Download DUET (Delhi University Entrance Test conducted by the NTA) 2018 DU MPhil Phd in Hispanic Question Paper With Solution Key
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
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1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
4)
5)
6)
7)
[Question ID = 3669]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14676]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14674]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14675]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14673]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14673]
[Question ID = 3670]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14680]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14678]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14679]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14677]
Correct Answer :-
a-iii, b-i, c-ii, d-iv [Option ID = 14679]
[Question ID = 3671]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14684]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14682]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14683]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14681]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14684]
?Cu?l de las siguientes frases es correcta?
(a) Beber como una lima
(b) Comer como una cuba
(c) Fumar como un carretero
(d) Hablar como un loro
[Question ID = 3668]
1. (a) y (d) [Option ID = 14670]
2. (a) y (b) [Option ID = 14669]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
4)
5)
6)
7)
[Question ID = 3669]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14676]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14674]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14675]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14673]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14673]
[Question ID = 3670]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14680]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14678]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14679]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14677]
Correct Answer :-
a-iii, b-i, c-ii, d-iv [Option ID = 14679]
[Question ID = 3671]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14684]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14682]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14683]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14681]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14684]
?Cu?l de las siguientes frases es correcta?
(a) Beber como una lima
(b) Comer como una cuba
(c) Fumar como un carretero
(d) Hablar como un loro
[Question ID = 3668]
1. (a) y (d) [Option ID = 14670]
2. (a) y (b) [Option ID = 14669]
8)
9)
10)
1)
3. (b) y (c) [Option ID = 14672]
4. (c) y (d) [Option ID = 14671]
Correct Answer :-
(c) y (d) [Option ID = 14671]
?Cu?l de los siguientes es correcto?
(a) Ego?smo ? Generosidad
(b) Escasez ? carencia
(c) Optimismo ? alivio
(d) Error ? Acierto
[Question ID = 3667]
1. (a) y (d) [Option ID = 14666]
2. (a) y (b) [Option ID = 14665]
3. (b) y (c) [Option ID = 14668]
4. (c) y (d) [Option ID = 14667]
Correct Answer :-
(a) y (d) [Option ID = 14666]
?Cu?l de los siguientes es correcto?
(a) Una barra de pan
(b) Una tableta de chocolate
(c) Una raja de naranja
(d) Un terr?n de ajos
[Question ID = 3666]
1. (a) y (d) [Option ID = 14662]
2. (a) y (b) [Option ID = 14661]
3. (b) y (c) [Option ID = 14664]
4. (c) y (d) [Option ID = 14663]
Correct Answer :-
(a) y (b) [Option ID = 14661]
No los cont?, pero _______ cincuenta comensales. [Question ID = 3665]
1. habr?an [Option ID = 14658]
2. habr?n [Option ID = 14659]
3. habr? [Option ID = 14660]
4. habr?a [Option ID = 14657]
Correct Answer :-
habr?a [Option ID = 14657]
Topic:- DU_J18_MPHIL_HIS_Topic05
El enigma de Hitler es cuadro de
[Question ID = 3675]
1. Juan Gris [Option ID = 14698]
2. Juan March [Option ID = 14700]
3. Pablo Picasso [Option ID = 14697]
4. Salvador Dal? [Option ID = 14699]
Correct Answer :-
Salvador Dal? [Option ID = 14699]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
4)
5)
6)
7)
[Question ID = 3669]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14676]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14674]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14675]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14673]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14673]
[Question ID = 3670]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14680]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14678]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14679]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14677]
Correct Answer :-
a-iii, b-i, c-ii, d-iv [Option ID = 14679]
[Question ID = 3671]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14684]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14682]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14683]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14681]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14684]
?Cu?l de las siguientes frases es correcta?
(a) Beber como una lima
(b) Comer como una cuba
(c) Fumar como un carretero
(d) Hablar como un loro
[Question ID = 3668]
1. (a) y (d) [Option ID = 14670]
2. (a) y (b) [Option ID = 14669]
8)
9)
10)
1)
3. (b) y (c) [Option ID = 14672]
4. (c) y (d) [Option ID = 14671]
Correct Answer :-
(c) y (d) [Option ID = 14671]
?Cu?l de los siguientes es correcto?
(a) Ego?smo ? Generosidad
(b) Escasez ? carencia
(c) Optimismo ? alivio
(d) Error ? Acierto
[Question ID = 3667]
1. (a) y (d) [Option ID = 14666]
2. (a) y (b) [Option ID = 14665]
3. (b) y (c) [Option ID = 14668]
4. (c) y (d) [Option ID = 14667]
Correct Answer :-
(a) y (d) [Option ID = 14666]
?Cu?l de los siguientes es correcto?
(a) Una barra de pan
(b) Una tableta de chocolate
(c) Una raja de naranja
(d) Un terr?n de ajos
[Question ID = 3666]
1. (a) y (d) [Option ID = 14662]
2. (a) y (b) [Option ID = 14661]
3. (b) y (c) [Option ID = 14664]
4. (c) y (d) [Option ID = 14663]
Correct Answer :-
(a) y (b) [Option ID = 14661]
No los cont?, pero _______ cincuenta comensales. [Question ID = 3665]
1. habr?an [Option ID = 14658]
2. habr?n [Option ID = 14659]
3. habr? [Option ID = 14660]
4. habr?a [Option ID = 14657]
Correct Answer :-
habr?a [Option ID = 14657]
Topic:- DU_J18_MPHIL_HIS_Topic05
El enigma de Hitler es cuadro de
[Question ID = 3675]
1. Juan Gris [Option ID = 14698]
2. Juan March [Option ID = 14700]
3. Pablo Picasso [Option ID = 14697]
4. Salvador Dal? [Option ID = 14699]
Correct Answer :-
Salvador Dal? [Option ID = 14699]
2)
3)
4)
5)
6)
ETA era un grupo terrorista de [Question ID = 3676]
1. Pa?s Vasco [Option ID = 14703]
2. Galicia [Option ID = 14701]
3. Catalu?a [Option ID = 14702]
4. Andaluc?a [Option ID = 14704]
Correct Answer :-
Pa?s Vasco [Option ID = 14703]
[Question ID = 3681]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14724]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14722]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14723]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14721]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14721]
[Question ID = 3678]
1. (a) y (d) [Option ID = 14710]
2. (a) y (b) [Option ID = 14709]
3. (b) y (c) [Option ID = 14712]
4. (c) y (d) [Option ID = 14711]
Correct Answer :-
(a) y (d) [Option ID = 14710]
[Question ID = 3680]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14720]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14718]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14719]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14717]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14720]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
4)
5)
6)
7)
[Question ID = 3669]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14676]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14674]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14675]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14673]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14673]
[Question ID = 3670]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14680]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14678]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14679]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14677]
Correct Answer :-
a-iii, b-i, c-ii, d-iv [Option ID = 14679]
[Question ID = 3671]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14684]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14682]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14683]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14681]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14684]
?Cu?l de las siguientes frases es correcta?
(a) Beber como una lima
(b) Comer como una cuba
(c) Fumar como un carretero
(d) Hablar como un loro
[Question ID = 3668]
1. (a) y (d) [Option ID = 14670]
2. (a) y (b) [Option ID = 14669]
8)
9)
10)
1)
3. (b) y (c) [Option ID = 14672]
4. (c) y (d) [Option ID = 14671]
Correct Answer :-
(c) y (d) [Option ID = 14671]
?Cu?l de los siguientes es correcto?
(a) Ego?smo ? Generosidad
(b) Escasez ? carencia
(c) Optimismo ? alivio
(d) Error ? Acierto
[Question ID = 3667]
1. (a) y (d) [Option ID = 14666]
2. (a) y (b) [Option ID = 14665]
3. (b) y (c) [Option ID = 14668]
4. (c) y (d) [Option ID = 14667]
Correct Answer :-
(a) y (d) [Option ID = 14666]
?Cu?l de los siguientes es correcto?
(a) Una barra de pan
(b) Una tableta de chocolate
(c) Una raja de naranja
(d) Un terr?n de ajos
[Question ID = 3666]
1. (a) y (d) [Option ID = 14662]
2. (a) y (b) [Option ID = 14661]
3. (b) y (c) [Option ID = 14664]
4. (c) y (d) [Option ID = 14663]
Correct Answer :-
(a) y (b) [Option ID = 14661]
No los cont?, pero _______ cincuenta comensales. [Question ID = 3665]
1. habr?an [Option ID = 14658]
2. habr?n [Option ID = 14659]
3. habr? [Option ID = 14660]
4. habr?a [Option ID = 14657]
Correct Answer :-
habr?a [Option ID = 14657]
Topic:- DU_J18_MPHIL_HIS_Topic05
El enigma de Hitler es cuadro de
[Question ID = 3675]
1. Juan Gris [Option ID = 14698]
2. Juan March [Option ID = 14700]
3. Pablo Picasso [Option ID = 14697]
4. Salvador Dal? [Option ID = 14699]
Correct Answer :-
Salvador Dal? [Option ID = 14699]
2)
3)
4)
5)
6)
ETA era un grupo terrorista de [Question ID = 3676]
1. Pa?s Vasco [Option ID = 14703]
2. Galicia [Option ID = 14701]
3. Catalu?a [Option ID = 14702]
4. Andaluc?a [Option ID = 14704]
Correct Answer :-
Pa?s Vasco [Option ID = 14703]
[Question ID = 3681]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14724]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14722]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14723]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14721]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14721]
[Question ID = 3678]
1. (a) y (d) [Option ID = 14710]
2. (a) y (b) [Option ID = 14709]
3. (b) y (c) [Option ID = 14712]
4. (c) y (d) [Option ID = 14711]
Correct Answer :-
(a) y (d) [Option ID = 14710]
[Question ID = 3680]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14720]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14718]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14719]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14717]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14720]
7)
8)
9)
[Question ID = 3683]
1. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14730]
2. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14729]
3. X es incorrecta y Y es correcta. [Option ID = 14732]
4. X es correcta pero Y es incorrecta. [Option ID = 14731]
Correct Answer :-
X es correcta pero Y es incorrecta. [Option ID = 14731]
[Question ID = 3679]
1. (a) y (d) [Option ID = 14714]
2. (a) y (b) [Option ID = 14713]
3. (b) y (c) [Option ID = 14716]
4. (c) y (d) [Option ID = 14715]
Correct Answer :-
(a) y (b) [Option ID = 14713]
[Question ID = 3677]
1. (a) y (d) [Option ID = 14706]
2. (a) y (b) [Option ID = 14705]
3. (b) y (c) [Option ID = 14708]
4. (c) y (d) [Option ID = 14707]
Correct Answer :-
(b) y (c) [Option ID = 14708]
[Question ID = 3682]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14725]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14726]
3. X es correcta pero Y es incorrecta. [Option ID = 14727]
4. X es incorrecta y Y es correcta. [Option ID = 14728]
FirstRanker.com - FirstRanker's Choice
1)
2)
DU MPhil Phd in Hispanic
Topic:- DU_J18_MPHIL_HIS_Topic01
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3634]
1. (a) y (d) [Option ID = 14534]
2. (a) y (b) [Option ID = 14533]
3. (b) y (c) [Option ID = 14536]
4. (c) y (d) [Option ID = 14535]
Correct Answer :-
(a) y (b) [Option ID = 14533]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
3)
4)
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3638]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14550]
3. X es correcta pero Y es incorrecta. [Option ID = 14551]
4. X es incorrecta y Y es correcta. [Option ID = 14552]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14549]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3636]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14542]
3. X es correcta pero Y es incorrecta. [Option ID = 14543]
4. X es incorrecta y Y es correcta. [Option ID = 14544]
Correct Answer :-
Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14541]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
5)
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3637]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14545]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14546]
3. X es correcta pero Y es incorrecta [Option ID = 14547]
4. X es incorrecta y Y es correcta. [Option ID = 14548]
Correct Answer :-
X es correcta pero Y es incorrecta [Option ID = 14547]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
?Cu?l de las siguientes afirmaciones es correcta?
(a) Carlos Fuentes piensa que el inmigrante es valiente.
(b) El inmigrante arriesga todo porque es un irresponsable.
(c) La ?tierra de nadie? pertenece a EEUU
(d) El inmigrante no quita el trabajo del ciudadano de EEUU, hace labores que el
[Question ID = 3635]
1. (a) y (d) [Option ID = 14538]
6)
7)
2. (a) y (b) [Option ID = 14537]
3. (b) y (c) [Option ID = 14540]
4. (c) y (d) [Option ID = 14539]
Correct Answer :-
(a) y (d) [Option ID = 14538]
La frontera de 2500 millas entre M?xico y los Estados Unidos es la ?nica frontera visible entre los mundos desarrollados y en
desarrollo. Tambi?n es la frontera entre Angloam?rica y Latinoam?rica, que empieza aqu?. Y tambi?n es una frontera inacabada como las
barreras, zanjas, muros ? la llamada Cortina de la Tortilla ? r?pidamente levantados para detener al inmigrante hisp?nico en enseguida
abandonadas, inacabadas. Es f?cil cruzar la frontera ah? donde el r?o se ha secado o los montes son solitarios. Pero es dif?cil llegar al otro
lado. Entre las dos fronteras existe una tierra de nadie donde el inmigrante debe enfrentarse a la vigilancia de las patrullas fronterizas
norteamericanas. Pero la voluntad del trabajador es fuerte. En su mayor?a vienen de M?xico, pero tambi?n de la Am?rica Central y desde
Colombia, as? como desde el Caribe. A veces son empujados por la desventura pol?tica. Pero, casi siempre, y sobre todo en el caso de los
mexicanos, el inmigrante ha llegado por razones econ?micas. Se suma a un ej?rcito de seis millones de trabajadores indocumentados en
los Estados Unidos. Se re?nen en lugares modestos al sur de la frontera, esperando con sus familias y amigos el momento oportuno para
cruzar. Las patrullas fronterizas trabajan d?a y noche para imped?rselo. El patrullero tiene a su disposici?n todas las ventajas de la
tecnolog?a moderna. El inmigrante tiene la ventaja de los n?meros y la presi?n de los millares de personas detr?s de ?l. Poseen la
desesperaci?n de la necesidad. Se trata, acaso, de los hombres y mujeres m?s valientes y determinados de todo M?xico. Pues toma coraje
y voluntad quebrar el c?rculo intemporal de la pobreza y arriesgarlo todo en la apuesta de cruzar la frontera del norte. Pero esta frontera,
dicen muchos entre quienes la cruzan, en realidad no es una frontera sino una cicatriz. ?Se habr? cerrado para siempre? ?O volver? a
sangrar un d?a? El inmigrante es la v?ctima perfecta. Se encuentra en una tierra extra?a, no habla ingl?s, duerme a la intemperie, lleva
consigo todas sus pertenencias, teme a las autoridades, empleadores y abogados sin escr?pulos tienen en sus manos vidas y libertades. A
veces son brutalizados, a veces asesinados. Pero no son criminales. Son solo trabajadores. Se les acusa de desplazar a los trabajadores
norteamericanos, de da?ar la econom?a de EEUU y aun de da?ar a la naci?n, amenazando su integridad cultural. Pero los trabajadores
siguen viniendo porque la econom?a norteamericana los necesita. Se ocupan de los servicios que nadie en Norteam?rica quiere seguir
cumpliendo. No s?lo la labor agr?cola sino, cada vez m?s trabajos de servicios en los transportes, la hoteler?a, los hospitales, todos ellos
trabajos que se detendr?an sin la contribuci?n de inmigrantes: sin ellos, la estructura entera de los salarios y el empleo en los Estados
Unidos sufrir?a un enorme cambio, descendiendo varios pelda?os y arrastrando hacia abajo a millones de trabajadores y sus hogares.
(Carlos Fuentes, El espejo enterrado.)
[Question ID = 3633]
1. (a) y (d) [Option ID = 14530]
2. (a) y (b) [Option ID = 14529]
3. (b) y (c) [Option ID = 14532]
4. (c) y (d) [Option ID = 14531]
Correct Answer :-
(a) y (b) [Option ID = 14529]
8)
La Cortina de Tortilla separa: [Question ID = 3631]
1. EEUU y Canad? [Option ID = 14524]
2. Colombia y EEUU [Option ID = 14523]
3. M?xico y Colombia [Option ID = 14522]
4. M?xico y EEUU [Option ID = 14521]
Correct Answer :-
M?xico y EEUU [Option ID = 14521]
9)
?Por qu? llama Carlos Fuentes la frontera ?un cicatriz?? [Question ID = 3632]
1. Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
2. Porque los inmigrantes tienen muchas heridas. [Option ID = 14526]
3. Los patrulleros dan a los inmigrantes cicatrices. [Option ID = 14527]
4. Los inmigrantes se dan cicatrices para suicidarse. [Option ID = 14528]
Correct Answer :-
Porque es una herida del pasado hist?rico que sangra [Option ID = 14525]
10)
?Por qu? han podido llegar a EEUU tantos inmigrantes hispanos seg?n Carlos Fuentes? [Question ID = 3629]
1. Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
2. Porque tienen la tecnolog?a moderna [Option ID = 14513]
3. Porque tienen parientes en EEUU. [Option ID = 14516]
4. Porque tienen dinero [Option ID = 14514]
Correct Answer :-
Porque tienen la desesperaci?n de la necesidad. [Option ID = 14515]
1)
El inmigrante indocumentado mexicano en la mayor?a de los casos va a EEUU. [Question ID = 3630]
1. Para estudiar [Option ID = 14517]
2. Para emigrar a Canad? [Option ID = 14519]
3. Para trabajar [Option ID = 14518]
4. Para casarse [Option ID = 14520]
Correct Answer :-
Para trabajar [Option ID = 14518]
Topic:- DU_J18_MPHIL_HIS_Topic02
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
2)
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The novel presents a world in which everyone tells stories.
Y It stages the production of "literature" as something ordinary.
Which of the following statements is correct?
[Question ID = 3647]
1. X is wrong, but Y is correct. [Option ID = 14588]
2. X is correct, but Y is wrong. [Option ID = 14587]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14586]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14585]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author wrote the novel after moving to Delhi.
Y Delhi has a central role in the novel.
Which of the following statements is correct?
[Question ID = 3648]
1. X is wrong, but Y is correct. [Option ID = 14592]
2. X is correct, but Y is wrong. [Option ID = 14591]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14590]
3)
4)
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14589]
Correct Answer :-
X is correct, but Y is wrong. [Option ID = 14591]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Read the following statements marked as X and Y.
X The author was in search of a narrative structure with the form of a network.
Y The ?story cycle? connects stories set in different places through metaphors and analogies.
Which of the following statements is correct?
[Question ID = 3649]
1. X is wrong, but Y is correct. [Option ID = 14596]
2. X is correct, but Y is wrong. [Option ID = 14595]
3. X and Y are both correct but X is not the explanation for Y. [Option ID = 14594]
4. X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Correct Answer :-
X and Y are both correct and X is the explanation for Y. [Option ID = 14593]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
5)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The characters of the framing device are
(a) the ones stranded at an airport.
(b) the figures in the 13 stories.
(c) desribed in great detail.
(d) those that tell the stories.
[Question ID = 3645]
1. (a) y (d) [Option ID = 14578]
2. (a) y (b) [Option ID = 14577]
3. (b) y (c) [Option ID = 14580]
4. (c) y (d) [Option ID = 14579]
Correct Answer :-
(a) y (d) [Option ID = 14578]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The setting of the framing device is
(a) beside the baggage carousels in an airport.
(b) a grounded flight to Tokyo.
(c) a night in snowbound Tokyo.
(d) in the Middle of Nowhere
[Question ID = 3644]
1. (a) y (d) [Option ID = 14574]
2. (a) y (b) [Option ID = 14573]
3. (b) y (c) [Option ID = 14576]
4. (c) y (d) [Option ID = 14575]
6)
7)
Correct Answer :-
(a) y (d) [Option ID = 14574]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The storytellers are located in a place ?like a back corridor between two worlds?
(a) since they have departed from somewhere but not yet reached their destination.
(b) since they are both artists and audience.
(c) since they are in a colorless place of transit.
(d) since they are strangers to each other.
[Question ID = 3646]
1. (a) y (d) [Option ID = 14582]
2. (a) y (b) [Option ID = 14581]
3. (b) y (c) [Option ID = 14584]
4. (c) y (d) [Option ID = 14583]
Correct Answer :-
(b) y (c) [Option ID = 14584]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
8)
9)
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
Tokyo Cancelled is ?not, strictly speaking, a novel at all?
[Question ID = 3643]
1. because it rejects the primacy of location. [Option ID = 14572]
2. because it has so many different characters [Option ID = 14570]
3. because it has no central character. [Option ID = 14569]
4. because it is mainly a collection of separate stories. [Option ID = 14571]
Correct Answer :-
because it is mainly a collection of separate stories. [Option ID = 14571]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The 13 passengers decide to tell each other stories
[Question ID = 3640]
1. because they are stranded in an airport. [Option ID = 14557]
2. because they only have peanuts and cigarettes to share. [Option ID = 14558]
3. because they have nothing else to do. [Option ID = 14559]
4. because storytelling is a way of connecting to strangers. [Option ID = 14560]
Correct Answer :-
because storytelling is a way of connecting to strangers. [Option ID = 14560]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of which
is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination with
traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport terminal.
When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the baggage
carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes until one of
them suggests that "when you are together like this stories are what is required". And so the night is passed.
10)
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative time of the novel is compressed ...
[Question ID = 3641]
1. because the stories are short. [Option ID = 14562]
2. because the storytellers are strangers and therefore leave out a lot of details. [Option ID = 14561]
3. because they are told in one night. [Option ID = 14563]
4. because all the 13 stories have to be narrated. [Option ID = 14564]
Correct Answer :-
because they are told in one night. [Option ID = 14563]
Narrative planes Rana Dasgupta's debut novel, Tokyo Cancelled, stands out from the crowd for a number of reasons, not least of
which is that it's not, strictly speaking, a novel at all. Dasgupta himself describes it as a "story cycle", a term which hints at the fascination
with traditional modes of storytelling. The action - such as it is - takes place in the definitively contemporary setting of an airport
terminal. When snowstorms ground their flight to Tokyo, 13 passengers experience a moment of hiatus in their lives. Stranded beside the
baggage carousels in an echoing arrivals hall for a single night, they huddle up, passing around packets of peanuts and final cigarettes
until one of them suggests that "when you are together like this stories are what is required". And so the night is passed.
About the stories themselves there is nothing simple. A tailor sews a robe of surpassing beauty for an ungrateful prince; a Japanese
entrepreneur risks all when he falls helplessly in love with a doll; in a Paris gripped by plague, an immortal changeling is touched by
death. The stories are thematically linked, but discrete; the characters and setting of the framing device, meanwhile, are tenebrous, and
accorded minimal space. Why did he choose to present his stories as a novel at all?
"Paradoxically, the more the world becomes interwoven the less it seems possible to tell a single, representative story of it - yet the
connections are real and lived," he says. "So how do you narrate this? I was trying to find a narrative structure that would have the form
of a network, one that could admit the distances between places, but could also hint at the metaphors and analogies that connect them.
As for the necessity of presenting a night of storytelling rather than 13 raw texts: at one level this is a nod to a tradition of other story
cycles; at another, it serves to compress the narrative's time even as its space spreads out across the globe. Finally, I think it stages the
production of "literature" as something that normal people do. If it seems fantastical that a collection of travellers might tell such stories
then this raises the question of why it is so much easier to stomach the idea that Chaucerian illiterates might do so. One reason is the
creeping institutionalisation of culture: only "writers" write, only "artists" make art, and everyone else can only consume. These stories
aren't presented as non-negotiable outpourings from on high, but in a setting of people who are both artists and audience. By embedding
them in life, by leading readers into a world that is rather like our own but where everyone tells stories, the book issues a challenge: for
more storytelling."
While Dasgupta was born and brought up in the UK, it was not until he moved to Delhi that he decided to give up his job in PR and write
full-time. Although Tokyo Cancelled appears to reject the primacy of location (the storytellers find themselves "in the Middle of Nowhere,
in a place ... like a back corridor between two worlds"), the city's influence can be felt throughout the book.
[adapted from a Review in The Guardian, 29 March 2005]
The narrative space of the novel expands ...
[Question ID = 3642]
1. by linking the traditional with the contemporary. [Option ID = 14566]
2. by moving across many distant places. [Option ID = 14568]
3. by telling fantastical tales. [Option ID = 14567]
1)
2)
4. by connecting people on the move. [Option ID = 14565]
Correct Answer :-
by moving across many distant places. [Option ID = 14568]
Topic:- DU_J18_MPHIL_HIS_Topic03
?Cu?les de las siguientes afirmaciones son correctas?
(a) Lorca era un gitano.
(b) Lorca naci? en una familia burguesa.
(c) Lorca se identificaba con la alienaci?n de los gitanos.
(d) Lorca aguantaba el estado marginado de los gitanos.
[Question ID = 3659]
1. (a) y (d) [Option ID = 14634]
2. (a) y (b) [Option ID = 14633]
3. (b) y (c) [Option ID = 14636]
4. (c) y (d) [Option ID = 14635]
Correct Answer :-
(b) y (c) [Option ID = 14636]
3)
En el texto, la palabra ?granadino? significa
[Question ID = 3656]
1. Un libro que publica en Granada [Option ID = 14624]
2. Una idea inculcada [Option ID = 14623]
3. Una fruta [Option ID = 14621]
4. Un natural de Granada [Option ID = 14622]
Correct Answer :-
Un natural de Granada [Option ID = 14622]
La declaraci?n de Lorca ?Yo ser? partidario?? indica
[Question ID = 3657]
1. Su apoyo a la marginaci?n de los gitanos. [Option ID = 14628]
2. Su amor por el pueblo andaluz. [Option ID = 14625]
3. Su poes?a como un canto universal. [Option ID = 14626]
4. Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
Correct Answer :-
Su defensa de los gitanos como pueblo al margen de la sociedad. [Option ID = 14627]
4)
5)
?Qu? se entiende por ?visceral? en el texto?
[Question ID = 3658]
1. relativo al sistema de nervios o v?scera [Option ID = 14629]
2. que corresponde a la naturaleza [Option ID = 14632]
3. que atiende a lo intelectual y ideol?gico de ser humano [Option ID = 14630]
4. que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
Correct Answer :-
que afecta a lo interior y profundidad de sentimientos [Option ID = 14631]
?Cu?les de las siguientes afirmaciones son correctas?
(a) La poes?a lorquiana encarna la aprensi?n de muerte.
(b) Le atra?a la m?sica flamenco.
(c) Su poes?a niega la alienaci?n de los hombres.
(d) Lorca se sent?a amparado por su homosexualidad.
6)
7)
[Question ID = 3660]
1. (a) y (d) [Option ID = 14638]
2. (a) y (b) [Option ID = 14637]
3. (b) y (c) [Option ID = 14640]
4. (c) y (d) [Option ID = 14639]
Correct Answer :-
(a) y (b) [Option ID = 14637]
[Question ID = 3655]
1. busca [Option ID = 14617]
2. existe [Option ID = 14619]
3. logra [Option ID = 14620]
4. mide [Option ID = 14618]
Correct Answer :-
[Question ID = 3652]
8)
9)
1. sabio [Option ID = 14605]
2. l?gico [Option ID = 14608]
3. consciente [Option ID = 14606]
4. conocido [Option ID = 14607]
Correct Answer :-
consciente [Option ID = 14606]
[Question ID = 3651]
1. suprime [Option ID = 14601]
2. contiene [Option ID = 14604]
3. censura [Option ID = 14602]
4. reivindica [Option ID = 14603]
Correct Answer :-
[Question ID = 3654]
1. ambiguo [Option ID = 14613]
2. marginado [Option ID = 14616]
3. intelectual [Option ID = 14614]
10)
1)
2)
3)
4. apreciado [Option ID = 14615]
Correct Answer :-
marginado [Option ID = 14616]
[Question ID = 3653]
1. debe [Option ID = 14612]
2. adquiere [Option ID = 14610]
3. niega [Option ID = 14609]
4. demanda [Option ID = 14611]
Correct Answer :-
Topic:- DU_J18_MPHIL_HIS_Topic04
?Qu? cre?do se lo tiene! ?Ni que _______ el m?s inteligente y el m?s atractivo de los hombres! [Question ID = 3662]
1. fuera [Option ID = 14646]
2. sea [Option ID = 14647]
3. est? [Option ID = 14645]
4. estuviera [Option ID = 14648]
Correct Answer :-
fuera [Option ID = 14646]
Carlos est? muy inquieto porque tiene miedo de que lo ___________. [Question ID = 3664]
1. despiden [Option ID = 14653]
2. despidan [Option ID = 14655]
3. despedir?n [Option ID = 14654]
4. despedir?an [Option ID = 14656]
Correct Answer :-
despidan [Option ID = 14655]
Como se mueven en un ambiente muy conservador su divorcio va a ______ hablar, pero a ellos les da lo mismo. [Question ID = 3663]
1. dar de [Option ID = 14650]
2. dar a [Option ID = 14652]
3. dar por [Option ID = 14649]
4. dar que [Option ID = 14651]
Correct Answer :-
dar que [Option ID = 14651]
4)
5)
6)
7)
[Question ID = 3669]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14676]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14674]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14675]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14673]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14673]
[Question ID = 3670]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14680]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14678]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14679]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14677]
Correct Answer :-
a-iii, b-i, c-ii, d-iv [Option ID = 14679]
[Question ID = 3671]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14684]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14682]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14683]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14681]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14684]
?Cu?l de las siguientes frases es correcta?
(a) Beber como una lima
(b) Comer como una cuba
(c) Fumar como un carretero
(d) Hablar como un loro
[Question ID = 3668]
1. (a) y (d) [Option ID = 14670]
2. (a) y (b) [Option ID = 14669]
8)
9)
10)
1)
3. (b) y (c) [Option ID = 14672]
4. (c) y (d) [Option ID = 14671]
Correct Answer :-
(c) y (d) [Option ID = 14671]
?Cu?l de los siguientes es correcto?
(a) Ego?smo ? Generosidad
(b) Escasez ? carencia
(c) Optimismo ? alivio
(d) Error ? Acierto
[Question ID = 3667]
1. (a) y (d) [Option ID = 14666]
2. (a) y (b) [Option ID = 14665]
3. (b) y (c) [Option ID = 14668]
4. (c) y (d) [Option ID = 14667]
Correct Answer :-
(a) y (d) [Option ID = 14666]
?Cu?l de los siguientes es correcto?
(a) Una barra de pan
(b) Una tableta de chocolate
(c) Una raja de naranja
(d) Un terr?n de ajos
[Question ID = 3666]
1. (a) y (d) [Option ID = 14662]
2. (a) y (b) [Option ID = 14661]
3. (b) y (c) [Option ID = 14664]
4. (c) y (d) [Option ID = 14663]
Correct Answer :-
(a) y (b) [Option ID = 14661]
No los cont?, pero _______ cincuenta comensales. [Question ID = 3665]
1. habr?an [Option ID = 14658]
2. habr?n [Option ID = 14659]
3. habr? [Option ID = 14660]
4. habr?a [Option ID = 14657]
Correct Answer :-
habr?a [Option ID = 14657]
Topic:- DU_J18_MPHIL_HIS_Topic05
El enigma de Hitler es cuadro de
[Question ID = 3675]
1. Juan Gris [Option ID = 14698]
2. Juan March [Option ID = 14700]
3. Pablo Picasso [Option ID = 14697]
4. Salvador Dal? [Option ID = 14699]
Correct Answer :-
Salvador Dal? [Option ID = 14699]
2)
3)
4)
5)
6)
ETA era un grupo terrorista de [Question ID = 3676]
1. Pa?s Vasco [Option ID = 14703]
2. Galicia [Option ID = 14701]
3. Catalu?a [Option ID = 14702]
4. Andaluc?a [Option ID = 14704]
Correct Answer :-
Pa?s Vasco [Option ID = 14703]
[Question ID = 3681]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14724]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14722]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14723]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14721]
Correct Answer :-
a-ii, b-iv, c-iii, d-i [Option ID = 14721]
[Question ID = 3678]
1. (a) y (d) [Option ID = 14710]
2. (a) y (b) [Option ID = 14709]
3. (b) y (c) [Option ID = 14712]
4. (c) y (d) [Option ID = 14711]
Correct Answer :-
(a) y (d) [Option ID = 14710]
[Question ID = 3680]
1. a-i, b-iii, c-iv, d-ii [Option ID = 14720]
2. a-iv, b-ii, c-i, d-iii [Option ID = 14718]
3. a-iii, b-i, c-ii, d-iv [Option ID = 14719]
4. a-ii, b-iv, c-iii, d-i [Option ID = 14717]
Correct Answer :-
a-i, b-iii, c-iv, d-ii [Option ID = 14720]
7)
8)
9)
[Question ID = 3683]
1. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14730]
2. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14729]
3. X es incorrecta y Y es correcta. [Option ID = 14732]
4. X es correcta pero Y es incorrecta. [Option ID = 14731]
Correct Answer :-
X es correcta pero Y es incorrecta. [Option ID = 14731]
[Question ID = 3679]
1. (a) y (d) [Option ID = 14714]
2. (a) y (b) [Option ID = 14713]
3. (b) y (c) [Option ID = 14716]
4. (c) y (d) [Option ID = 14715]
Correct Answer :-
(a) y (b) [Option ID = 14713]
[Question ID = 3677]
1. (a) y (d) [Option ID = 14706]
2. (a) y (b) [Option ID = 14705]
3. (b) y (c) [Option ID = 14708]
4. (c) y (d) [Option ID = 14707]
Correct Answer :-
(b) y (c) [Option ID = 14708]
[Question ID = 3682]
1. Ambas (X y Y) son correctas y X es la explicaci?n por Y. [Option ID = 14725]
2. Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14726]
3. X es correcta pero Y es incorrecta. [Option ID = 14727]
4. X es incorrecta y Y es correcta. [Option ID = 14728]
10)
Correct Answer :-
Ambas (X y Y) son correctas pero X no es la explicaci?n por Y. [Option ID = 14726]
?Cu?l de estos pa?ses no pertenece a la Uni?n Europea? [Question ID = 3674]
1. Suecia [Option ID = 14695]
2. Ruman?a [Option ID = 14696]
3. Alemania [Option ID = 14693]
4. Rusia [Option ID = 14694]
Correct Answer :-
Rusia [Option ID = 14694]
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This post was last modified on 29 January 2020