Arun Sharma and Meenakshi Upadhyay Solutions for Chapter: Paragraph Jumbles, Exercise 6: Exercise

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) In order not to prejudge the issue, we shall take objective thought on its own terms and not ask it any questions which it does not ask itself.
(B) We cannot remain in this dilemma of having to fail to understand either the subject or the object.
(C) If we are led to rediscover the experience behind it, this shift to ground will be attributed only to the difficulties which objective thought itself raises.
(D) We must discover the origin of the object at the very centre of our experience; we must describe the emergence of being and we must understand how, paradoxically there is for us an in-itself.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) Just as we speak of repression in the limited sense when I retain through time one of the momentary worlds through which I have lived and make it the formative element of my whole life—so it can be said that my organism, as a pre-personal cleaving to the general form of the world, as an anonymous and general existence, plays, beneath my personal life, the part of an inborn complex. It is not some kind of inert thing; it too has something of the momentum of existence.

(B) Thus, there appears around our existence a margin of almost impersonal existence. The human world that each of us has made for ourselves is a world in general terms to which one must, first of all, belong in order to be able to enclose oneself in the particular context of love or ambition.

(C) To the extent that I have ‘sense organs', a body and “psychic functions' comparable with other men’s, each of the moments of my experience ceases to be an integrated and strictly unique totality, in which details exist only in virtue of the whole; I become the meeting point of 'causalities'.

(D) In so far as inhabiting a “physical world', in which consistent ‘stimuli’ and typical situations recur—and not merely the historical world in which situation is never exactly comparable— my life is made up of rhythms that have not their reason in what I have chosen to be, but their condition in the humdrum setting which is mine.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) In its descriptions of the body from the point of view of the self, classical psychology was already wont to attribute to it ‘characteristics' incompatible with the status of an object.

(B) In the first place, it was stated that my body is distinguishable from the table or the lamp in that I can turn away from the latter whereas my body is constantly perceived.

(C) It is not the case that ever-renewed perspectives simply provide it with opportunities of displaying its permanence, and with contingent ways of presenting itself to us.

(D) It is therefore an object which does not leave me. But in that case, is it still an object? If the object is an invariable structure, it is not one in spite of the changes of perspective, but in that change or through it.

(E) It is an object, which means that it is standing in front of us, only because it is observable, situated, that is to say, directly under our hand or gaze, indivisibly overthrown and re-integrated with every movement they make.

(F) Otherwise, it would be true like an idea and not present as a thing.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) It is red and golden.

(B) Our leaf falls.

(C) It detaches itself with a little plopping sound from its place high up in the tree.

(D) The sun catches it and it glitters with mist and dew.

(E) It plunges straight down through the tree and then hesitates and hovers for a while just below the lowest branches.

(F) It now descends in a leisurely arc and lingers for another moment before it finally settles on the ground.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) They are almost universally recognizable and immediate in their appeal.

(B) All these are qualities to which most people can readily respond because, although they are raised above their normal intensity, they are all qualities to which we habitually respond in everyday life.

(C) Consider, for example, the overwhelming pathos of the Perpignan Crucifix, the dignity, and power of Michelangelo's Moses, the tenderness of the gesture of the man's hand in Rodin's The Kiss, the warm radiance of Maillol's and Renoir's sculptures of women, the erotic appeal of an Indian apsara, and the youthful charm of choirboys in Lucca Della Robbia's Cantoria.

(D) There are some qualities of sculpture that may be appreciated without much effort.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) Such expression and our perception of it operate according to the same principles in the simulated figures of art as in real life.

(B) Artists have been praised for their success in depicting accurately and unambiguously, the outward manifestations of emotion in the figures which their pictures displayed.

(C) The depiction or description of external emotional expression (physiognomic qualities) has been a prominent feature of much of the world's art, particularly art produced in the tradition of naturalism.

(D) A person with a delicate sensibility for emotional expression in life, one who can read them with more than ordinary perceptivity and sympathy, will be for that reason, better qualified to appreciate this kind of art.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) His subject is virtually a matter of indifference, if you hang together still life's, portraits, landscapes, and figure studies by him, you find that the difference of subject is of minor importance because all are dominated by his struggle to realise spatial structure by certain technical means common to all and to build into a composition of spatial planes.

(B) On his attitude to landscape, Cezanne himself is quoted by Joachim Gasquet as saying: Here is the motif.

(C) The planes of a head, for example, are described as if they had formed the sides of a mountain, an arm as if it had been a tree trunk and a still life may have the formal properties of a landscape.

(D) Cezanne is a classical example of an artist whose theme was, almost consistently, the solution of problems connected with the interpretation of visible things in terms of spatial structure.

Rearrange the following sentences in a logical order to form a coherent paragraph.

(A) Relationship, patterns, and higher-order qualities, which before had been invisible, leap into prominence and become organized into the whole.

(B) It is sharper and more vivid in detail as if it had been removed from the periphery to the focus of vision and it acquires structure by which it is compacted into a unified configuration.

(C) Though much more complicated and more intricate, the process is akin to what happens when from seeing a picture as a chaotic assemblage of unrelated colours and shapes, we see it as a coherent whole with new structural and expressive qualities permeating the whole.

(D) When a work of art is successfully apprehended in appreciation, the new aesthetic object which is actualized to awareness is perceived with more lucidity, as if a caul had been removed from in front of it.