Step 1: Linking facts to the principles. Principle 2 prohibits carrying unauthorized materials into the exam hall. Since Rohini was thoroughly checked and no such materials were found on her, it cannot be conclusively proved that she brought them in.
Step 2: Considering the evidence. The chits were found near her feet, but possession is not automatically established without proof. The possibility exists that they arrived there through other means.
Step 3: Reason for decision. Reason (ii) supports that a thorough check at entry serves as strong evidence she did not bring in unauthorized material. Without direct proof of possession or use, punishing her would be against the principles of fairness.
Step 4: Conclusion. Rohini cannot be punished for copying; the correct decision is (b) with reason (ii). \[ \boxed{\text{Correct answer: (d) (b) (ii)}} \]
Match List-I with List-II
\[\begin{array}{|c|c|} \hline \textbf{List-1} & \textbf{List-II} \\ \hline \text{(A) Ram Jawaya Kapur v. State of Punjab} & \text{(I) Separation of powers} \\ \hline \text{(B) Delhi Laws Act, 1912} & \text{(II) Delegated legislation} \\ \hline \text{(C) Maneka Gandhi v. Union of India} & \text{(III) Doctrine of proportionality} \\ \hline \text{(D) Om Kumar v. Union of India} & \text{(IV) Post decisional hearing} \\ \hline \end{array}\]
Offenses | Sections |
(A) Voyeurism | (1) Section 77 |
(B) Word, gesture or act intended to insult the modesty of a woman | (2) Section 79 |
(C) Stalking | (3) Section 75 |
(D) Sexual Harassment | (4) Section 78 |
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"]