The following passage consists of 6 sentences. The first and sixth sentences of the passage are at their correct positions, while the middle four sentences (represented by 2, 3, 4, and 5) are jumbled up. Choose the correct sequence of the sentences so that they form a coherent paragraph:
1. Most obviously, mobility is taken to be a geographical as well as a social phenomenon.
2. Much of the social mobility literature regarded society as a uniform surface and failed to register the geographical intersections of region, city and place, with the social categories of class, gender and ethnicity.
3. The existing sociology of migration is incidentally far too limited in its concerns to be very useful here.
4. Further, I am concerned with the flows of people within, but especially beyond, the territory of each society, and how these flows may relate to many different desires, for work, housing, leisure, religion, family relationships, criminal gain, asylum seeking and so on.
5. Moreover, not only people are mobile but so too are many 'objects'.
6. I show that sociology's recent development of a 'sociology of objects' needs to be taken further and that the diverse flows of objects across societal borders and their intersections with the multiple flows of people are hugely significant.
Step 1: Sentence 1 introduces the theme. "Mobility" is both geographical and social. So the next sentence must expand on how traditional social mobility studies treated society — this is sentence 2.
Step 2: Logical follow-up. After criticizing the older literature in (2), the author notes that even migration sociology is limited. This is sentence 3.
Step 3: Expanding concern. Then comes sentence 4, which broadens the scope to flows of people beyond societies (work, asylum, etc.).
Step 4: Transition to objects. Sentence 5 logically introduces the idea that not only people but also objects are mobile, which prepares the ground for sentence 6.
Step 5: Conclusion. Sentence 6 then emphasizes the "sociology of objects" and their intersection with people's flows, completing the passage. \[ \text{Final sequence: } 1 \; \to \; 2 \; \to \; 3 \; \to \; 4 \; \to \; 5 \; \to \; 6 \] Thus, the correct option is (B) 2, 3, 4, 5.
Fill in the blanks with the correct combination of tenses for the given sentence: Darwin's work (i) _____ a related effect that (ii) _______ influenced the development of environmental politics - a 'decentering' of the human being.
The following segments of a sentence are given in jumbled order. The first and last segments (1 and 5) are in their correct positions, while the middle three segments (represented by 2, 3, and 4) are jumbled up. Choose the correct order of the segments so that they form a coherent sentence:
1. Consumed multitudes are jostling and shoving inside me
2. and guided only by the memory of a large white bedsheet with a roughly circular hole some seven inches in diameter cut into the center,
3. clutching at the dream of that holey, mutilated square of linen, which is my talisman, my open-sesame,
4. I must commence the business of remaking my life from the point at which it really began,
5. some thirty-two years before anything as obvious, as present, as my clockridden, crime-stained birth.
Here are two analogous groups, Group-I and Group-II, that list words in their decreasing order of intensity. Identify the missing word in Group-II.
Abuse \( \rightarrow \) Insult \( \rightarrow \) Ridicule
__________ \( \rightarrow \) Praise \( \rightarrow \) Appreciate
Eight students (P, Q, R, S, T, U, V, and W) are playing musical chairs. The figure indicates their order of position at the start of the game. They play the game by moving forward in a circle in the clockwise direction.
After the 1st round, the 4th student behind P leaves the game.
After the 2nd round, the 5th student behind Q leaves the game.
After the 3rd round, the 3rd student behind V leaves the game.
After the 4th round, the 4th student behind U leaves the game.
Who all are left in the game after the 4th round?

The 12 musical notes are given as \( C, C^\#, D, D^\#, E, F, F^\#, G, G^\#, A, A^\#, B \). Frequency of each note is \( \sqrt[12]{2} \) times the frequency of the previous note. If the frequency of the note C is 130.8 Hz, then the ratio of frequencies of notes F# and C is: