus only on online education. Since students have been exposed to online learning, we should try blended mode of teaching / learning: For example, three hours of classroom teaching/learning + two hours of virtual teaching/learning or three days of classroom learning and three days of virtual learning. It is high time that educational institutions stopped the spoon-feeding system and promote innovative thinking among students. They should promote learner autonomy, which will help students prepare for the workplace.

Q. According to the passage, what is the major problem in using online learning platforms, which still has not been resolved?

Directions: Read the passage and answer the question that follows.

Learn anywhere, any time without pressure and boredom. Flexible learning and learner autonomy are the greatest benefits of e-learning. Thanks to the pandemic, online learning has become popular and has led to questions about the effectiveness of traditional face-to-face classroom instruction and discussions on the need to integrate technology into teaching and learning, to design creative online learning content and to continue flexible learning. When virtual instruction suddenly replaced traditional classroom teaching across the globe, teachers and students initially struggled to use video conferencing tools for learning and communication. Now most of them are comfortable using these tools though the digital divide is a major problem. Now, after a year-long break, educational institutions have reopened partially and students have started attending physical classes. A few weeks ago, a survey group posted a query on social media about whether online education will be as popular as it is now after the pandemic is over. The reactions were mixed and varied. As both modes have their own advantages and disadvantages, some learners and educators prefer a blended approach that combines online material with traditional classroom teaching. It paves the way for flexible learning. Face-to-face interaction with teachers and fellow students is essential to develop the much-needed 21st century skills: the 4Cs of communication, collaboration, creativity and critical thinking. But with online learning, students can learn anywhere, any time, at their own pace. With constant developments in Internet technology and communication channels, students have access to quality materials in the form of videos from top educational institutions. Looking at the pandemic positively, we can say that teachers have learned that they can learn new skills and integrate technology into teaching. Quite astonishingly, more and more teachers are comfortable using video conferencing tools and have realised the importance of being creative and innovative to teach effectively online. Many students have realised that it is not worth attending physical classes in teaching factories. Fortunately, there are some universities that are ready to offer online UG and PG programmes at an affordable cost. Even parents see justification in opting for online courses. Though there are many advantages of online education, in a country like India, where a vast majority of students do not have access to the Internet, it is not possible to focus only on online education. Since students have been exposed to online learning, we should try blended mode of teaching / learning: For example, three hours of classroom teaching/learning + two hours of virtual teaching/learning or three days of classroom learning and three days of virtual learning. It is high time that educational institutions stopped the spoon-feeding system and promote innovative thinking among students. They should promote learner autonomy, which will help students prepare for the workplace.

Q. Which of the following is not a characteristic of online learning?

Directions: Read the passage and answer the question that follows.

If you pay close attention to soap advertisements, you may hear of its pH value being touted perfect for human skin. But is there really such a thing? pH (Potential Hydrogen) is defined as the concentration of hydrogen ions in a solution. pH value ranges between 0 and 14. 7 is the neutral point, 0 being the most acidic and 14 being the most alkaline. More importantly, your skin isn’t exactly pH 5.5. It falls in a range between 4.0 and 7.0, depending on factors as diverse as the body part, age, genetics, ethnicity, environment conditions, to list a few. So, are products formulated at pH 5.5 perfect for the skin? The short answer: not really! First, parameters like surfactants, texture and other ingredients indicate a cleanser’s quality, much better than pH alone. Second, though the skin pH rises slightly immediately after cleaning even with plain water, it reverts to its mild acidic pH in an hour. Healthy skin quickly rebalances the ‘acid mantle’- a protective layer over the skin- and is unaffected in the long term by the cleanser’s pH. Skin modulates pH, making skin products function optimally, not just at various pH levels, but in combination with the overall formula. So, why market pH 5.5 products as ‘perfect’? Well, for certain skin types (e.g. oily skin) and certain skin conditions (like acne), an increase in pH can aggravate these skin situations. This might lead to an interpretation of a product needing to be at a 5.5 pH for optimum cleaning. The Bureau of Indian Standards’ (BIS) mandatory guidelines for soap also exclude pH demonstrating that composition is more relevant to safety and mildness. BIS even approves the use of such soaps for a baby’s skin, underscoring their safety under normal usage conditions. Skincare experts around the country have expressed their reservations about the issue of pH being the sole judge of product safety and acid mantle preservation when factors, including but not limited, to plain water may be contributing to the same. Hence, an ideal product is almost impossible to define. So, can we look at this ‘ideal pH’ as the only ideal measure of a cleansing product? The answer: look well beyond pH alone.

Q. Which of the following statement(s) are true?

Directions: Read the passage and answer the question that follows.

If you pay close attention to soap advertisements, you may hear of its pH value being touted perfect for human skin. But is there really such a thing? pH (Potential Hydrogen) is defined as the concentration of hydrogen ions in a solution. pH value ranges between 0 and 14. 7 is the neutral point, 0 being the most acidic and 14 being the most alkaline. More importantly, your skin isn’t exactly pH 5.5. It falls in a range between 4.0 and 7.0, depending on factors as diverse as the body part, age, genetics, ethnicity, environment conditions, to list a few. So, are products formulated at pH 5.5 perfect for the skin? The short answer: not really! First, parameters like surfactants, texture and other ingredients indicate a cleanser’s quality, much better than pH alone. Second, though the skin pH rises slightly immediately after cleaning even with plain water, it reverts to its mild acidic pH in an hour. Healthy skin quickly rebalances the ‘acid mantle’- a protective layer over the skin- and is unaffected in the long term by the cleanser’s pH. Skin modulates pH, making skin products function optimally, not just at various pH levels, but in combination with the overall formula. So, why market pH 5.5 products as ‘perfect’? Well, for certain skin types (e.g. oily skin) and certain skin conditions (like acne), an increase in pH can aggravate these skin situations. This might lead to an interpretation of a product needing to be at a 5.5 pH for optimum cleaning. The Bureau of Indian Standards’ (BIS) mandatory guidelines for soap also exclude pH demonstrating that composition is more relevant to safety and mildness. BIS even approves the use of such soaps for a baby’s skin, underscoring their safety under normal usage conditions. Skincare experts around the country have expressed their reservations about the issue of pH being the sole judge of product safety and acid mantle preservation when factors, including but not limited, to plain water may be contributing to the same. Hence, an ideal product is almost impossible to define. So, can we look at this ‘ideal pH’ as the only ideal measure of a cleansing product? The answer: look well beyond pH alone.

Q. What does the phrase ‘expressed their reservations’ convey in the passage?

Directions: Read the passage and answer the question that follows.

If you pay close attention to soap advertisements, you may hear of its pH value being touted perfect for human skin. But is there really such a thing? pH (Potential Hydrogen) is defined as the concentration of hydrogen ions in a solution. pH value ranges between 0 and 14. 7 is the neutral point, 0 being the most acidic and 14 being the most alkaline. More importantly, your skin isn’t exactly pH 5.5. It falls in a range between 4.0 and 7.0, depending on factors as diverse as the body part, age, genetics, ethnicity, environment conditions, to list a few. So, are products formulated at pH 5.5 perfect for the skin? The short answer: not really! First, parameters like surfactants, texture and other ingredients indicate a cleanser’s quality, much better than pH alone. Second, though the skin pH rises slightly immediately after cleaning even with plain water, it reverts to its mild acidic pH in an hour. Healthy skin quickly rebalances the ‘acid mantle’- a protective layer over the skin- and is unaffected in the long term by the cleanser’s pH. Skin modulates pH, making skin products function optimally, not just at various pH levels, but in combination with the overall formula. So, why market pH 5.5 products as ‘perfect’? Well, for certain skin types (e.g. oily skin) and certain skin conditions (like acne), an increase in pH can aggravate these skin situations. This might lead to an interpretation of a product needing to be at a 5.5 pH for optimum cleaning. The Bureau of Indian Standards’ (BIS) mandatory guidelines for soap also exclude pH demonstrating that composition is more relevant to safety and mildness. BIS even approves the use of such soaps for a baby’s skin, underscoring their safety under normal usage conditions. Skincare experts around the country have expressed their reservations about the issue of pH being the sole judge of product safety and acid mantle preservation when factors, including but not limited, to plain water may be contributing to the same. Hence, an ideal product is almost impossible to define. So, can we look at this ‘ideal pH’ as the only ideal measure of a cleansing product? The answer: look well beyond pH alone.

Q. According to the passage, what factors are to be considered to judge product safety and acid mantle preservation?

(i) pH

(ii) water used for taking bath

(iii) ingredients that indicate a cleanser’s quality

(iv) mildness

Directions: Read the passage and answer the question that follows.

If you pay close attention to soap advertisements, you may hear of its pH value being touted perfect for human skin. But is there really such a thing? pH (Potential Hydrogen) is defined as the concentration of hydrogen ions in a solution. pH value ranges between 0 and 14. 7 is the neutral point, 0 being the most acidic and 14 being the most alkaline. More importantly, your skin isn’t exactly pH 5.5. It falls in a range between 4.0 and 7.0, depending on factors as diverse as the body part, age, genetics, ethnicity, environment conditions, to list a few. So, are products formulated at pH 5.5 perfect for the skin? The short answer: not really! First, parameters like surfactants, texture and other ingredients indicate a cleanser’s quality, much better than pH alone. Second, though the skin pH rises slightly immediately after cleaning even with plain water, it reverts to its mild acidic pH in an hour. Healthy skin quickly rebalances the ‘acid mantle’- a protective layer over the skin- and is unaffected in the long term by the cleanser’s pH. Skin modulates pH, making skin products function optimally, not just at various pH levels, but in combination with the overall formula. So, why market pH 5.5 products as ‘perfect’? Well, for certain skin types (e.g. oily skin) and certain skin conditions (like acne), an increase in pH can aggravate these skin situations. This might lead to an interpretation of a product needing to be at a 5.5 pH for optimum cleaning. The Bureau of Indian Standards’ (BIS) mandatory guidelines for soap also exclude pH demonstrating that composition is more relevant to safety and mildness. BIS even approves the use of such soaps for a baby’s skin, underscoring their safety under normal usage conditions. Skincare experts around the country have expressed their reservations about the issue of pH being the sole judge of product safety and acid mantle preservation when factors, including but not limited, to plain water may be contributing to the same. Hence, an ideal product is almost impossible to define. So, can we look at this ‘ideal pH’ as the only ideal measure of a cleansing product? The answer: look well beyond pH alone.

Q. Why are products with pH 5.5 marketed as perfect?

Directions: Read the passage and answer the question that follows.

If you pay close attention to soap advertisements, you may hear of its pH value being touted perfect for human skin. But is there really such a thing? pH (Potential Hydrogen) is defined as the concentration of hydrogen ions in a solution. pH value ranges between 0 and 14. 7 is the neutral point, 0 being the most acidic and 14 being the most alkaline. More importantly, your skin isn’t exactly pH 5.5. It falls in a range between 4.0 and 7.0, depending on factors as diverse as the body part, age, genetics, ethnicity, environment conditions, to list a few. So, are products formulated at pH 5.5 perfect for the skin? The short answer: not really! First, parameters like surfactants, texture and other ingredients indicate a cleanser’s quality, much better than pH alone. Second, though the skin pH rises slightly immediately after cleaning even with plain water, it reverts to its mild acidic pH in an hour. Healthy skin quickly rebalances the ‘acid mantle’- a protective layer over the skin- and is unaffected in the long term by the cleanser’s pH. Skin modulates pH, making skin products function optimally, not just at various pH levels, but in combination with the overall formula. So, why market pH 5.5 products as ‘perfect’? Well, for certain skin types (e.g. oily skin) and certain skin conditions (like acne), an increase in pH can aggravate these skin situations. This might lead to an interpretation of a product needing to be at a 5.5 pH for optimum cleaning. The Bureau of Indian Standards’ (BIS) mandatory guidelines for soap also exclude pH demonstrating that composition is more relevant to safety and mildness. BIS even approves the use of such soaps for a baby’s skin, underscoring their safety under normal usage conditions. Skincare experts around the country have expressed their reservations about the issue of pH being the sole judge of product safety and acid mantle preservation when factors, including but not limited, to plain water may be contributing to the same. Hence, an ideal product is almost impossible to define. So, can we look at this ‘ideal pH’ as the only ideal measure of a cleansing product? The answer: look well beyond pH alone.

Q. Which of the following statement(s) support that soaps with pH 5.5 is not considered ‘perfect’?

(i) the pH of skin isn’t exactly 5.5

(ii) a cleanser’s quality is indicated by surfactants, texture and other ingredients, better than pH

(iii) BIS excludes pH as a character of a good soap and indicates that soaps with any pH does not cause harm to human skin

(iv) for certain skin types, pH is the only thing that needs to be considered while buying a soap.

Directions: Read the passage and answer the question that follows.

After a year, Shrishti Art Gallery in Jubilee Hills, Hyderabad, is welcoming visitors into its premises with the exhibition ‘Maadhyam’ (medium). Instead of two-dimensional paintings, Maadhyam has artworks by emerging artists who use a variety of materials to make wall hanging sculptures, tapestries with thread work or combine a painting and a three-dimensional object for a unique narrative. Let’s look at some of the masterpieces by emerging artists. Ajay singh Bhadoria’s wall hanging sculptures are like miniature replicas of archways and latticework that’s synonymous with Hyderabad’s architecture. Ajay uses materials such as bone china, clay, terracotta and stoneware to create miniatures. Art needn’t always be serious or brooding. There’s scope for satire — on people, urbanisation and changing lifestyles. Devesh Upadhyay’s sculptures explore the psychological and emotional state of an individual. In his ‘silent conversations’ series, he presents human forms with amused and vivid expressions, at once making viewers chuckle while appreciating the dexterity of the work. Elsewhere, Bibhu Nath invokes subtle humour when he juxtaposes the old and the new in quirky artworks made of paper pulp. He presents vignettes of rustic life, mythology, folklore and urban men and women, all at once. The plight of farmers becomes the theme for Sayantan Samantha’s work. Growing up in a Kolkata suburb, he witnessed agricultural lands being usurped for industrial use. An image of a factory is central to his artwork and is framed by a mixture of paper pulp, rice husk and concrete to hint at the transformation. An ornate chair placed near the photograph, he explains, is a metaphor that alludes to the shift of seat of power. One of Maadhyam’s focuses is gender sensitivity, particularly identity and freedom. The most telling series on gender comes from Richa Arya who hails from Haryana and has witnessed how education is a formality for women to get ‘a good alliance’. To depict the hardships faced by women as well as their tenacity, she uses heavy metals. Iron is strong and pure but can get rusted without use, similar to what happens to women who aren’t allowed to put their education to use. Iron sheets are hammered and stitched onto steel, bronze and other surfaces to take on different forms. One series where she depicts everyday objects from the kitchen is her way of lamenting that these household utensils define the lives of women.

Q. What is true about ‘Maadhyam’?

Directions: Read the passage and answer the question that follows.

After a year, Shrishti Art Gallery in Jubilee Hills, Hyderabad, is welcoming visitors into its premises with the exhibition ‘Maadhyam’ (medium). Instead of two-dimensional paintings, Maadhyam has artworks by emerging artists who use a variety of materials to make wall hanging sculptures, tapestries with thread work or combine a painting and a three-dimensional object for a unique narrative. Let’s look at some of the masterpieces by emerging artists. Ajaysingh Bhadoria’s wall hanging sculptures are like miniature replicas of archways and latticework that’s synonymous with Hyderabad’s architecture. Ajay uses materials such as bone china, clay, terracotta and stoneware to create miniatures. Art needn’t always be serious or brooding. There’s scope for satire — on people, urbanisation and changing lifestyles. Devesh Upadhyay’s sculptures explore the psychological and emotional state of an individual. In his ‘silent conversations’ series, he presents human forms with amused and vivid expressions, at once making viewers chuckle while appreciating the dexterity of the work. Elsewhere, Bibhu Nath invokes subtle humour when he juxtaposes the old and the new in quirky artworks made of paper pulp. He presents vignettes of rustic life, mythology, folklore and urban men and women, all at once. The plight of farmers becomes the theme for Sayantan Samantha’s work. Growing up in a Kolkata suburb, he witnessed agricultural lands being usurped for industrial use. An image of a factory is central to his artwork and is framed by a mixture of paper pulp, rice husk and concrete to hint at the transformation. An ornate chair placed near the photograph, he explains, is a metaphor that alludes to the shift of seat of power. One of Maadhyam’s focuses is gender sensitivity, particularly identity and freedom. The most telling series on gender comes from Richa Arya who hails from Haryana and has witnessed how education is a formality for women to get ‘a good alliance’. To depict the hardships faced by women as well as their tenacity, she uses heavy metals. Iron is strong and pure but can get rusted without use, similar to what happens to women who aren’t allowed to put their education to use. Iron sheets are hammered and stitched onto steel, bronze and other surfaces to take on different forms. One series where she depicts everyday objects from the kitchen is her way of lamenting that these household utensils define the lives of women.

Q. Which of the following is/are antonyms of the word ‘dexterity’?

(i) clumsiness

(ii) expertise

(iii) adroitness

(iv) shrewdness

Directions: Read the passage and answer the question that follows.

After a year, Shrishti Art Gallery in Jubilee Hills, Hyderabad, is welcoming visitors into its premises with the exhibition ‘Maadhyam’ (medium). Instead of two-dimensional paintings, Maadhyam has artworks by emerging artists who use a variety of materials to make wall hanging sculptures, tapestries with thread work or combine a painting and a three-dimensional object for a unique narrative. Let’s look at some of the masterpieces by emerging artists. Ajaysingh Bhadoria’s wall hanging sculptures are like miniature replicas of archways and latticework that’s synonymous with Hyderabad’s architecture. Ajay uses materials such as bone china, clay, terracotta and stoneware to create miniatures. Art needn’t always be serious or brooding. There’s scope for satire — on people, urbanisation and changing lifestyles. Devesh Upadhyay’s sculptures explore the psychological and emotional state of an individual. In his ‘silent conversations’ series, he presents human forms with amused and vivid expressions, at once making viewers chuckle while appreciating the dexterity of the work. Elsewhere, Bibhu Nath invokes subtle humour when he juxtaposes the old and the new in quirky artworks made of paper pulp. He presents vignettes of rustic life, mythology, folklore and urban men and women, all at once. The plight of farmers becomes the theme for Sayantan Samantha’s work. Growing up in a Kolkata suburb, he witnessed agricultural lands being usurped for industrial use. An image of a factory is central to his artwork and is framed by a mixture of paper pulp, rice husk and concrete to hint at the transformation. An ornate chair placed near the photograph, he explains, is a metaphor that alludes to the shift of seat of power. One of Maadhyam’s focuses is gender sensitivity, particularly identity and freedom. The most telling series on gender comes from Richa Arya who hails from Haryana and has witnessed how education is a formality for women to get ‘a good alliance’. To depict the hardships faced by women as well as their tenacity, she uses heavy metals. Iron is strong and pure but can get rusted without use, similar to what happens to women who aren’t allowed to put their education to use. Iron sheets are hammered and stitched onto steel, bronze and other surfaces to take on different forms. One series where she depicts everyday objects from the kitchen is her way of lamenting that these household utensils define the lives of women.

Q. What does Richa Arya use to portray the persistence of women?

Directions: Read the passage and answer the question that follows.

After a year, Shrishti Art Gallery in Jubilee Hills, Hyderabad, is welcoming visitors into its premises with the exhibition ‘Maadhyam’ (medium). Instead of two-dimensional paintings, Maadhyam has artworks by emerging artists who use a variety of materials to make wall hanging sculptures, tapestries with thread work or combine a painting and a three-dimensional object for a unique narrative. Let’s look at some of the masterpieces by emerging artists. Ajaysingh Bhadoria’s wall hanging sculptures are like miniature replicas of archways and latticework that’s synonymous with Hyderabad’s architecture. Ajay uses materials such as bone china, clay, terracotta and stoneware to create miniatures. Art needn’t always be serious or brooding. There’s scope for satire — on people, urbanisation and changing lifestyles. Devesh Upadhyay’s sculptures explore the psychological and emotional state of an individual. In his ‘silent conversations’ series, he presents human forms with amused and vivid expressions, at once making viewers chuckle while appreciating the dexterity of the work. Elsewhere, Bibhu Nath invokes subtle humour when he juxtaposes the old and the new in quirky artworks made of paper pulp. He presents vignettes of rustic life, mythology, folklore and urban men and women, all at once. The plight of farmers becomes the theme for Sayantan Samantha’s work. Growing up in a Kolkata suburb, he witnessed agricultural lands being usurped for industrial use. An image of a factory is central to his artwork and is framed by a mixture of paper pulp, rice husk and concrete to hint at the transformation. An ornate chair placed near the photograph, he explains, is a metaphor that alludes to the shift of seat of power. One of Maadhyam’s focuses is gender sensitivity, particularly identity and freedom. The most telling series on gender comes from Richa Arya who hails from Haryana and has witnessed how education is a formality for women to get ‘a good alliance’. To depict the hardships faced by women as well as their tenacity, she uses heavy metals. Iron is strong and pure but can get rusted without use, similar to what happens to women who aren’t allowed to put their education to use. Iron sheets are hammered and stitched onto steel, bronze and other surfaces to take on different forms. One series where she depicts everyday objects from the kitchen is her way of lamenting that these household utensils define the lives of women.

Q. Which of the following is/are the example(s), stated in the passage, for serious or brooding art?

Directions: Read the passage and answer the question that follows.

After a year, Shrishti Art Gallery in Jubilee Hills, Hyderabad, is welcoming visitors into its premises with the exhibition ‘Maadhyam’ (medium). Instead of two-dimensional paintings, Maadhyam has artworks by emerging artists who use a variety of materials to make wall hanging sculptures, tapestries with thread work or combine a painting and a three-dimensional object for a unique narrative. Let’s look at some of the masterpieces by emerging artists. Ajaysingh Bhadoria’s wall hanging sculptures are like miniature replicas of archways and latticework that’s synonymous with Hyderabad’s architecture. Ajay uses materials such as bone china, clay, terracotta and stoneware to create miniatures. Art needn’t always be serious or brooding. There’s scope for satire — on people, urbanisation and changing lifestyles. Devesh Upadhyay’s sculptures explore the psychological and emotional state of an individual. In his ‘silent conversations’ series, he presents human forms with amused and vivid expressions, at once making viewers chuckle while appreciating the dexterity of the work. Elsewhere, Bibhu Nath invokes subtle humour when he juxtaposes the old and the new in quirky artworks made of paper pulp. He presents vignettes of rustic life, mythology, folklore and urban men and women, all at once. The plight of farmers becomes the theme for Sayantan Samantha’s work. Growing up in a Kolkata suburb, he witnessed agricultural lands being usurped for industrial use. An image of a factory is central to his artwork and is framed by a mixture of paper pulp, rice husk and concrete to hint at the transformation. An ornate chair placed near the photograph, he explains, is a metaphor that alludes to the shift of seat of power. One of Maadhyam’s focuses is gender sensitivity, particularly identity and freedom. The most telling series on gender comes from Richa Arya who hails from Haryana and has witnessed how education is a formality for women to get ‘a good alliance’. To depict the hardships faced by women as well as their tenacity, she uses heavy metals. Iron is strong and pure but can get rusted without use, similar to what happens to women who aren’t allowed to put their education to use. Iron sheets are hammered and stitched onto steel, bronze and other surfaces to take on different forms. One series where she depicts everyday objects from the kitchen is her way of lamenting that these household utensils define the lives of women.

Q. Why is an ornate chair placed near Sayantan Samantha’s work?

Directions: Read the passage and answer the question that follows.

Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.

Q. The passage mainly focuses on ____________

Directions: Read the passage and answer the question that follows.

Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.

Q. Which of the following statements is true about andril paravai ?

(i) although they are mentioned a lot in literature, they are not represented much, visually.

(ii) they are always spotted in pairs and do not survive without the other.

(iii) they are seen as ornamentation around the deity in so many temples.

(iv) the motif can be seen on the ceiling and walls of the Chittinavasal cave.

Directions: Read the passage and answer the question that follows.

Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.

Q. After portraying the andril paravai motif, what did Matthew do?

Directions: Read the passage and answer the question that follows.

Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.

Q. The “additions and subtractions” were being made to what, according to Samuel?

Directions: Read the passage and answer the question that follows.

Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.

Q. What part of speech is the word ‘albeit’

Directions: Read the passage and answer the question that follows.

In this world of devastating, unsustainable and rising inequalities, facing a climate crisis and a global deficit of care, we desperately need to rethink how we live and what we value. So, it is wonderful and important to feature indigenous values and ways of life, as we have a great deal to learn from them, not just for the future of India, but for the future of the world. Too often, indigenous communities- like the Adivasis in India- have been cast out from the society as ‘wild’, ‘savage’ and, of course, very poor. But, in fact, many such indigenous people are communities of unfathomable riches that extend beyond crude measures of GDP or income or assets. Adivasi wealth lies in the values they hold, the ways they lead their lives with each other, the kind of communities they build. With just three examples, by considering art, the environment and gender relations in indigenous communities, this point would be clear. Travelling through the forests of Jharkhand, Chhattisgarh or Odisha, it is hard not to have our breath taken away by the wonders of these regions- this is not only for the beauty of these forests but for the Adivasi villages therein, which are incredibly clean and picturesque. Further, in these villages, art is not the preserve of elites for exhibition- one can see art in the craftsmanship of a teak door, in the cheery swirls of the hand-painting upon mud walls. One can hear it in the song of monsoon rain drops playing on handmade roof. One can feel it in the linking of arms in the village dancing circle, people singing together and playing drums. Art here is joy, created by everyone for everyone, encompassing life itself. The indigenous worldview around the environment is similar. The environment is not perceived as a commodity to be exploited, harvested and conquered, but it is instead a commons to be enjoyed and shared by all. There is no separation between nature and culture. The ancestors inhabit the waters, the forests and the landscape. And those who have passed have to be cared for, or they would get angry and unleash the forces of the environment. Adivasis therefore deeply nurture and protect the environment around them as our commonwealth, a bridge between the ancestors and those who will follow us after. Equally remarkable is the indigenous perspective on gender relations. What is so extraordinary about these forest areas is the much greater status, respect and freedom women within these have as compared to their counterparts in the agricultural plains. Women danced and drank homemade brew, rice beer and wine made from the mahua flower alongside men. Indigenous women worked outside their homes and they often held the strings of the purse as well. Women had the freedom to leave bad relationships or start new ones without being ostracised. In some ways, indigenous women had many of the freedoms that feminists have so long fought for and that are so hard to find in much of India.

Q. Why does the author say that the riches of indigenous communities cannot be fathomed?

Directions: Read the passage and answer the question that follows.

In this world of devastating, unsustainable and rising inequalities, facing a climate crisis and a global deficit of care, we desperately need to rethink how we live and what we value. So, it is wonderful and important to feature indigenous values and ways of life, as we have a great deal to learn from them, not just for the future of India, but for the future of the world. Too often, indigenous communities- like the Adivasis in India- have been cast out from the society as ‘wild’, ‘savage’ and, of course, very poor. But, in fact, many such indigenous people are communities of unfathomable riches that extend beyond crude measures of GDP or income or assets. Adivasi wealth lies in the values they hold, the ways they lead their lives with each other, the kind of communities they build. With just three examples, by considering art, the environment and gender relations in indigenous communities, this point would be clear. Travelling through the forests of Jharkhand, Chhattisgarh or Odisha, it is hard not to have our breath taken away by the wonders of these regions- this is not only for the beauty of these forests but for the Adivasi villages therein, which are incredibly clean and picturesque. Further, in these villages, art is not the preserve of elites for exhibition- one can see art in the craftsmanship of a teak door, in the cheery swirls of the hand-painting upon mud walls. One can hear it in the song of monsoon rain drops playing on handmade roof. One can feel it in the linking of arms in the village dancing circle, people singing together and playing drums. Art here is joy, created by everyone for everyone, encompassing life itself. The indigenous worldview around the environment is similar. The environment is not perceived as a commodity to be exploited, harvested and conquered, but it is instead a commons to be enjoyed and shared by all. There is no separation between nature and culture. The ancestors inhabit the waters, the forests and the landscape. And those who have passed have to be cared for, or they would get angry and unleash the forces of the environment. Adivasis therefore deeply nurture and protect the environment around them as our commonwealth, a bridge between the ancestors and those who will follow us after. Equally remarkable is the indigenous perspective on gender relations. What is so extraordinary about these forest areas is the much greater status, respect and freedom women within these have as compared to their counterparts in the agricultural plains. Women danced and drank homemade brew, rice beer and wine made from the mahua flower alongside men. Indigenous women worked outside their homes and they often held the strings of the purse as well. Women had the freedom to leave bad relationships or start new ones without being ostracised. In some ways, indigenous women had many of the freedoms that feminists have so long fought for and that are so hard to find in much of India.

Q. Which pair of words are synonyms of ‘indigenous’?

(i) aboriginal

(ii) expatriate

(iii) autochthonous

(iv) adventitious

Directions: Read the passage and answer the question that follows.

In this world of devastating, unsustainable and rising inequalities, facing a climate crisis and a global deficit of care, we desperately need to rethink how we live and what we value. So, it is wonderful and important to feature indigenous values and ways of life, as we have a great deal to learn from them, not just for the future of India, but for the future of the world. Too often, indigenous communities- like the Adivasis in India- have been cast out from the society as ‘wild’, ‘savage’ and, of course, very poor. But, in fact, many such indigenous people are communities of unfathomable riches that extend beyond crude measures of GDP or income or assets. Adivasi wealth lies in the values they hold, the ways they lead their lives with each other, the kind of communities they build. With just three examples, by considering art, the environment and gender relations in indigenous communities, this point would be clear. Travelling through the forests of Jharkhand, Chhattisgarh or Odisha, it is hard not to have our breath taken away by the wonders of these regions- this is not only for the beauty of these forests but for the Adivasi villages therein, which are incredibly clean and picturesque. Further, in these villages, art is not the preserve of elites for exhibition- one can see art in the craftsmanship of a teak door, in the cheery swirls of the hand-painting upon mud walls. One can hear it in the song of monsoon rain drops playing on handmade roof. One can feel it in the linking of arms in the village dancing circle, people singing together and playing drums. Art here is joy, created by everyone for everyone, encompassing life itself. The indigenous worldview around the environment is similar. The environment is not perceived as a commodity to be exploited, harvested and conquered, but it is instead a commons to be enjoyed and shared by all. There is no separation between nature and culture. The ancestors inhabit the waters, the forests and the landscape. And those who have passed have to be cared for, or they would get angry and unleash the forces of the environment. Adivasis therefore deeply nurture and protect the environment around them as our commonwealth, a bridge between the ancestors and those who will follow us after. Equally remarkable is the indigenous perspective on gender relations. What is so extraordinary about these forest areas is the much greater status, respect and freedom women within these have as compared to their counterparts in the agricultural plains. Women danced and drank homemade brew, rice beer and wine made from the mahua flower alongside men. Indigenous women worked outside their homes and they often held the strings of the purse as well. Women had the freedom to leave bad relationships or start new ones without being ostracised. In some ways, indigenous women had many of the freedoms that feminists have so long fought for and that are so hard to find in much of India.

Q. Which of the following is true regarding the women of indigenous community?

Directions: Read the passage and answer the question that follows.

In this world of devastating, unsustainable and rising inequalities, facing a climate crisis and a global deficit of care, we desperately need to rethink how we live and what we value. So, it is wonderful and important to feature indigenous values and ways of life, as we have a great deal to learn from them, not just for the future of India, but for the future of the world. Too often, indigenous communities- like the Adivasis in India- have been cast out from the society as ‘wild’, ‘savage’ and, of course, very poor. But, in fact, many such indigenous people are communities of unfathomable riches that extend beyond crude measures of GDP or income or assets. Adivasi wealth lies in the values they hold, the ways they lead their lives with each other, the kind of communities they build. With just three examples, by considering art, the environment and gender relations in indigenous communities, this point would be clear. Travelling through the forests of Jharkhand, Chhattisgarh or Odisha, it is hard not to have our breath taken away by the wonders of these regions- this is not only for the beauty of these forests but for the Adivasi villages therein, which are incredibly clean and picturesque. Further, in these villages, art is not the preserve of elites for exhibition- one can see art in the craftsmanship of a teak door, in the cheery swirls of the hand-painting upon mud walls. One can hear it in the song of monsoon rain drops playing on handmade roof. One can feel it in the linking of arms in the village dancing circle, people singing together and playing drums. Art here is joy, created by everyone for everyone, encompassing life itself. The indigenous worldview around the environment is similar. The environment is not perceived as a commodity to be exploited, harvested and conquered, but it is instead a commons to be enjoyed and shared by all. There is no separation between nature and culture. The ancestors inhabit the waters, the forests and the landscape. And those who have passed have to be cared for, or they would get angry and unleash the forces of the environment. Adivasis therefore deeply nurture and protect the environment around them as our commonwealth, a bridge between the ancestors and those who will follow us after. Equally remarkable is the indigenous perspective on gender relations. What is so extraordinary about these forest areas is the much greater status, respect and freedom women within these have as compared to their counterparts in the agricultural plains. Women danced and drank homemade brew, rice beer and wine made from the mahua flower alongside men. Indigenous women worked outside their homes and they often held the strings of the purse as well. Women had the freedom to leave bad relationships or start new ones without being ostracised. In some ways, indigenous women had many of the freedoms that feminists have so long fought for and that are so hard to find in much of India.

Q. What things make an Adivasi village excel in art?

(i) the exhibitions of art conducted by elites in the villages.

(ii) the craftsmanship that goes into the making of houses, even the doors and walls.

(iii) the way they dance and sing their song.

(iv) the joy created by everyone for everyone.

Directions: Read the passage and answer the question that follows.

In this world of devastating, unsustainable and rising inequalities, facing a climate crisis and a global deficit of care, we desperately need to rethink how we live and what we value. So, it is wonderful and important to feature indigenous values and ways of life, as we have a great deal to learn from them, not just for the future of India, but for the future of the world. Too often, indigenous communities- like the Adivasis in India- have been cast out from the society as ‘wild’, ‘savage’ and, of course, very poor. But, in fact, many such indigenous people are communities of unfathomable riches that extend beyond crude measures of GDP or income or assets. Adivasi wealth lies in the values they hold, the ways they lead their lives with each other, the kind of communities they build. With just three examples, by considering art, the environment and gender relations in indigenous communities, this point would be clear. Travelling through the forests of Jharkhand, Chhattisgarh or Odisha, it is hard not to have our breath taken away by the wonders of these regions- this is not only for the beauty of these forests but for the Adivasi villages therein, which are incredibly clean and picturesque. Further, in these villages, art is not the preserve of elites for exhibition- one can see art in the craftsmanship of a teak door, in the cheery swirls of the hand-painting upon mud walls. One can hear it in the song of monsoon rain drops playing on handmade roof. One can feel it in the linking of arms in the village dancing circle, people singing together and playing drums. Art here is joy, created by everyone for everyone, encompassing life itself. The indigenous worldview around the environment is similar. The environment is not perceived as a commodity to be exploited, harvested and conquered, but it is instead a commons to be enjoyed and shared by all. There is no separation between nature and culture. The ancestors inhabit the waters, the forests and the landscape. And those who have passed have to be cared for, or they would get angry and unleash the forces of the environment. Adivasis therefore deeply nurture and protect the environment around them as our commonwealth, a bridge between the ancestors and those who will follow us after. Equally remarkable is the indigenous perspective on gender relations. What is so extraordinary about these forest areas is the much greater status, respect and freedom women within these have as compared to their counterparts in the agricultural plains. Women danced and drank homemade brew, rice beer and wine made from the mahua flower alongside men. Indigenous women worked outside their homes and they often held the strings of the purse as well. Women had the freedom to leave bad relationships or start new ones without being ostracised. In some ways, indigenous women had many of the freedoms that feminists have so long fought for and that are so hard to find in much of India.

Q. Why do indigenous people perceive the environment not as a commodity to be exploited, harvested and conquered?

(i) They want everyone to enjoy and share it.

(ii) Their belief that the dead would get angry if their abode is not cared for.

(iii) They could live satisfactorily without invading nature, as their culture and nature are not different.

(iv) If they start exploiting, there will be a bridge between ancestors and the people from cities, who will follow them to exploit these forests.

Directions: Read the passage and answer the question that follows.

In 2022, India will join a select group of countries limiting industrial trans-fat to 2% by mass of the total oils/fats present in the product. India would thus be achieving the WHO target a year in advance. In mid-2016, the trans-fat content limit was halved from 10% to 5%, and in December 2020, the Food Safety and Standards Authority of India (FSSAI) capped it to 3% by 2021. While trans-fat is naturally present in red meat and dairy products, the focus is on restricting the industrially produced trans-fat used solely to prolong the shelf life of products at less cost. While the government’s notification specifically mentions edible oils and fats that are used as ingredients, it also applies to emulsions such as margarines. Targeting these ingredients would in effect result in reducing the trans-fat content to 2% in all food items as these two are the major sources of industrial trans-fat. Also, even when the fat/oil contains less than 2% trans-fat, repeated use at high temperature can increase the trans-fat content. The focus on cutting down trans-fat content in food arises from its proclivity to negatively alter the lipoprotein cholesterol profile by increasing the level of bad cholesterol (LDL) while decreasing the level of HDL or good cholesterol. These changes in the lipoprotein cholesterol profile increase the risk of cardiovascular diseases. In 2004, when Denmark became the first country to limit industrially produced trans-fat content in all foods to 2% of fats and oils, it faced resistance from much of Europe, including the European Commission. However, many countries have since adopted similar restrictions themselves. The benefits of reducing trans-fat can become quickly apparent, as seen in Denmark; three years after the cap came into effect, it saw a reduction of about 14 deaths attributable to cardiovascular diseases per 1,00,000 population. It is now well known that trans-fat can be completely eliminated and replaced with healthier substitutes without any change in the food taste or cost. According to WHO, a dozen large multinational food companies have already committed to eliminate industrially produced trans-fat from all their products by 2023.

Q. In which year did India originally plan to meet the WHO target of limiting trans-fat to 2% by mass of the total oils/fats present in the product?

Directions: Read the passage and answer the question that follows.

In 2022, India will join a select group of countries limiting industrial trans-fat to 2% by mass of the total oils/fats present in the product. India would thus be achieving the WHO target a year in advance. In mid-2016, the trans-fat content limit was halved from 10% to 5%, and in December 2020, the Food Safety and Standards Authority of India (FSSAI) capped it to 3% by 2021. While trans-fat is naturally present in red meat and dairy products, the focus is on restricting the industrially produced trans-fat used solely to prolong the shelf life of products at less cost. While the government’s notification specifically mentions edible oils and fats that are used as ingredients, it also applies to emulsions such as margarines. Targeting these ingredients would in effect result in reducing the trans-fat content to 2% in all food items as these two are the major sources of industrial trans-fat. Also, even when the fat/oil contains less than 2% trans-fat, repeated use at high temperature can increase the trans-fat content. The focus on cutting down trans-fat content in food arises from its proclivity to negatively alter the lipoprotein cholesterol profile by increasing the level of bad cholesterol (LDL) while decreasing the level of HDL or good cholesterol. These changes in the lipoprotein cholesterol profile increase the risk of cardiovascular diseases. In 2004, when Denmark became the first country to limit industrially produced trans-fat content in all foods to 2% of fats and oils, it faced resistance from much of Europe, including the European Commission. However, many countries have since adopted similar restrictions themselves. The benefits of reducing trans-fat can become quickly apparent, as seen in Denmark; three years after the cap came into effect, it saw a reduction of about 14 deaths attributable to cardiovascular diseases per 1,00,000 population. It is now well known that trans-fat can be completely eliminated and replaced with healthier substitutes without any change in the food taste or cost. According to WHO, a dozen large multinational food companies have already committed to eliminate industrially produced trans-fat from all their products by 2023.

Q. Which of the following is a synonym for the word ‘proclivity’?

Directions: Read the passage and answer the question that follows.

In 2022, India will join a select group of countries limiting industrial trans-fat to 2% by mass of the total oils/fats present in the product. India would thus be achieving the WHO target a year in advance. In mid-2016, the trans-fat content limit was halved from 10% to 5%, and in December 2020, the Food Safety and Standards Authority of India (FSSAI) capped it to 3% by 2021. While trans-fat is naturally present in red meat and dairy products, the focus is on restricting the industrially produced trans-fat used solely to prolong the shelf life of products at less cost. While the government’s notification specifically mentions edible oils and fats that are used as ingredients, it also applies to emulsions such as margarines. Targeting these ingredients would in effect result in reducing the trans-fat content to 2% in all food items as these two are the major sources of industrial trans-fat. Also, even when the fat/oil contains less than 2% trans-fat, repeated use at high temperature can increase the trans-fat content. The focus on cutting down trans-fat content in food arises from its proclivity to negatively alter the lipoprotein cholesterol profile by increasing the level of bad cholesterol (LDL) while decreasing the level of HDL or good cholesterol. These changes in the lipoprotein cholesterol profile increase the risk of cardiovascular diseases. In 2004, when Denmark became the first country to limit industrially produced trans-fat content in all foods to 2% of fats and oils, it faced resistance from much of Europe, including the European Commission. However, many countries have since adopted similar restrictions themselves. The benefits of reducing trans-fat can become quickly apparent, as seen in Denmark; three years after the cap came into effect, it saw a reduction of about 14 deaths attributable to cardiovascular diseases per 1,00,000 population. It is now well known that trans-fat can be completely eliminated and replaced with healthier substitutes without any change in the food taste or cost. According to WHO, a dozen large multinational food companies have already committed to eliminate industrially produced trans-fat from all their products by 2023.

Q. Which of the following statement(s) is/are true according to the passage?

(i) Food items using industrially produced trans-fat will have more shelf life.

(ii) Use of oil/fat that contains less than 2% trans-fat at high temperatures can increase the trans-fat content, irrespective of the number of times it is used.

(iii) Three years after the cap on trans-fat, Denmark has seen 14% fewer deaths related to cardiovascular diseases.

(iv) Many large food companies have committed to eliminate industrially produced trans-fat from all their products by 2023, though it is going to cost them a dime.

Directions: Read the passage and answer the question that follows.

In 2022, India will join a select group of countries limiting industrial trans-fat to 2% by mass of the total oils/fats present in the product. India would thus be achieving the WHO target a year in advance. In mid-2016, the trans-fat content limit was halved from 10% to 5%, and in December 2020, the Food Safety and Standards Authority of India (FSSAI) capped it to 3% by 2021. While trans-fat is naturally present in red meat and dairy products, the focus is on restricting the industrially produced trans-fat used solely to prolong the shelf life of products at less cost. While the government’s notification specifically mentions edible oils and fats that are used as ingredients, it also applies to emulsions such as margarines. Targeting these ingredients would in effect result in reducing the trans-fat content to 2% in all food items as these two are the major sources of industrial trans-fat. Also, even when the fat/oil contains less than 2% trans-fat, repeated use at high temperature can increase the trans-fat content. The focus on cutting down trans-fat content in food arises from its proclivity to negatively alter the lipoprotein cholesterol profile by increasing the level of bad cholesterol (LDL) while decreasing the level of HDL or good cholesterol. These changes in the lipoprotein cholesterol profile increase the risk of cardiovascular diseases. In 2004, when Denmark became the first country to limit industrially produced trans-fat content in all foods to 2% of fats and oils, it faced resistance from much of Europe, including the European Commission. However, many countries have since adopted similar restrictions themselves. The benefits of reducing trans-fat can become quickly apparent, as seen in Denmark; three years after the cap came into effect, it saw a reduction of about 14 deaths attributable to cardiovascular diseases per 1,00,000 population. It is now well known that trans-fat can be completely eliminated and replaced with healthier substitutes without any change in the food taste or cost. According to WHO, a dozen large multinational food companies have already committed to eliminate industrially produced trans-fat from all their products by 2023.

Q. To achieve its target in reducing trans-fat, what will India focus on?

Directions: Read the passage and answer the question that follows.

In 2022, India will join a select group of countries limiting industrial trans-fat to 2% by mass of the total oils/fats present in the product. India would thus be achieving the WHO target a year in advance. In mid-2016, the trans-fat content limit was halved from 10% to 5%, and in December 2020, the Food Safety and Standards Authority of India (FSSAI) capped it to 3% by 2021. While trans-fat is naturally present in red meat and dairy products, the focus is on restricting the industrially produced trans-fat used solely to prolong the shelf life of products at less cost. While the government’s notification specifically mentions edible oils and fats that are used as ingredients, it also applies to emulsions such as margarines. Targeting these ingredients would in effect result in reducing the trans-fat content to 2% in all food items as these two are the major sources of industrial trans-fat. Also, even when the fat/oil contains less than 2% trans-fat, repeated use at high temperature can increase the trans-fat content. The focus on cutting down trans-fat content in food arises from its proclivity to negatively alter the lipoprotein cholesterol profile by increasing the level of bad cholesterol (LDL) while decreasing the level of HDL or good cholesterol. These changes in the lipoprotein cholesterol profile increase the risk of cardiovascular diseases. In 2004, when Denmark became the first country to limit industrially produced trans-fat content in all foods to 2% of fats and oils, it faced resistance from much of Europe, including the European Commission. However, many countries have since adopted similar restrictions themselves. The benefits of reducing trans-fat can become quickly apparent, as seen in Denmark; three years after the cap came into effect, it saw a reduction of about 14 deaths attributable to cardiovascular diseases per 1,00,000 population. It is now well known that trans-fat can be completely eliminated and replaced with healthier substitutes without any change in the food taste or cost. According to WHO, a dozen large multinational food companies have already committed to eliminate industrially produced trans-fat from all their products by 2023.

Q. Why is it important to cut down trans-fat in food?