PGDBA 2016

In each of the questions a word has been used in sentences in four different ways. Choose the option corresponding to the sentence in which the usage of the word is incorrect or inappropriate

For the following questions answer them individually

Read the passage and answer the questions that follow:
Passage I
Constructivist, constructivism, interpretivist, and interpretivism are terms that routinely appear in the lexicon of social science methodologists and philosophers. Yet, their particular meanings are shaped by the intent of their users. As general descriptors for a loosely coupled family of methodological and philosophical persuasions, these terms are best regarded as sensitizing concepts. They steer the interested reader in the general direction of where instances of a particular kind of inquiry can be found. However, they 'merely suggest directions along which to look' rather than 'provide descriptions of what to see'.

Proponents of these persuasions share the goal of understanding the complex world of lived experience from the point of view of those who live it. This goal is variously spoken of as an abiding concern for the life world, for the emic point of view, for understanding meaning, for grasping the actor's definition of a situation, for Verstehen. The world of lived reality and situation-specific meanings that constitute the general object of investigation is thought to be constructed by social actors. That, particular actors, in particular places, at particular times, fashion meaning out of events and phenomena through prolonged, complex processes of social interaction involving history, language, and action.

The constructivist or interpretivist believes that to understand this world of meaning one must interpret it. The inquirer must elucidate the process of meaning construction and clarify what and how meanings are embodied in the language and actions of social actors. To prepare an interpretation is itself to construct a reading of these meanings; it is to offer the reader the inquirer's construction of the constructions of the actors one studies.

Although they share this general framework for human inquiry, constructivist and interpretivist persuasions are unique in the manner in which each answers these questions: What is the purpose and aim of human inquiry (as distinct from inquiry into the physical world)? How can we know about the world of human action?

Read the passage and answer the questions that follow:
Passage II
Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions.

This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthlessly rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills.

Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men).

The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory.

Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera.

Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.