750+ CAT RC (Reading Comprehension) Questions With Videos

Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward-looking.

My new book “Writing Ocean Worlds” explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . . Their work reveals a world that is outward-looking - full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader’s mind, as centred in the interconnected global south. . . .

The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. . . .

For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.

This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.

correct answer:-1

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward-looking.

My new book “Writing Ocean Worlds” explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . . Their work reveals a world that is outward-looking - full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader’s mind, as centred in the interconnected global south. . . .

The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. . . .

For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.

This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.

correct answer:-2

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward-looking.

My new book “Writing Ocean Worlds” explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . . Their work reveals a world that is outward-looking - full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader’s mind, as centred in the interconnected global south. . . .

The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. . . .

For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.

This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.

correct answer:-4

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward-looking.

My new book “Writing Ocean Worlds” explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . . Their work reveals a world that is outward-looking - full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader’s mind, as centred in the interconnected global south. . . .

The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. . . .

For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.

This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.

correct answer:-3

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Over the past four centuries liberalism has been so successful that it has driven all its opponents off the battlefield. Now it is disintegrating, destroyed by a mix of hubris and internal contradictions, according to Patrick Deneen, a professor of politics at the University of Notre Dame. . . . Equality of opportunity has produced a new meritocratic aristocracy that has all the aloofness of the old aristocracy with none of its sense of noblesse oblige. Democracy has degenerated into a theatre of the absurd. And technological advances are reducing ever more areas of work into meaningless drudgery. “The gap between liberalism’s claims about itself and the lived reality of the citizenry” is now so wide that “the lie can no longer be accepted,” Mr Deneen writes. What better proof of this than the vision of 1,000 private planes whisking their occupants to Davos to discuss the question of “creating a shared future in a fragmented world”? . . .

Deneen does an impressive job of capturing the current mood of disillusionment, echoing leftwing complaints about rampant commercialism, right-wing complaints about narcissistic and bullying students, and general worries about atomisation and selfishness. But when he concludes that all this adds up to a failure of liberalism, is his argument convincing? . . . He argues that the essence of liberalism lies in freeing individuals from constraints. In fact, liberalism contains a wide range of intellectual traditions which provide different answers to the question of how to trade off the relative claims of rights and responsibilities, individual expression and social ties. . . . liberals experimented with a range of ideas from devolving power from the centre to creating national education systems.

Mr Deneen’s fixation on the essence of liberalism leads to the second big problem of his book: his failure to recognise liberalism’s ability to reform itself and address its internal problems. The late 19th century saw America suffering from many of the problems that are reappearing today, including the creation of a business aristocracy, the rise of vast companies, the corruption of politics and the sense that society was dividing into winners and losers. But a wide variety of reformers, working within the liberal tradition, tackled these problems head on. Theodore Roosevelt took on the trusts. Progressives cleaned up government corruption. University reformers modernised academic syllabuses and built ladders of opportunity. Rather than dying, liberalism reformed itself.

Mr Deneen is right to point out that the record of liberalism in recent years has been dismal. He is also right to assert that the world has much to learn from the premodern notions of liberty as self-mastery and self-denial. The biggest enemy of liberalism is not so much atomisation but old-fashioned greed, as members of the Davos elite pile their plates ever higher with perks and share options. But he is wrong to argue that the only way for people to liberate themselves from the contradictions of liberalism is “liberation from liberalism itself”. The best way to read “Why Liberalism Failed” is not as a funeral oration but as a call to action: up your game, or else.

correct answer:-3

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Over the past four centuries liberalism has been so successful that it has driven all its opponents off the battlefield. Now it is disintegrating, destroyed by a mix of hubris and internal contradictions, according to Patrick Deneen, a professor of politics at the University of Notre Dame. . . . Equality of opportunity has produced a new meritocratic aristocracy that has all the aloofness of the old aristocracy with none of its sense of noblesse oblige. Democracy has degenerated into a theatre of the absurd. And technological advances are reducing ever more areas of work into meaningless drudgery. “The gap between liberalism’s claims about itself and the lived reality of the citizenry” is now so wide that “the lie can no longer be accepted,” Mr Deneen writes. What better proof of this than the vision of 1,000 private planes whisking their occupants to Davos to discuss the question of “creating a shared future in a fragmented world”? . . .

Deneen does an impressive job of capturing the current mood of disillusionment, echoing leftwing complaints about rampant commercialism, right-wing complaints about narcissistic and bullying students, and general worries about atomisation and selfishness. But when he concludes that all this adds up to a failure of liberalism, is his argument convincing? . . . He argues that the essence of liberalism lies in freeing individuals from constraints. In fact, liberalism contains a wide range of intellectual traditions which provide different answers to the question of how to trade off the relative claims of rights and responsibilities, individual expression and social ties. . . . liberals experimented with a range of ideas from devolving power from the centre to creating national education systems.

Mr Deneen’s fixation on the essence of liberalism leads to the second big problem of his book: his failure to recognise liberalism’s ability to reform itself and address its internal problems. The late 19th century saw America suffering from many of the problems that are reappearing today, including the creation of a business aristocracy, the rise of vast companies, the corruption of politics and the sense that society was dividing into winners and losers. But a wide variety of reformers, working within the liberal tradition, tackled these problems head on. Theodore Roosevelt took on the trusts. Progressives cleaned up government corruption. University reformers modernised academic syllabuses and built ladders of opportunity. Rather than dying, liberalism reformed itself.

Mr Deneen is right to point out that the record of liberalism in recent years has been dismal. He is also right to assert that the world has much to learn from the premodern notions of liberty as self-mastery and self-denial. The biggest enemy of liberalism is not so much atomisation but old-fashioned greed, as members of the Davos elite pile their plates ever higher with perks and share options. But he is wrong to argue that the only way for people to liberate themselves from the contradictions of liberalism is “liberation from liberalism itself”. The best way to read “Why Liberalism Failed” is not as a funeral oration but as a call to action: up your game, or else.

correct answer:-1

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Over the past four centuries liberalism has been so successful that it has driven all its opponents off the battlefield. Now it is disintegrating, destroyed by a mix of hubris and internal contradictions, according to Patrick Deneen, a professor of politics at the University of Notre Dame. . . . Equality of opportunity has produced a new meritocratic aristocracy that has all the aloofness of the old aristocracy with none of its sense of noblesse oblige. Democracy has degenerated into a theatre of the absurd. And technological advances are reducing ever more areas of work into meaningless drudgery. “The gap between liberalism’s claims about itself and the lived reality of the citizenry” is now so wide that “the lie can no longer be accepted,” Mr Deneen writes. What better proof of this than the vision of 1,000 private planes whisking their occupants to Davos to discuss the question of “creating a shared future in a fragmented world”? . . .

Deneen does an impressive job of capturing the current mood of disillusionment, echoing leftwing complaints about rampant commercialism, right-wing complaints about narcissistic and bullying students, and general worries about atomisation and selfishness. But when he concludes that all this adds up to a failure of liberalism, is his argument convincing? . . . He argues that the essence of liberalism lies in freeing individuals from constraints. In fact, liberalism contains a wide range of intellectual traditions which provide different answers to the question of how to trade off the relative claims of rights and responsibilities, individual expression and social ties. . . . liberals experimented with a range of ideas from devolving power from the centre to creating national education systems.

Mr Deneen’s fixation on the essence of liberalism leads to the second big problem of his book: his failure to recognise liberalism’s ability to reform itself and address its internal problems. The late 19th century saw America suffering from many of the problems that are reappearing today, including the creation of a business aristocracy, the rise of vast companies, the corruption of politics and the sense that society was dividing into winners and losers. But a wide variety of reformers, working within the liberal tradition, tackled these problems head on. Theodore Roosevelt took on the trusts. Progressives cleaned up government corruption. University reformers modernised academic syllabuses and built ladders of opportunity. Rather than dying, liberalism reformed itself.

Mr Deneen is right to point out that the record of liberalism in recent years has been dismal. He is also right to assert that the world has much to learn from the premodern notions of liberty as self-mastery and self-denial. The biggest enemy of liberalism is not so much atomisation but old-fashioned greed, as members of the Davos elite pile their plates ever higher with perks and share options. But he is wrong to argue that the only way for people to liberate themselves from the contradictions of liberalism is “liberation from liberalism itself”. The best way to read “Why Liberalism Failed” is not as a funeral oration but as a call to action: up your game, or else.

correct answer:-3

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Over the past four centuries liberalism has been so successful that it has driven all its opponents off the battlefield. Now it is disintegrating, destroyed by a mix of hubris and internal contradictions, according to Patrick Deneen, a professor of politics at the University of Notre Dame. . . . Equality of opportunity has produced a new meritocratic aristocracy that has all the aloofness of the old aristocracy with none of its sense of noblesse oblige. Democracy has degenerated into a theatre of the absurd. And technological advances are reducing ever more areas of work into meaningless drudgery. “The gap between liberalism’s claims about itself and the lived reality of the citizenry” is now so wide that “the lie can no longer be accepted,” Mr Deneen writes. What better proof of this than the vision of 1,000 private planes whisking their occupants to Davos to discuss the question of “creating a shared future in a fragmented world”? . . .

Deneen does an impressive job of capturing the current mood of disillusionment, echoing leftwing complaints about rampant commercialism, right-wing complaints about narcissistic and bullying students, and general worries about atomisation and selfishness. But when he concludes that all this adds up to a failure of liberalism, is his argument convincing? . . . He argues that the essence of liberalism lies in freeing individuals from constraints. In fact, liberalism contains a wide range of intellectual traditions which provide different answers to the question of how to trade off the relative claims of rights and responsibilities, individual expression and social ties. . . . liberals experimented with a range of ideas from devolving power from the centre to creating national education systems.

Mr Deneen’s fixation on the essence of liberalism leads to the second big problem of his book: his failure to recognise liberalism’s ability to reform itself and address its internal problems. The late 19th century saw America suffering from many of the problems that are reappearing today, including the creation of a business aristocracy, the rise of vast companies, the corruption of politics and the sense that society was dividing into winners and losers. But a wide variety of reformers, working within the liberal tradition, tackled these problems head on. Theodore Roosevelt took on the trusts. Progressives cleaned up government corruption. University reformers modernised academic syllabuses and built ladders of opportunity. Rather than dying, liberalism reformed itself.

Mr Deneen is right to point out that the record of liberalism in recent years has been dismal. He is also right to assert that the world has much to learn from the premodern notions of liberty as self-mastery and self-denial. The biggest enemy of liberalism is not so much atomisation but old-fashioned greed, as members of the Davos elite pile their plates ever higher with perks and share options. But he is wrong to argue that the only way for people to liberate themselves from the contradictions of liberalism is “liberation from liberalism itself”. The best way to read “Why Liberalism Failed” is not as a funeral oration but as a call to action: up your game, or else.

correct answer:-1

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 2006, the Met [art museum in the US] agreed to return the Euphronios krater, a masterpiece Greek urn that had been a museum draw since 1972. In 2007, the Getty [art museum in the US] agreed to return 40 objects to Italy, including a marble Aphrodite, in the midst of looting scandals. And in December, Sotheby’s and a private owner agreed to return an ancient Khmer statue of a warrior, pulled from auction two years before, to Cambodia.

Cultural property, or patrimony, laws limit the transfer of cultural property outside the source country’s territory, including outright export prohibitions and national ownership laws. Most art historians, archaeologists, museum officials and policymakers portray cultural property laws in general as invaluable tools for counteracting the ugly legacy of Western cultural imperialism.

During the late 19th and early 20th century — an era former Met director Thomas Hoving called “the age of piracy” — American and European art museums acquired antiquities by hook or by crook, from grave robbers or souvenir collectors, bounty from digs and ancient sites in impoverished but art-rich source countries. Patrimony laws were intended to protect future archaeological discoveries against Western imperialist designs. . . .

I surveyed 90 countries with one or more archaeological sites on UNESCO’s World Heritage Site list, and my study shows that in most cases the number of discovered sites diminishes sharply after a country passes a cultural property law. There are 222 archaeological sites listed for those 90 countries. When you look into the history of the sites, you see that all but 21 were discovered before the passage of cultural property laws. . . .

Strict cultural patrimony laws are popular in most countries. But the downside may be that they reduce incentives for foreign governments, nongovernmental organizations and educational institutions to invest in overseas exploration because their efforts will not necessarily be rewarded by opportunities to hold, display and study what is uncovered. To the extent that source countries can fund their own archaeological projects, artifacts and sites may still be discovered. . . . The survey has far-reaching implications. It suggests that source countries, particularly in the developing world, should narrow their cultural property laws so that they can reap the benefits of new archaeological discoveries, which typically increase tourism and enhance cultural pride. This does not mean these nations should abolish restrictions on foreign excavation and foreign claims to artifacts.

China provides an interesting alternative approach for source nations eager for foreign archaeological investment. From 1935 to 2003, China had a restrictive cultural property law that prohibited foreign ownership of Chinese cultural artifacts. In those years, China’s most significant archaeological discovery occurred by chance, in 1974, when peasant farmers accidentally uncovered ranks of buried terra cotta warriors, which are part of Emperor Qin’s spectacular tomb system.

In 2003, the Chinese government switched course, dropping its cultural property law and embracing collaborative international archaeological research. Since then, China has nominated 11 archaeological sites for inclusion in the World Heritage Site list, including eight in 2013, the most ever for China.

correct answer:-4

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 2006, the Met [art museum in the US] agreed to return the Euphronios krater, a masterpiece Greek urn that had been a museum draw since 1972. In 2007, the Getty [art museum in the US] agreed to return 40 objects to Italy, including a marble Aphrodite, in the midst of looting scandals. And in December, Sotheby’s and a private owner agreed to return an ancient Khmer statue of a warrior, pulled from auction two years before, to Cambodia.

Cultural property, or patrimony, laws limit the transfer of cultural property outside the source country’s territory, including outright export prohibitions and national ownership laws. Most art historians, archaeologists, museum officials and policymakers portray cultural property laws in general as invaluable tools for counteracting the ugly legacy of Western cultural imperialism.

During the late 19th and early 20th century — an era former Met director Thomas Hoving called “the age of piracy” — American and European art museums acquired antiquities by hook or by crook, from grave robbers or souvenir collectors, bounty from digs and ancient sites in impoverished but art-rich source countries. Patrimony laws were intended to protect future archaeological discoveries against Western imperialist designs. . . .

I surveyed 90 countries with one or more archaeological sites on UNESCO’s World Heritage Site list, and my study shows that in most cases the number of discovered sites diminishes sharply after a country passes a cultural property law. There are 222 archaeological sites listed for those 90 countries. When you look into the history of the sites, you see that all but 21 were discovered before the passage of cultural property laws. . . .

Strict cultural patrimony laws are popular in most countries. But the downside may be that they reduce incentives for foreign governments, nongovernmental organizations and educational institutions to invest in overseas exploration because their efforts will not necessarily be rewarded by opportunities to hold, display and study what is uncovered. To the extent that source countries can fund their own archaeological projects, artifacts and sites may still be discovered. . . . The survey has far-reaching implications. It suggests that source countries, particularly in the developing world, should narrow their cultural property laws so that they can reap the benefits of new archaeological discoveries, which typically increase tourism and enhance cultural pride. This does not mean these nations should abolish restrictions on foreign excavation and foreign claims to artifacts.

China provides an interesting alternative approach for source nations eager for foreign archaeological investment. From 1935 to 2003, China had a restrictive cultural property law that prohibited foreign ownership of Chinese cultural artifacts. In those years, China’s most significant archaeological discovery occurred by chance, in 1974, when peasant farmers accidentally uncovered ranks of buried terra cotta warriors, which are part of Emperor Qin’s spectacular tomb system.

In 2003, the Chinese government switched course, dropping its cultural property law and embracing collaborative international archaeological research. Since then, China has nominated 11 archaeological sites for inclusion in the World Heritage Site list, including eight in 2013, the most ever for China.

correct answer:-4

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 2006, the Met [art museum in the US] agreed to return the Euphronios krater, a masterpiece Greek urn that had been a museum draw since 1972. In 2007, the Getty [art museum in the US] agreed to return 40 objects to Italy, including a marble Aphrodite, in the midst of looting scandals. And in December, Sotheby’s and a private owner agreed to return an ancient Khmer statue of a warrior, pulled from auction two years before, to Cambodia.

Cultural property, or patrimony, laws limit the transfer of cultural property outside the source country’s territory, including outright export prohibitions and national ownership laws. Most art historians, archaeologists, museum officials and policymakers portray cultural property laws in general as invaluable tools for counteracting the ugly legacy of Western cultural imperialism.

During the late 19th and early 20th century — an era former Met director Thomas Hoving called “the age of piracy” — American and European art museums acquired antiquities by hook or by crook, from grave robbers or souvenir collectors, bounty from digs and ancient sites in impoverished but art-rich source countries. Patrimony laws were intended to protect future archaeological discoveries against Western imperialist designs. . . .

I surveyed 90 countries with one or more archaeological sites on UNESCO’s World Heritage Site list, and my study shows that in most cases the number of discovered sites diminishes sharply after a country passes a cultural property law. There are 222 archaeological sites listed for those 90 countries. When you look into the history of the sites, you see that all but 21 were discovered before the passage of cultural property laws. . . .

Strict cultural patrimony laws are popular in most countries. But the downside may be that they reduce incentives for foreign governments, nongovernmental organizations and educational institutions to invest in overseas exploration because their efforts will not necessarily be rewarded by opportunities to hold, display and study what is uncovered. To the extent that source countries can fund their own archaeological projects, artifacts and sites may still be discovered. . . . The survey has far-reaching implications. It suggests that source countries, particularly in the developing world, should narrow their cultural property laws so that they can reap the benefits of new archaeological discoveries, which typically increase tourism and enhance cultural pride. This does not mean these nations should abolish restrictions on foreign excavation and foreign claims to artifacts.

China provides an interesting alternative approach for source nations eager for foreign archaeological investment. From 1935 to 2003, China had a restrictive cultural property law that prohibited foreign ownership of Chinese cultural artifacts. In those years, China’s most significant archaeological discovery occurred by chance, in 1974, when peasant farmers accidentally uncovered ranks of buried terra cotta warriors, which are part of Emperor Qin’s spectacular tomb system.

In 2003, the Chinese government switched course, dropping its cultural property law and embracing collaborative international archaeological research. Since then, China has nominated 11 archaeological sites for inclusion in the World Heritage Site list, including eight in 2013, the most ever for China.

correct answer:-3

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 2006, the Met [art museum in the US] agreed to return the Euphronios krater, a masterpiece Greek urn that had been a museum draw since 1972. In 2007, the Getty [art museum in the US] agreed to return 40 objects to Italy, including a marble Aphrodite, in the midst of looting scandals. And in December, Sotheby’s and a private owner agreed to return an ancient Khmer statue of a warrior, pulled from auction two years before, to Cambodia.

Cultural property, or patrimony, laws limit the transfer of cultural property outside the source country’s territory, including outright export prohibitions and national ownership laws. Most art historians, archaeologists, museum officials and policymakers portray cultural property laws in general as invaluable tools for counteracting the ugly legacy of Western cultural imperialism.

During the late 19th and early 20th century — an era former Met director Thomas Hoving called “the age of piracy” — American and European art museums acquired antiquities by hook or by crook, from grave robbers or souvenir collectors, bounty from digs and ancient sites in impoverished but art-rich source countries. Patrimony laws were intended to protect future archaeological discoveries against Western imperialist designs. . . .

I surveyed 90 countries with one or more archaeological sites on UNESCO’s World Heritage Site list, and my study shows that in most cases the number of discovered sites diminishes sharply after a country passes a cultural property law. There are 222 archaeological sites listed for those 90 countries. When you look into the history of the sites, you see that all but 21 were discovered before the passage of cultural property laws. . . .

Strict cultural patrimony laws are popular in most countries. But the downside may be that they reduce incentives for foreign governments, nongovernmental organizations and educational institutions to invest in overseas exploration because their efforts will not necessarily be rewarded by opportunities to hold, display and study what is uncovered. To the extent that source countries can fund their own archaeological projects, artifacts and sites may still be discovered. . . . The survey has far-reaching implications. It suggests that source countries, particularly in the developing world, should narrow their cultural property laws so that they can reap the benefits of new archaeological discoveries, which typically increase tourism and enhance cultural pride. This does not mean these nations should abolish restrictions on foreign excavation and foreign claims to artifacts.

China provides an interesting alternative approach for source nations eager for foreign archaeological investment. From 1935 to 2003, China had a restrictive cultural property law that prohibited foreign ownership of Chinese cultural artifacts. In those years, China’s most significant archaeological discovery occurred by chance, in 1974, when peasant farmers accidentally uncovered ranks of buried terra cotta warriors, which are part of Emperor Qin’s spectacular tomb system.

In 2003, the Chinese government switched course, dropping its cultural property law and embracing collaborative international archaeological research. Since then, China has nominated 11 archaeological sites for inclusion in the World Heritage Site list, including eight in 2013, the most ever for China.

correct answer:-1

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary history and criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .

The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or the branch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated from the practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives of ordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of art and beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive than conclusive.

Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radical skepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have a certain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .

Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .

While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because it
has paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.

correct answer:-4

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary history and criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .

The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or the branch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated from the practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives of ordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of art and beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive than conclusive.

Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radical skepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have a certain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .

Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .

While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because it
has paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.

correct answer:-2

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary history and criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .

The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or the branch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated from the practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives of ordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of art and beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive than conclusive.

Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radical skepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have a certain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .

Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .

While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because it
has paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.

correct answer:-3

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary history and criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .

The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or the branch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated from the practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives of ordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of art and beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive than conclusive.

Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radical skepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have a certain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .

Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .

While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because it
has paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.

correct answer:-2

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Comprehension:
The biggest challenge [The Nutmeg’s Curse by Ghosh] throws down is to the prevailing understanding of when the climate crisis started. Most of us have accepted . . . that it started with the widespread use of coal at the beginning of the Industrial Age in the 18th century and worsened with the mass adoption of oil and natural gas in the 20th. Ghosh takes this history at least three centuries back, to the start of European colonialism in the 15th century. He [starts] the book with a 1621 massacre by Dutch invaders determined to impose a monopoly on nutmeg cultivation and trade in the Banda islands in today’s Indonesia. Not only do the Dutch systematically depopulate the islands through genocide, they also try their best to bring nutmeg cultivation into plantation mode. These are the two points to which Ghosh returns through examples from around the world. One, how European colonialists decimated not only indigenous populations but also indigenous understanding of the relationship between humans and Earth. Two, how this was an invasion not only of humans but of the Earth itself, and how this continues to the present day by looking at nature as a ‘resource’ to exploit. . . .

We know we are facing more frequent and more severe heatwaves, storms, floods, droughts and wildfires due to climate change. We know our expansion through deforestation, dam building, canal cutting - in short, terraforming, the word Ghosh uses - has brought us repeated disasters . . . Are these the responses of an angry Gaia who has finally had enough? By using the word ‘curse’ in the title, the author makes it clear that he thinks so. I use the pronoun ‘who’ knowingly, because Ghosh has quoted many non-European sources to enquire into the relationship between humans and the world around them so that he can question the prevalent way of looking at Earth as an inert object to be exploited to the maximum.

As Ghosh’s text, notes and bibliography show once more, none of this is new. There have always been challenges to the way European colonialists looked at other civilisations and at Earth. It is just that the invaders and their myriad backers in the fields of economics, politics, anthropology, philosophy, literature, technology, physics, chemistry, biology have dominated global intellectual discourse. . . .

There are other points of view that we can hear today if we listen hard enough. Those observing global climate negotiations know about the Latin American way of looking at Earth as Pachamama (Earth Mother). They also know how such a framing is just provided lip service and is ignored in the substantive portions of the negotiations. In The Nutmeg’s Curse, Ghosh explains why. He shows the extent of the vested interest in the oil economy - not only for oil-exporting countries, but also for a superpower like the US that controls oil drilling, oil prices and oil movement around the world. Many of us know power utilities are sabotaging decentralised solar power generation today because it hits their revenues and control. And how the other points of view are so often drowned out.

correct answer:-4

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Comprehension:
The biggest challenge [The Nutmeg’s Curse by Ghosh] throws down is to the prevailing understanding of when the climate crisis started. Most of us have accepted . . . that it started with the widespread use of coal at the beginning of the Industrial Age in the 18th century and worsened with the mass adoption of oil and natural gas in the 20th. Ghosh takes this history at least three centuries back, to the start of European colonialism in the 15th century. He [starts] the book with a 1621 massacre by Dutch invaders determined to impose a monopoly on nutmeg cultivation and trade in the Banda islands in today’s Indonesia. Not only do the Dutch systematically depopulate the islands through genocide, they also try their best to bring nutmeg cultivation into plantation mode. These are the two points to which Ghosh returns through examples from around the world. One, how European colonialists decimated not only indigenous populations but also indigenous understanding of the relationship between humans and Earth. Two, how this was an invasion not only of humans but of the Earth itself, and how this continues to the present day by looking at nature as a ‘resource’ to exploit. . . .

We know we are facing more frequent and more severe heatwaves, storms, floods, droughts and wildfires due to climate change. We know our expansion through deforestation, dam building, canal cutting - in short, terraforming, the word Ghosh uses - has brought us repeated disasters . . . Are these the responses of an angry Gaia who has finally had enough? By using the word ‘curse’ in the title, the author makes it clear that he thinks so. I use the pronoun ‘who’ knowingly, because Ghosh has quoted many non-European sources to enquire into the relationship between humans and the world around them so that he can question the prevalent way of looking at Earth as an inert object to be exploited to the maximum.

As Ghosh’s text, notes and bibliography show once more, none of this is new. There have always been challenges to the way European colonialists looked at other civilisations and at Earth. It is just that the invaders and their myriad backers in the fields of economics, politics, anthropology, philosophy, literature, technology, physics, chemistry, biology have dominated global intellectual discourse. . . .

There are other points of view that we can hear today if we listen hard enough. Those observing global climate negotiations know about the Latin American way of looking at Earth as Pachamama (Earth Mother). They also know how such a framing is just provided lip service and is ignored in the substantive portions of the negotiations. In The Nutmeg’s Curse, Ghosh explains why. He shows the extent of the vested interest in the oil economy - not only for oil-exporting countries, but also for a superpower like the US that controls oil drilling, oil prices and oil movement around the world. Many of us know power utilities are sabotaging decentralised solar power generation today because it hits their revenues and control. And how the other points of view are so often drowned out.

correct answer:-4

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Comprehension:
The biggest challenge [The Nutmeg’s Curse by Ghosh] throws down is to the prevailing understanding of when the climate crisis started. Most of us have accepted . . . that it started with the widespread use of coal at the beginning of the Industrial Age in the 18th century and worsened with the mass adoption of oil and natural gas in the 20th. Ghosh takes this history at least three centuries back, to the start of European colonialism in the 15th century. He [starts] the book with a 1621 massacre by Dutch invaders determined to impose a monopoly on nutmeg cultivation and trade in the Banda islands in today’s Indonesia. Not only do the Dutch systematically depopulate the islands through genocide, they also try their best to bring nutmeg cultivation into plantation mode. These are the two points to which Ghosh returns through examples from around the world. One, how European colonialists decimated not only indigenous populations but also indigenous understanding of the relationship between humans and Earth. Two, how this was an invasion not only of humans but of the Earth itself, and how this continues to the present day by looking at nature as a ‘resource’ to exploit. . . .

We know we are facing more frequent and more severe heatwaves, storms, floods, droughts and wildfires due to climate change. We know our expansion through deforestation, dam building, canal cutting - in short, terraforming, the word Ghosh uses - has brought us repeated disasters . . . Are these the responses of an angry Gaia who has finally had enough? By using the word ‘curse’ in the title, the author makes it clear that he thinks so. I use the pronoun ‘who’ knowingly, because Ghosh has quoted many non-European sources to enquire into the relationship between humans and the world around them so that he can question the prevalent way of looking at Earth as an inert object to be exploited to the maximum.

As Ghosh’s text, notes and bibliography show once more, none of this is new. There have always been challenges to the way European colonialists looked at other civilisations and at Earth. It is just that the invaders and their myriad backers in the fields of economics, politics, anthropology, philosophy, literature, technology, physics, chemistry, biology have dominated global intellectual discourse. . . .

There are other points of view that we can hear today if we listen hard enough. Those observing global climate negotiations know about the Latin American way of looking at Earth as Pachamama (Earth Mother). They also know how such a framing is just provided lip service and is ignored in the substantive portions of the negotiations. In The Nutmeg’s Curse, Ghosh explains why. He shows the extent of the vested interest in the oil economy - not only for oil-exporting countries, but also for a superpower like the US that controls oil drilling, oil prices and oil movement around the world. Many of us know power utilities are sabotaging decentralised solar power generation today because it hits their revenues and control. And how the other points of view are so often drowned out.

correct answer:-4

---

Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Comprehension:
The biggest challenge [The Nutmeg’s Curse by Ghosh] throws down is to the prevailing understanding of when the climate crisis started. Most of us have accepted . . . that it started with the widespread use of coal at the beginning of the Industrial Age in the 18th century and worsened with the mass adoption of oil and natural gas in the 20th. Ghosh takes this history at least three centuries back, to the start of European colonialism in the 15th century. He [starts] the book with a 1621 massacre by Dutch invaders determined to impose a monopoly on nutmeg cultivation and trade in the Banda islands in today’s Indonesia. Not only do the Dutch systematically depopulate the islands through genocide, they also try their best to bring nutmeg cultivation into plantation mode. These are the two points to which Ghosh returns through examples from around the world. One, how European colonialists decimated not only indigenous populations but also indigenous understanding of the relationship between humans and Earth. Two, how this was an invasion not only of humans but of the Earth itself, and how this continues to the present day by looking at nature as a ‘resource’ to exploit. . . .

We know we are facing more frequent and more severe heatwaves, storms, floods, droughts and wildfires due to climate change. We know our expansion through deforestation, dam building, canal cutting - in short, terraforming, the word Ghosh uses - has brought us repeated disasters . . . Are these the responses of an angry Gaia who has finally had enough? By using the word ‘curse’ in the title, the author makes it clear that he thinks so. I use the pronoun ‘who’ knowingly, because Ghosh has quoted many non-European sources to enquire into the relationship between humans and the world around them so that he can question the prevalent way of looking at Earth as an inert object to be exploited to the maximum.

As Ghosh’s text, notes and bibliography show once more, none of this is new. There have always been challenges to the way European colonialists looked at other civilisations and at Earth. It is just that the invaders and their myriad backers in the fields of economics, politics, anthropology, philosophy, literature, technology, physics, chemistry, biology have dominated global intellectual discourse. . . .

There are other points of view that we can hear today if we listen hard enough. Those observing global climate negotiations know about the Latin American way of looking at Earth as Pachamama (Earth Mother). They also know how such a framing is just provided lip service and is ignored in the substantive portions of the negotiations. In The Nutmeg’s Curse, Ghosh explains why. He shows the extent of the vested interest in the oil economy - not only for oil-exporting countries, but also for a superpower like the US that controls oil drilling, oil prices and oil movement around the world. Many of us know power utilities are sabotaging decentralised solar power generation today because it hits their revenues and control. And how the other points of view are so often drowned out.

correct answer:-4