VARC || Mega Quiz 3 - Weekly Revision || CAT 2021 || 4 April
Attempt now to get your rank among 66 students!
Question 1
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
What does the author mean by "Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement"?
Question 2
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
Aficionados
I. Connoisseurs
II. Disciples
III. Enthusiasts
Question 3
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
Question 4
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
"There will always be critics of models wearing hijabs on the catwalk and initiatives like the Istanbul Modest Fashion Week will help overcome the stigma."
Question 5
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
Question 6
A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.
Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.
Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.
In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?
Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.
The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.
Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.
Question 7
Question 8
It constituted familial and cultural work.
Question 9
A. Animals break open the pods (1) to eat the pulp and thus swallow (2) them and disseminate (3) them via their ex gratia (4).
B. Troup’s book contends (1) detailed silviculture (2) accounts (3) of several important trees of the Indian Subcontinent (4).
C. A medicinal (1) preparation (2) with the roots of the tree is used to cure leeprosy (3) and skin diseases (4).
Question 10
A. In the Sundarbans, people eke (1) out a living (2) by fishing, collecting prawn (3) seeds, and beetle (4) leaf farming.
B. Its inhabitants (1) quever (2) with curiosity (3) whenever the desert train discharges a consignment (4) of tourists.
C. Another useful and reliable (1) intution (2) is that of recurrence (3) of semantic contrast, or semantic (4) proportion.
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