KV- Primary Teacher (PRT)

KV Recruitment 2023 Assistant Teacher

Prepare for KV Recruitment 2023 Assistant Teacher post with this Practice Set and evaluate your preparation for the exam.

PRIMARY TEACHER

General English

A sentence has been given with a blank to be filled with an appropriate word. Choose the correct alternative

The room in hotel was so ______ that I have to shift to another hotel.

pact adequate compact thin

In the following question, out of the given four alternatives, select the alternative which best expresses the meaning of the Idiom/Phrase.

Lion hearted

Emotional Brave Cunning Fearful

Choose the word that is opposite in meaning to the given word.

Begrime

Doubling Crank Clean Bedaubing

In the following question, out of the given four alternatives, select the alternative which best expresses the meaning of the Idiom/Phrase.

To have hollow legs

To have a large appetite To lose weight To deny one’s mistake Not fond of travelling

Select the most appropriate option to substitute the ITALIC segment in the given sentence. If no substitution is required, select ‘No improvement’ as your answer.

I have not been given the documents by Ramesh.

No improvement have nor been given the documents via has not been gave the documents by have not been given the documents through

Choose the word that means the same as the given word.

Censure

Heed Rebuke Push Instruct

Rearrange the parts of the sentence in correct order.

P: A page can have multiple lines.
Q: A page is better measure of length of a book.
R: This is with respect to a line.
S: It is important to differentiate a line from a page.

QRPS RQPS SRPQ SPQR

A sentence has been given with a blank to be filled with an appropriate word. Choose the correct alternative.

The jury ______ deciding how they want to judge.

will has are was

In the given question, four words are given out of which one word is correctly spelt. Choose the correctly spelt word. Vantriloquist Vantrilloquist Ventriloquist Ventrilloquist

Find the part of the given sentence that has an error in it. If there is no error, choose ‘No error’.

It will be ludicrous not (1)/to acknowledge the real threats (2)/the  World is facing right now (3)/.No error (4)

4 1 3 2

Select the most appropriate option to substitute the ITALIC segment in the given sentence. If no substitution is required, select ‘No improvement’ as your answer.

He called to help if nobody came.

for help if No improvement to help untill for help when

Choose the word that can substitute the given sentence.

Chemistry in ancient times

Taxonomy Abysmal Palaeology Alchemy

Rearrange the parts of the sentence in correct order.

Here the rocks
P: So smooth that in places they
Q: Resemble rolls of silk
R: By Ice and water
S: Are carved and polished

SRPQ QSRP QRPS PQRS

Find the part of the given sentence that has an error in it. If there is no error, choose ‘No error’.

She said that (1)/ she had never (2)/tried that chocolate (3)/. No error (4)

1 2 3 4

In the given question, four words are given out of which one word is correctly spelt. Choose the correctly spelt word. Sollemn Solemn Sollemnn Solem

Who invited Herman to become a research fellow?

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Harvey Littleton Maurice Marinot John Cook David Queensberry

According to the passage, all statements are correct EXCEPT:

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Occasional figurative references were seen in the work of Herman. In 1966, Herman became tutor in charge of a reconfigured glass department. Harvey Littleton’s father was the head of research at the great Corning glass works in New York Before mid-60s there was no technology to work with hot glass in studio in the UK.

As per the given information, which of the following pairs is incorrect?

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Dominick Labino- Technician Maurice Marinot- French painter Harvey Littleton- Potter Asa Brandt- Head of Fashion Department

Which word can replace the word ‘alluring’ meaningfully in the passage?

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Ponderous Repelling Enchanting Abominable

Identify the correct statement about Sam Herman from the following.

Comprehension: Read the following information carefully and answer the given questions. The glass artist Sam Herman, who has died aged 84, was an important contributor to the British craft renaissance of the 1960s and 70s. Studio ceramics (ceramics designed and made by the same person) had been established as a new art form in Britain since the 20s but it was not until the mid-60s that Herman brought the technology to work with hot glass in studio to the UK from the US, enabling individual creative engagement with this dangerous but alluring medium. His mature work was characterised by powerful flowing forms with occasional figurative references and by vibrant colour and iridescent effects. Herman appeared to work in an unpremeditated fashion, following his instincts, responding above all to the ductility of the medium. At the University of Wisconsin at Madison (1962-65) Herman had majored in sculpture under Leo Steppat and, more importantly, had taken glass courses with Harvey Littleton, a potter whose father had been head of research at the great Corning glass works, in upstate New York. But Littleton himself had seen small family-run workshops in Murano, Italy, and was attracted by the neoprimitive inter-war glass made by the French painter Maurice Marinot. With the technical help of Dominick Labino he set about creating a small tank furnace that made it possible for hot glass to be worked outside the factory environment. Herman arrived from Wisconsin on a Fulbright scholarship in 1965 to study cold glass techniques at Edinburgh College of Art, becoming an ambassador for hot glass made in studio. He organised a show of work by his fellow students and tutors from Wisconsin that toured from Edinburgh to Stourbridge College of Art, in the West Midlands, and to the Royal College of Art in London. There it was seen by the head of the ceramics and glass department at the college, David Queensberry, who immediately recognised the potential of direct engagement with hot glass and invited Herman to become a research fellow. In 1966 Herman built a small tank furnace at the college and in 1967 became tutor in charge of a reconfigured glass department. The first degree show at the RCA that included student-made hot glass – by Pauline Solven, John Cook and Asa Brandt – took place in 1968.

Only III I, II and III II and III I and II

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