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+Human beings are designed in such a way that they are in constant need of love, care as well as affection during all times in their lives. This is the reason why we seek for companionship at each and every point in our life. We make friends and maintain a closely knit relationship with them because friends not only take away the feeling of void from your life; rather they also make us feel secure and accompanied as an individual.

+Friendship is considered to be a true blessing for everyone and a person with good friends will have a support system for sharing each and every moment of their life whether it is happy or sad. I have seen friendships going on for several years and sometimes even for a lifetime with people constantly taking care of each other and maintaining a bond based on trust and care.

+Especially for people living away from their homes, friends are nothing short of their family. Often known as “siblings from different mothers,” friends keep us grounded as well as also help us retain the child in us no matter how old we get or how busy we are in leading our professional as well as personal lives.

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

WHY DON’T YOU GET A PROPER JOB?

She wants to be a singer; you think she should go for a long–term career with job security and eventually retire with a good pension. But a new report suggests that in fact she’s the practical one. Why do parents make terrible careers advisers?

Today’s 14 and 15–year–olds are ambitious. They are optimistic about their prospects, but their career ideas are rather vague. Although 80% of them have no intention of following in their parents’ footsteps, 69% still turn to their parents for advice. They look at their working future in a different way to their parents.

A job for life is not in their vocabulary; neither is a dead–end but secure job that is boring but pays the bills. Almost half the boys surveyed expected that their hobbies would lead them into the right sort of job, while most girls seemed determined to avoid traditionally female careers such as nursing.

In the past, this might have counted as bad news. Certainly when I was 15, my guidance counsellors were horrified at my plans to become a writer. I’m glad I didn’t change my plans to suit them. Even so, their faith in rigid career paths was well–founded. In those days, that was the way to get ahead.

But the world has changed. The global economy is not kind to yesterday’s diligent and dependable worker. The future belongs to quick–thinking people who are resourceful, ambitious and can take the initiative. This means that a 14–year–old who sees her working future as a kind of adventure, to be made up as she goes along is not necessarily being unrealistic.

However, she has to have the training and guidance to help her develop the right skills for today’s market; not the rigid preparation for a workplace that disappeared twenty years ago. Many young people are very aware of the pitfalls of the flexible workplace; they understand that redundancy, downsizing and freelancing are all part of modern working life, but no one is telling them how they might be able to turn the new rules of the employment game to their advantage. This is what they need to know if they are to make a life for themselves.

So what is to be done? A good first step would be to change the way in which schools prepare young people for adult life. The education system is becoming less flexible and more obsessed with traditional skills at just the time that the employment market is going in the opposite direction.

Accurate, up–to–date information on new jobs and qualifications can help guidance counsellors to help their students. Young people need solid information on the sort of training they need to pursue the career of their dreams. Also, a little bit of encouragement can go a long way. If nothing else, a bit of optimism from an adult can serve as an antidote to the constant criticism of teenagers in the press.

What, then, can we as parents do to help them? The best thing is to forget all the advice that your parents gave you, and step into your teenager’s shoes. Once you’ve done that, it’s easier to see how important it is that they learn how to be independent, resourceful and resilient. Give them the courage to follow their dreams –however odd they might sound right now. In a world that offers economic security to almost no one, imagination is a terrible thing to waste. 

The writer uses the phrase “aware of the pitfalls” to show that young people _______. 

A. feel that modern jobs are too flexible 

B. know about the problems of modern jobs 

C. don’t think they get enough training 

D. accept that they will be made redundant 

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

According to the passage, which is the main concern for medieval artists?

A. the individual person and his/her possessions and surroundings

B. real people, real scenes

C. eternal truth of the earth

D. themes of religious stories

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word “Grammar ” in line 14 is closest in meaning to

A. construction

B. grammatical rules

C. rules and regulations

D. tones and volume

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word ”Illusion” in line 27 is closest in meaning to

A. deception

B. photograph

C. decoration

D. illustration

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word “eternal” in line 3 is closest in meaning to

A. timeless

B. infinite  

C. frequent  

D. rare

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The author’s purpose to give the example in line15-17 is to

A. explain how perspective work in painting

B. support two-pointed perspective

C.  illustrate that there are exceptions about perspective

D. point out that the technique of perspective though seems so natural is an invented technique

Read the following passage, and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.

 The problem of cardiac arrest has become a major problem these days. A lot of patients have acute pain after suffering from a stroke. There are plenty of medicines, surgical methods developed in the field of medicine to treat such cardiac problems. These solutions are time consuming and costly. In the process of rehabilitation, the medicines also have a lot of side effects on the human body and take time to give relief. Therefore, a lot of people go for alternative therapies that help in rehabilitation of patients who suffer from cardiac stroke. The alternative therapies help in relieving pain, stress and make the body healthy and fit through exercise, yoga as well as meditation.

 Those who have the cardiac complaint have to take a good care of their diet. Also, they must look after their regular exercise in order to stay fit and make sure that they do not take undue stress. These are some of the precautions that you need to take while you are in the process of rehabilitation. The cardiac rehabilitation can be carried out at the rehabilitation centers as well as at the residence of the patients. Once the patient learns all the exercise and techniques of meditation and understands what diet he or she should include in their meals as the instructions of the doctor’s and dieticians, then it is possible to accomplish the rehabilitation process at home with little guidance and monitoring. But the best results are seen at the center, where the program is given to a group of patients together.

 The alternative therapies used for cardiac rehabilitation are stress management, physical exercises and diet. Stress management is very much essential in the rehabilitation process because it has a lot of effects on the patient’s body. A lot of relaxation techniques are taught to the patients that helps them in stress management, among them meditation is one of the main focuses.

 The various rehabilitation programs also give you information on how to have a stress free lifestyle. The patients are supported and encouraged to discuss their problems with the counselor or fellow patients. This helps them to vent their feelings and feel comforted. Breathing exercises are also of great help for the patients who are undergoing cardiac rehabilitation.

 In addition to stress management, physical exercises are also given a lot of importance in the rehabilitation program. The patients are asked to perform various forms of physical exercise which are suitable to them depending on their age and the severity of their problems. These activities include activities like walking, jogging, cycling, and some other sports like badminton, tennis etc., to maintain their health and keep their muscles, bones, and body tissues in a good state. Cardio exercise in a gymnasium is also encouraged. This helps in strengthening the muscles and managing weight.

 The diet of these patients also needs to be looked upon very carefully. Such people should stay away from alcohol and tobacco consumption in order to improve their health. Make sure that their meals include plenty of organic foodstuffs as well as fruits and juices. Do not include junk and oily foodstuffs in your diet because they are very difficult to digest. The intake of calories should also be done at required level. It is a significant fact that the patients have to understand and work accordingly.

All of the following are mentioned as the negative aspects of medical treatment EXCEPT

A. causing acute pains 

B. costing a lot of money

C. having side effects on people’s body 

D. prolonging over a long period of time