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It is frequently assumed that the mechanization of work has a revolutionary effect on the lives of the people who operate the new machines and on the society into which the machines have been Introduced. For example, It has been suggested that the employment of women in industry took them out of the household, their traditional sphere, and fundamentally altered their position in society.
In the nineteenth century, when women began to enter factories, Jules Simon, a French politician, warned that by doing so, women would give up their femininity. Friedrich Engels, however, predicted that women would be liberated from the "social, legal, and economic subordination" of the family by technological developments that made possible the recruitment of "the whole female sex into public Industry." Observers thus differed concerning the social desirability of mechanization's effects, but they agreed that it would transform women's lives. Historians, particularly those investigating the history of women, now seriously question this assumption of transforming power. They conclude that such dramatic technological innovations as the spinning jenny, the sewing machine, the typewriter, and the vacuum cleaner have not resulted in equally dramatic social changes in women's economic position or in the prevailing evaluation of women's work. The employment of young women in textile mills during the Industrial Revolution was largely an extension of an older pattern of employment of young, single women as domestics.
It was not the change in office technology, but rather the separation of secretarial work, previously seen as an apprenticeship for beginning managers, from administrative work that in the 1880's created a new class of "dead-end" jobs, henceforth considered "women's work." The increase in the numbers of married women employed outside the home in the twentieth century had less to do with the mechanization of housework and an increase in leisure time for these women than It did with their own economic necessity and with high marriage rates that shrank the available pool of single women workers, previously, in many cases, the only women employers would hire. Women's work has changed considerably in the past 200 years, moving from the household to the office or the factory, and later becoming mostly white collar instead of blue-collar work. Fundamentally, however, the conditions under which women work have changed little since before the Industrial Revolution: the segregation of occupations by gender, lower pay for women as a group, jobs that require relatively low levels of skill and offer women little opportunity for advancement all persist, while women's household labor remains demanding. Recent historical investigation has led to a major revision of the notion that technology is always inherently revolutionary In it effects on society. Mechanization may even have slowed any change in the traditional position of women both in the labor market and in the home.
Read Full Paragraph
Which of the following statements best summarizes the main idea of the passage?
AThe effects of the mechanization of women's work have not borne out the frequently held assumption that new technology is inherently revolutionary.
BRecent studies have shown that mechanization revolutionizes a society's traditional values and the customary roles of its members.
CMechanization has caused the nature of women's work to change since the Industrial Revolution.
DThe mechanization of work creates whole new classes of jobs that did not previously exist.
ENone of these
Answer: Option A
Explanation:Here is no explanation for this answer
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It is frequently assumed that the mechanization of work has a revolutionary effect on the lives of the people who operate the new machines and on the society into which the machines have been Introduced. For example, It has been suggested that the employment of women in industry took them out of the household, their traditional sphere, and fundamentally altered their position in society.
In the nineteenth century, when women began to enter factories, Jules Simon, a French politician, warned that by doing so, women would give up their femininity. Friedrich Engels, however, predicted that women would be liberated from the "social, legal, and economic subordination" of the family by technological developments that made possible the recruitment of "the whole female sex into public Industry." Observers thus differed concerning the social desirability of mechanization's effects, but they agreed that it would transform women's lives. Historians, particularly those investigating the history of women, now seriously question this assumption of transforming power. They conclude that such dramatic technological innovations as the spinning jenny, the sewing machine, the typewriter, and the vacuum cleaner have not resulted in equally dramatic social changes in women's economic position or in the prevailing evaluation of women's work. The employment of young women in textile mills during the Industrial Revolution was largely an extension of an older pattern of employment of young, single women as domestics.
It was not the change in office technology, but rather the separation of secretarial work, previously seen as an apprenticeship for beginning managers, from administrative work that in the 1880's created a new class of "dead-end" jobs, henceforth considered "women's work." The increase in the numbers of married women employed outside the home in the twentieth century had less to do with the mechanization of housework and an increase in leisure time for these women than It did with their own economic necessity and with high marriage rates that shrank the available pool of single women workers, previously, in many cases, the only women employers would hire. Women's work has changed considerably in the past 200 years, moving from the household to the office or the factory, and later becoming mostly white collar instead of blue-collar work. Fundamentally, however, the conditions under which women work have changed little since before the Industrial Revolution: the segregation of occupations by gender, lower pay for women as a group, jobs that require relatively low levels of skill and offer women little opportunity for advancement all persist, while women's household labor remains demanding. Recent historical investigation has led to a major revision of the notion that technology is always inherently revolutionary In it effects on society. Mechanization may even have slowed any change in the traditional position of women both in the labor market and in the home.
Read Full Paragraph
The author mentions all of the following inventions as examples of dramatic technological innovations EXCEPT the:
ASewing machine
BTypewriter
CVacuum cleaner
DTelephone
ENone of these
Answer: Option D
Explanation:Here is no explanation for this answer
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It is frequently assumed that the mechanization of work has a revolutionary effect on the lives of the people who operate the new machines and on the society into which the machines have been Introduced. For example, It has been suggested that the employment of women in industry took them out of the household, their traditional sphere, and fundamentally altered their position in society.
In the nineteenth century, when women began to enter factories, Jules Simon, a French politician, warned that by doing so, women would give up their femininity. Friedrich Engels, however, predicted that women would be liberated from the "social, legal, and economic subordination" of the family by technological developments that made possible the recruitment of "the whole female sex into public Industry." Observers thus differed concerning the social desirability of mechanization's effects, but they agreed that it would transform women's lives. Historians, particularly those investigating the history of women, now seriously question this assumption of transforming power. They conclude that such dramatic technological innovations as the spinning jenny, the sewing machine, the typewriter, and the vacuum cleaner have not resulted in equally dramatic social changes in women's economic position or in the prevailing evaluation of women's work. The employment of young women in textile mills during the Industrial Revolution was largely an extension of an older pattern of employment of young, single women as domestics.
It was not the change in office technology, but rather the separation of secretarial work, previously seen as an apprenticeship for beginning managers, from administrative work that in the 1880's created a new class of "dead-end" jobs, henceforth considered "women's work." The increase in the numbers of married women employed outside the home in the twentieth century had less to do with the mechanization of housework and an increase in leisure time for these women than It did with their own economic necessity and with high marriage rates that shrank the available pool of single women workers, previously, in many cases, the only women employers would hire. Women's work has changed considerably in the past 200 years, moving from the household to the office or the factory, and later becoming mostly white collar instead of blue-collar work. Fundamentally, however, the conditions under which women work have changed little since before the Industrial Revolution: the segregation of occupations by gender, lower pay for women as a group, jobs that require relatively low levels of skill and offer women little opportunity for advancement all persist, while women's household labor remains demanding. Recent historical investigation has led to a major revision of the notion that technology is always inherently revolutionary In it effects on society. Mechanization may even have slowed any change in the traditional position of women both in the labor market and in the home.
Read Full Paragraph
It can be inferred from the passage that, before the Industrial Revolution, the majority of women's work was done in which of the following settings?
ATextile mills
BOffices
CPrivate households
DFactories
ENone of these
Answer: Option C
Explanation:Here is no explanation for this answer
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It is frequently assumed that the mechanization of work has a revolutionary effect on the lives of the people who operate the new machines and on the society into which the machines have been Introduced. For example, It has been suggested that the employment of women in industry took them out of the household, their traditional sphere, and fundamentally altered their position in society.
In the nineteenth century, when women began to enter factories, Jules Simon, a French politician, warned that by doing so, women would give up their femininity. Friedrich Engels, however, predicted that women would be liberated from the "social, legal, and economic subordination" of the family by technological developments that made possible the recruitment of "the whole female sex into public Industry." Observers thus differed concerning the social desirability of mechanization's effects, but they agreed that it would transform women's lives. Historians, particularly those investigating the history of women, now seriously question this assumption of transforming power. They conclude that such dramatic technological innovations as the spinning jenny, the sewing machine, the typewriter, and the vacuum cleaner have not resulted in equally dramatic social changes in women's economic position or in the prevailing evaluation of women's work. The employment of young women in textile mills during the Industrial Revolution was largely an extension of an older pattern of employment of young, single women as domestics.
It was not the change in office technology, but rather the separation of secretarial work, previously seen as an apprenticeship for beginning managers, from administrative work that in the 1880's created a new class of "dead-end" jobs, henceforth considered "women's work." The increase in the numbers of married women employed outside the home in the twentieth century had less to do with the mechanization of housework and an increase in leisure time for these women than It did with their own economic necessity and with high marriage rates that shrank the available pool of single women workers, previously, in many cases, the only women employers would hire. Women's work has changed considerably in the past 200 years, moving from the household to the office or the factory, and later becoming mostly white collar instead of blue-collar work. Fundamentally, however, the conditions under which women work have changed little since before the Industrial Revolution: the segregation of occupations by gender, lower pay for women as a group, jobs that require relatively low levels of skill and offer women little opportunity for advancement all persist, while women's household labor remains demanding. Recent historical investigation has led to a major revision of the notion that technology is always inherently revolutionary In it effects on society. Mechanization may even have slowed any change in the traditional position of women both in the labor market and in the home.
Read Full Paragraph
It can be inferred from the passage that the author would consider which of the following to be an indication of a fundamental alteration in the conditions of women's work?
AStatistics showing that the majority of women now occupy white-collar positions.
BInterviews with married men indicating that they are now doing some household tasks
CSurveys of the labor market documenting the recent creation of a new class of jobs in electronics in which women workers outnumber men four to one.
DCensus results showing that working women's wages and salaries are, on the average, as high as those of working men.
ENone of these
Answer: Option D
Explanation:Here is no explanation for this answer
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It is frequently assumed that the mechanization of work has a revolutionary effect on the lives of the people who operate the new machines and on the society into which the machines have been Introduced. For example, It has been suggested that the employment of women in industry took them out of the household, their traditional sphere, and fundamentally altered their position in society.
In the nineteenth century, when women began to enter factories, Jules Simon, a French politician, warned that by doing so, women would give up their femininity. Friedrich Engels, however, predicted that women would be liberated from the "social, legal, and economic subordination" of the family by technological developments that made possible the recruitment of "the whole female sex into public Industry." Observers thus differed concerning the social desirability of mechanization's effects, but they agreed that it would transform women's lives. Historians, particularly those investigating the history of women, now seriously question this assumption of transforming power. They conclude that such dramatic technological innovations as the spinning jenny, the sewing machine, the typewriter, and the vacuum cleaner have not resulted in equally dramatic social changes in women's economic position or in the prevailing evaluation of women's work. The employment of young women in textile mills during the Industrial Revolution was largely an extension of an older pattern of employment of young, single women as domestics.
It was not the change in office technology, but rather the separation of secretarial work, previously seen as an apprenticeship for beginning managers, from administrative work that in the 1880's created a new class of "dead-end" jobs, henceforth considered "women's work." The increase in the numbers of married women employed outside the home in the twentieth century had less to do with the mechanization of housework and an increase in leisure time for these women than It did with their own economic necessity and with high marriage rates that shrank the available pool of single women workers, previously, in many cases, the only women employers would hire. Women's work has changed considerably in the past 200 years, moving from the household to the office or the factory, and later becoming mostly white collar instead of blue-collar work. Fundamentally, however, the conditions under which women work have changed little since before the Industrial Revolution: the segregation of occupations by gender, lower pay for women as a group, jobs that require relatively low levels of skill and offer women little opportunity for advancement all persist, while women's household labor remains demanding. Recent historical investigation has led to a major revision of the notion that technology is always inherently revolutionary In it effects on society. Mechanization may even have slowed any change in the traditional position of women both in the labor market and in the home.
Read Full Paragraph
The passages states that, before the twentieth century, which of the following was true of many employers?
AThey did not employ women in factories.
BThey employed women in only those jobs that were related to women's traditional household work.
CThey tended to employ single rather than married women.
DThey resisted technological innovations that would radically change women's roles in the family.
ENone of these
Answer: Option C
Explanation:Here is no explanation for this answer
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Unquestionably, a literary life is for most part an unhappy life, because, if you have genius, you must suffer the penalty of genius; and, if you have only talent, there are so many cares and worries incidental to the circumstances of men of letters, as to make life exceedingly miserable. Besides the pangs of composition, and the continuous disappointment which a true artist feels at his inability to reveal himself, there is the ever-recurring difficulty of gaining the public ear. Young writers are buoyed up by the hope and the belief that they have only to throw that poem at the world's feet to get back in return the laurel-crown; that they have only to push that novel into print to be acknowledged at once as a new light in literature. You can never convince a young author that the editors of magazines and the publishers of books are a practical body of men, who are by no means frantically anlxlous about placing the best literature before the public. Nay, that for the most part they are mere brokers, who conduct their business on the hardest lines of a Profit and Loss account. But supposing your book fairly launches, its perils are only beginning. You have to run the gauntlet of the critics.
To a young author, again, this seems to be as terrible an ordeal as passing down the files of Sioux or Comanche Indians, each one of whom is thirsting for your scalp. When you are a little older, you will find that criticism Is not much more serious than the bye-play of clowns In a circus. when they beat around the ring. the victim with bladders slung at the end of long poles. A time comes in the life of every author when he regards critics as comical rather than formidable, and goes his way unheeding. But there are sensitive souls that yield under the chastisement and, perhaps, after suffering much silent torture, abandon the profession of the pen for ever.
Keats, perhaps, is the saddest example of a fine spirit hounded to death by savage criticism; because, whatever his biographers may aver, that furious attack of Gifford and Terry undoubtedly expedited his death. But no doubt there are hundreds who suffer keenly from hostile and unscrupulous criticism, and who have to bear that suffering in silence, because it is a cardinal principle in literature that the most unwise thing in the world for an author is to take public notice of criticism in the way of defending himself. Silence is the only safeguard, as it is the only dignified protest against insult and offense.
Read Full Paragraph
Why is the literary life mostly an unhappy one?
ABecause a genius suffers the penalty of genius, and a talented person has so many cares and worries
BBecause it is mostly a lonely life
CBecause it does not pay much materialistically
DBecause it is difficult to get a reading public
ENone of these
Answer: Option A
Explanation:Here is no explanation for this answer
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Unquestionably, a literary life is for most part an unhappy life, because, if you have genius, you must suffer the penalty of genius; and, if you have only talent, there are so many cares and worries incidental to the circumstances of men of letters, as to make life exceedingly miserable. Besides the pangs of composition, and the continuous disappointment which a true artist feels at his inability to reveal himself, there is the ever-recurring difficulty of gaining the public ear. Young writers are buoyed up by the hope and the belief that they have only to throw that poem at the world's feet to get back in return the laurel-crown; that they have only to push that novel into print to be acknowledged at once as a new light in literature. You can never convince a young author that the editors of magazines and the publishers of books are a practical body of men, who are by no means frantically anlxlous about placing the best literature before the public. Nay, that for the most part they are mere brokers, who conduct their business on the hardest lines of a Profit and Loss account. But supposing your book fairly launches, its perils are only beginning. You have to run the gauntlet of the critics.
To a young author, again, this seems to be as terrible an ordeal as passing down the files of Sioux or Comanche Indians, each one of whom is thirsting for your scalp. When you are a little older, you will find that criticism Is not much more serious than the bye-play of clowns In a circus. when they beat around the ring. the victim with bladders slung at the end of long poles. A time comes in the life of every author when he regards critics as comical rather than formidable, and goes his way unheeding. But there are sensitive souls that yield under the chastisement and, perhaps, after suffering much silent torture, abandon the profession of the pen for ever.
Keats, perhaps, is the saddest example of a fine spirit hounded to death by savage criticism; because, whatever his biographers may aver, that furious attack of Gifford and Terry undoubtedly expedited his death. But no doubt there are hundreds who suffer keenly from hostile and unscrupulous criticism, and who have to bear that suffering in silence, because it is a cardinal principle in literature that the most unwise thing in the world for an author is to take public notice of criticism in the way of defending himself. Silence is the only safeguard, as it is the only dignified protest against insult and offense.
Read Full Paragraph
What are the ambitions of a young author?
ATo be able to reveal himself
BTo be acknowledged as a new light in literature
CTo gain a public ear
DTo get his composition published
ENone of these
Answer: Option B
Explanation:B
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Unquestionably, a literary life is for most part an unhappy life, because, if you have genius, you must suffer the penalty of genius; and, if you have only talent, there are so many cares and worries incidental to the circumstances of men of letters, as to make life exceedingly miserable. Besides the pangs of composition, and the continuous disappointment which a true artist feels at his inability to reveal himself, there is the ever-recurring difficulty of gaining the public ear. Young writers are buoyed up by the hope and the belief that they have only to throw that poem at the world's feet to get back in return the laurel-crown; that they have only to push that novel into print to be acknowledged at once as a new light in literature. You can never convince a young author that the editors of magazines and the publishers of books are a practical body of men, who are by no means frantically anlxlous about placing the best literature before the public. Nay, that for the most part they are mere brokers, who conduct their business on the hardest lines of a Profit and Loss account. But supposing your book fairly launches, its perils are only beginning. You have to run the gauntlet of the critics.
To a young author, again, this seems to be as terrible an ordeal as passing down the files of Sioux or Comanche Indians, each one of whom is thirsting for your scalp. When you are a little older, you will find that criticism Is not much more serious than the bye-play of clowns In a circus. when they beat around the ring. the victim with bladders slung at the end of long poles. A time comes in the life of every author when he regards critics as comical rather than formidable, and goes his way unheeding. But there are sensitive souls that yield under the chastisement and, perhaps, after suffering much silent torture, abandon the profession of the pen for ever.
Keats, perhaps, is the saddest example of a fine spirit hounded to death by savage criticism; because, whatever his biographers may aver, that furious attack of Gifford and Terry undoubtedly expedited his death. But no doubt there are hundreds who suffer keenly from hostile and unscrupulous criticism, and who have to bear that suffering in silence, because it is a cardinal principle in literature that the most unwise thing in the world for an author is to take public notice of criticism in the way of defending himself. Silence is the only safeguard, as it is the only dignified protest against insult and offense.
Read Full Paragraph
Are editors and publishers sympathetic to young authors?
AThey are
BThey are mere brokers who conduct their business on the hardest lines of a Profit and Loss account.
CThey are not
DThey are anxious about placing only the best literature before the public
ENone of these
Answer: Option B
Explanation:Here is no explanation for this answer
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Unquestionably, a literary life is for most part an unhappy life, because, if you have genius, you must suffer the penalty of genius; and, if you have only talent, there are so many cares and worries incidental to the circumstances of men of letters, as to make life exceedingly miserable. Besides the pangs of composition, and the continuous disappointment which a true artist feels at his inability to reveal himself, there is the ever-recurring difficulty of gaining the public ear. Young writers are buoyed up by the hope and the belief that they have only to throw that poem at the world's feet to get back in return the laurel-crown; that they have only to push that novel into print to be acknowledged at once as a new light in literature. You can never convince a young author that the editors of magazines and the publishers of books are a practical body of men, who are by no means frantically anlxlous about placing the best literature before the public. Nay, that for the most part they are mere brokers, who conduct their business on the hardest lines of a Profit and Loss account. But supposing your book fairly launches, its perils are only beginning. You have to run the gauntlet of the critics.
To a young author, again, this seems to be as terrible an ordeal as passing down the files of Sioux or Comanche Indians, each one of whom is thirsting for your scalp. When you are a little older, you will find that criticism Is not much more serious than the bye-play of clowns In a circus. when they beat around the ring. the victim with bladders slung at the end of long poles. A time comes in the life of every author when he regards critics as comical rather than formidable, and goes his way unheeding. But there are sensitive souls that yield under the chastisement and, perhaps, after suffering much silent torture, abandon the profession of the pen for ever.
Keats, perhaps, is the saddest example of a fine spirit hounded to death by savage criticism; because, whatever his biographers may aver, that furious attack of Gifford and Terry undoubtedly expedited his death. But no doubt there are hundreds who suffer keenly from hostile and unscrupulous criticism, and who have to bear that suffering in silence, because it is a cardinal principle in literature that the most unwise thing in the world for an author is to take public notice of criticism in the way of defending himself. Silence is the only safeguard, as it is the only dignified protest against insult and offense.
Read Full Paragraph
What attitude should an author adopt in the face of bitter criticism?
AHe should defend himself
BHe should regard critics formidable and change his way of writing
CHe should suffer silently
DHe should take criticism as not more than the bye-play of clowns in a circus and go his way unheeding.
ENone of these
Answer: Option D
Explanation:Here is no explanation for this answer
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Unquestionably, a literary life is for most part an unhappy life, because, if you have genius, you must suffer the penalty of genius; and, if you have only talent, there are so many cares and worries incidental to the circumstances of men of letters, as to make life exceedingly miserable. Besides the pangs of composition, and the continuous disappointment which a true artist feels at his inability to reveal himself, there is the ever-recurring difficulty of gaining the public ear. Young writers are buoyed up by the hope and the belief that they have only to throw that poem at the world's feet to get back in return the laurel-crown; that they have only to push that novel into print to be acknowledged at once as a new light in literature. You can never convince a young author that the editors of magazines and the publishers of books are a practical body of men, who are by no means frantically anlxlous about placing the best literature before the public. Nay, that for the most part they are mere brokers, who conduct their business on the hardest lines of a Profit and Loss account. But supposing your book fairly launches, its perils are only beginning. You have to run the gauntlet of the critics.
To a young author, again, this seems to be as terrible an ordeal as passing down the files of Sioux or Comanche Indians, each one of whom is thirsting for your scalp. When you are a little older, you will find that criticism Is not much more serious than the bye-play of clowns In a circus. when they beat around the ring. the victim with bladders slung at the end of long poles. A time comes in the life of every author when he regards critics as comical rather than formidable, and goes his way unheeding. But there are sensitive souls that yield under the chastisement and, perhaps, after suffering much silent torture, abandon the profession of the pen for ever.
Keats, perhaps, is the saddest example of a fine spirit hounded to death by savage criticism; because, whatever his biographers may aver, that furious attack of Gifford and Terry undoubtedly expedited his death. But no doubt there are hundreds who suffer keenly from hostile and unscrupulous criticism, and who have to bear that suffering in silence, because it is a cardinal principle in literature that the most unwise thing in the world for an author is to take public notice of criticism in the way of defending himself. Silence is the only safeguard, as it is the only dignified protest against insult and offense.
Read Full Paragraph
What are the ordeals awaiting the young author from the critics?
AThe critics harass him
BThe critics are sympathetic towards him
CHe has to save his scalp, as the critics throw stones at him
DHe has to run the 'gauntlet' oft he critics
ENone of these
Answer: Option D
Explanation:Here is no explanation for this answer
Workspace
Companies take reading comprehension test to check the reading and grasping skills of the candidates. It also helps the companies to understand the pressure handling skills of the candidates. You can take mock verbal ability and reading comprehension test to master this skill and crack the job interviews easily.
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