The four sentences (labelled 1, 2,3 and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. Centuries later formal learning is still mostly based on reading, even with the widespread use of other possible education-affecting technologies such as film, radio, and television.
2. One of the immediate and recognisable impacts of the printing press was on how people learned; in the scribal culture it primarily involved listening, so memorization was paramount.
3. The transformation of learners from listeners to readers was a complex social and cultural phenomenon, and it was not until the industrial era that the concept of universal literacy took root.
4. The printing press shifted the learning process, as listening and memorisation gradually gave way to reading and learning no longer required the presence of a mentor; it could be done privately
The four sentences (labelled 1, 2, 3 and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. Veena Sahajwalla, a materials scientist at the University of New South Wales, believes there is a new way of solving this problem.
2. Her vision is for automated drones and robots to pick out components, put them into a small furnace and smelt them at specific temperatures to extract the metals one by one before they are sent off to manufacturers for reuse.
3. E-waste contains huge quantities of valuable metals, ceramics and plastics that could be salvaged and recycled, although currently not enough of it is.
4. She plans to build micro factories that can tease apart the tangle of materials in mobile phones, computers and other e-waste.
From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
His subject-matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapes from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience which one feels is valuable and ought not to be missed (iii) Historical impulse: Desire to see things as they are, to find out true facts and store them up for the use of posterity (iv) Political purpose: Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they should strive after.
[Extracted with edits from George Orwell's "Why I Write"]