English I Quiz 2: 24 March 2024 (January 2024 term)

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

Find a synonym for ‘juvenile.’

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

Find an antonym for ‘protagonist.’

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

This idea of self-protection stems mostly from three sociopolitical contexts.
In this sentence, the word ‘stems’ is:

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

What, according to Sayandeb Chowdhury, is the difference between violence in early Indian cinema and violence in current films?

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

Which of the following is NOT a finding made by Dr. Samir Parikh’s 2008 study?

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible*.*
Choose the word that can replace the word ‘negligible’ without altering the sense of the sentence.

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed.
Choose the word that can replace the word ‘visceral’ without altering the sense of the sentence.

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

Which of the following is NOT a sociopolitical context that leads to a weaponized idea of self- protection?

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

How many syllables are there in the word ‘transference’?

Read the following passage and answer the given subquestions
An Audience for Violence
To what extent can portrayals of juvenile delinquency in films be held responsible for encouraging youth along the same path? In January 2022, three children were brutally stabbed at Jahangirpuri in New Delhi. Upon enquiry, the police found that the killer was influenced by the wildly popular Allu Arjun-starrer Pushpa. The same year in August, a 14-year old boy was arrested by the Gujarat police in Surat for procuring a country-made revolver for Rs. 6,000 from UP. He also told the police that he was addicted to crime web series and would “get an adrenaline rush” whenever he saw armed protagonists, and would even show off or use the weapon to frighten others in his locality. These incidents establish a direct connection between delinquent behaviour and violence shown in films, an argument supported by a study conducted by psychiatrist Dr. Samir Parikh in 2008 with a sample size of 1,000 people aged 14-17. The study found that 79 per cent of the boys “loved watching violent movies” and 44 per cent of them had the urge to hit others. Interestingly, many of them said that they knew of friends who “carried weapons for protection.”
This idea of self-protection stems mostly from three sociopolitical contexts. Firstly, the neo-liberal state’s withdrawal from the lives of the people where the state fails to offer any perception of security. Secondly, the idea of ‘responsible citizenry’ who consider protecting one’s house from ‘invaders’ by being armed as a sign of being responsible. And lastly, the peddling of a ‘culture of fear’ by the media that pushes one to believe that they are living through a crisis of safety. Film scholar Sayandeb Chowdhury, however, says, “A popular film is seen by thousands, but the proportion of violence that can directly refer back to any particular film is usually negligible. At the same time, the slow, immeasurable impact of many films over a period of time cannot be overlooked. In other words, it is like an osmosis, which in terms of psychology, can lead to a case of transference,” says Chowdhury.
According to Chowdhury, while early Indian cinema was not non-violent either, there is a perceptible difference in current films insofar as violence is projected as an acceptable and legitimate solution to a problem. “The visceral violence that routinely masquerades as entertainment may have unchained violence from the last bit of moral nudging that may have existed, . . .” notes the author of Uttam Kumar: A Life in Cinema. “Like cinema, politics is also making it legal to seek a solution in violence as an answer to complicated problems,” he adds. Excerpted from:
Bhattacharya, Abhik. “An Audience for Violence.” Edited by Ramya Maddali, Outlook, vol. LXIII, no. 20, 01 Jul. 2023, pp. 18-20.

According to the article, what sphere of social activity other than cinema has begun to proffer violent solutions as acceptable answers to complicated problems?

Answer the given subquestions

Fill in the blank with the most appropriate verb form.
Had it not been for your support, he _____ his ability to walk after the accident.

Answer the given subquestions

Fill in the blank with the most appropriate verb form.
They _____ in the same rundown shack if Catherine had not emigrated to Canada.

Answer the given subquestions

Fill in the blank with the most appropriate verb form.
They _____ him to the hospital as soon as they found him unconscious.

Answer the given subquestions

Fill in the blank with the most appropriate verb form.
The organizers barely _____ to get the bouquets in time for the chief guest’s arrival.

Answer the given subquestions

Fill in the blank with the most appropriate verb form.
The revocation of the holidays saddened Amrutha who _____ to go home.

Look at the sentence given below and answer the given subquestions
The Director signed the contract.

Identify whether the underlined word is a verb or noun.

Look at the sentence given below and answer the given subquestions
The Director signed the contract.

The underlined word is stressed as _____.

Benoy and his friends ___________ at the playground.

One of my cousins ___________ going on an expedition to the centre of the Earth.

Every one of those movies ___________ unoriginal.

Nobody ___________ the struggles I've been through.

A woman called Hasna ___________ down at the bus stop in Hasle.

Choose the right answer.
Had the students __________ before the strike?

Select true/false for the following statement.
The sentence, ‘Ritu watches cartoons every day’ is an example of present progressive tense.

Choose the correct option.
I ________ by then.

Choose the correct option.
They’ll be exhausted by dinner. They will have been _______ football for three hours.

Fill in the blank with future perfect progressive tense form.
I expect Nisha will be tired when she arrives. She ________ for over 18 hours.

Choose the future perfect continuous tense sentence from the following options:

Identify the tense in the following sentence.
They have arrived on time.

Identify the tense in the following sentence.
Rahul too will run off to Mumbai to follow in his father’s footsteps.

In the plural noun nurses, the plural marker sounds as ________.

The plural of sheep is sheep.

Criteria is the _______of criterion.

English language does not have monosyllabic words. This statement is ____.

How many syllables are there in the word repentance?

‘The offer promises to give a refund if the product is found to be defective.’
Choose the appropriate stress for the usage of the word ‘refund’ in the sentence.

The word fabulous is stressed as ______.

Which of the following has an aspirated stop?

The consonant cluster in the word attempt is an instance of ___________.

How many syllables are there in the word ideology?