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Pick up a glossy magazine or newspaper supplement and there will almost certainly be at least one double page spread that looks like a regular editorial page but is headed up either 'promotion' or 'advertisement'. These hybrids - unattractively but aptly called advertorials - are being used with increasing frequency by a growing number of companies. Traditionally the preserve of high-technology clients with a complicated message to get across to potential customers, the use of this technique has now spread to sectors like financial services, alcohol and automobiles.
One major reason why marketing departments are becoming more receptive to ideas for advertorials is that publishers are pursuing them more aggressively at a time of shrinking ad budgets, while they are being treated far more professionally in a bid to persuade clients that this is a creative opportunity to spread their message to their target audiences. Pouring more imagination into them allied with raising production standards has also been a means whereby the commercial executives of magazines and newspapers can try to convince skeptical editors who strongly disapprove of blurring the advertising / editorial line of their worth.
What advertorials are about is control - controlling the message in an editorial format. Positive editorial coverage of a company and / or its products in credible publications is the best publicity any company can hope for, but often proves elusive. A successful advertorial can pinpoint the way the company delivers its message to the heart of its target audience.
High technology was one of the main sources of early advertorials - unsurprisingly the products are complex and need to be explained with some technical detail to get the story across. That is not so easy with traditional advertising.
Advertorials can also to some degree circumvent journalistic indifference to what a company is doing because editorial coverage has already been so extensive. For example, in the case of a company like Compaq, whose swift growth in the computer market attracted many inches of editorial space, that very success can lead to journalists wondering how they can write something different about Compaq. There can be diminishing returns from an editorial point of view. So advertorials let the company present things editorially but with bought space. While they should be strongly labeled, information is being given to readers in a format that looks familiar.[1] In the above passage, the phrase "blurring the advertising / editorial line of their worth" implies
1. diluting the perceived quality of their editorials
2. hiding the actual value of the paper
3. obscuring the actual facts in the paper
4. devaluing the advertising potential of the editorials[2] In the light of your reading of the passage above, identify the option that contains the set of words CLOSEST in meaning to the set of words in CAPITALS:
SCEPTICAL: CIRCUMVENT : ELUSIVE
1 incredulous : surround : baffling
2. doubtful : avoid : evasive
3. thoughtful: deceit: illustrative
4. philosophical : revolve : deceptive[3] According to the passage,
1. high technology does not support traditional advertising
2. traditional joumalists are indifferent to advertorials
3. advertorials facilitate advertising of complex products in a professional manner
4. advertorials occupy double page spreads in magazines[4] The passage DOES NOT discuss
1. attitude of journalists towards advertising
2. advertorials and the publishing industry
3. use of advertorials in industries
4. impact of new technologies on advertorialsasked in JMET
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I feel that this award was not made to me as a man, but to my work - a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose .and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by now
that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that or his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his spirit, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.[1] The phrase "labors under a curse" in paragraph 3 means that the young writer
1. is under a curse, so to speak
2. continues to work though he is cursed
3. is condemned to be abject
4. is given to lusts[2] Which of the following inferences CANNOT be drawn from the passage?
1. Good writing is always about the conflicted human heart
2. A writer should overcome his fear and advocate the universal truths
3. A writer should not seek money or fame
4. A writer should espouse the immortality of the human soul[3] Which of the following is the MOST APT title for this passage?
1. The Tragedy of Mankind
2. Human Heart in Conflict
3. The Writer's Duty
4. The Spirit of Man
asked in JMET
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