The Green Belt Movement, the campaign for the protection of environment was founded by: ?->(Show Answer!)

1. The Green Belt Movement, the campaign for the protection of environment was founded by:

Answer: Wangari Mathai.

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MCQ-> Read the passage below and choose the most appropriate answer for the questions that follow. Passage I one pictured a woman holding an hourglass next to the words: "Beauty has no age limit. Fertility does." Another portrayed a pair of baby shoes wrapped in a ribbon of the Italian flag. Yet another showed a man holding a half-burned cigarette: "Don't let your sperm go up in smoke" it read. They were part of a government effort to promote "Fertility Day" on Sept. 22? a campaign intended to encourage Italians to have more babies. Instead, the ads set off a furore, were denounced as being offensive, and within days were withdraw. What they did succeed in doing, however, was to ignite a deeper and lasting debate about why it is that Italy has one of the lowest birthrates in the world, and what can be done about it. The problem is not a lack of desire to have children, critics of the campaign say, but rather the lack of meaningful support provided by the government and many employers in a country where the family remains the primary source of child care. Many working women, without an extended family to care for a child, face a dilemma, as private child care is expensive. Some also worry that their job security maybe undermined by missing workdays because of child care issues. Many companies do not offer flexible hours for working mothers.Not surprisingly. Italy's long slowdown in childbirth has coincided with its recent economic slump. But Italian families have been shrinking for decades. In 2015, 488,000 babies were born in Italy, the fewest since the country first unified in 1861. It has one of the lowest birthrates in Europe, with 1.37 children per woman, compared with a European average of 1.6, according to Eurostat figures. By contrast, in France, the economy has been flat, too, but a family-oriented system provides a far more generous social safety net that includes day care and subsidies for families to have children. There, women have two children each on average. The Ministry of Health began the fertility campaign on Aug. 31 with a group of online advertisements and a hashtag on Twitter. The goal was to publicize a series of public meetings on Fertility Day and encourage Italians to have more children. Even Prime Minister Matteo Renzi, whose own health minister started the campaign distanced himself from the ads in a radio interview. Under Mr. Renzi, Italy's government has p families with a so-called baby bonus of 80 to 160 euros, or about $90 to $180, for low- and middle-income households. and it has approved labor laws giving more flexibility on parental leave. But Italy allocates only 1 percent of its gross domestic product to social protection benefits — half the European average. One child out of three here is at risk of relative poverty.Italy's health minister, Beatrice Lorenzin, responding on Facebook, wrote that the Fertility Day, campaign was not a "call to reproduction" but a day to discuss "the fertility issues that 15 percent of Italians deal with." She promptly cancelled the campaign. "I am saddened that the launch of the advertising campaign misled many people,"Ms.Lorenzine said. "I withdrew it to change it."Which one of the following sentences is inaccurate based on all the facts detailed in the passage?
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MCQ-> Answer the questions based on the following information. In a motor race competition certain rules are given for the participants to follow. To control direction and speed of the motorists, guards are placed at different signal points with caps of different colour. Guard with red cap indicates the direction of participant’s movement and guards with green cap indicates the speed of the participant’s movement. At any signal point presence of three guards, two guards and one guard with red cap means the participant must stop, turn left and turn right respectively. Signal points with three guards, two guards and one guard with green cap means the participants must move at 10, 4 and 2 km/hour respectively. Kartikay, one of the participants, starts at a point where his car was heading towards north and he encountered signals as follows: at start point one guard with green cap; after half an hour two guards with red cap and two guards with green cap at first signal; after fifteen minutes one guard with red cap at second signal; after half an hour one guard with red cap and three guards with green caps at third signal; after 24 minutes two guard with red cap and two guards with green cap at fourth signal; after 15 minutes three guard with red cap at fifth signal. (Time mentioned in each case is applicable after crossing the previous signal).Total distance travelled by Kartikay from starting point till last signal is:
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MCQ-> A country has the following types of traffic signals.3 red lights = stop2 red lights = turn left1 red light = turn right3 green lights = go at 100 km/hr speed2 green lights = go at 40 km/hr speed1 green light = go at 20 km/hr speedA motorist starts at a point on a road and follows all traffic signals. His car is heading towards the north. He encounters the following signals (the time mentioned in each case below is applicable after crossing the previous signal).Starting point - 1 green lightAfter half an hour, 1st signal - 2 red and 2 green lightsAfter 15 min, 2nd signal - 1 red lightAfter half an hour, 3rd signal - 1 red and 3 green lightsAfter 24 min, 4th signal - 2 red and 2 green lightsAfter 15 min, 5th signal - 3 red lightsThe total distance travelled by the motorist from the starting point till the last signal is
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MCQ-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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MCQ-> Read the following case and choose the best alternative Guruji's guidance Bhola, an avid nature lover, wanted to be an entrepreneur. He dreamt of establishing a chain of huts in Chatpur region to cater to tourists, who came attracted by the beauty and splendour of the Himalayas. However, he was appalled by current degradation of the Himalayan environment. He remembered the early times when everything was so green, clean and peaceful. Now, greenery was replaced by buildings, peace was shattered by honking of vehicles and flocking of tourists, and cleanliness was replaced by heaps of plastics. Bhola had a strong sense of right and wrong. On speaking to few locals about the issue, he realized that the locals were aware of these issues. However, they pointed out the benefits of development: pucca houses for locals, higher disposable income and with that, ability to send their children to better schools and colleges, better road connectivity, and access to latest technology in agriculture. Most locals wanted the development to continue. Saddened by the lack of support from the locals, Bhola took up the issue with the government. He met the chief minister of the state to find out if government could regulate the developmental activities to prevent environmental degradation. However, the chief minister told Bhola that such an action would slow down the economic progress. That also meant loss of substantial tax revenues for the government. Bhola needed to resolve the dilemma. Bhola always wanted to be an entrepreneur, who could contribute to the society and earn money as well. However, his business would also be responsible for destroying environment. If he did not set up His business, he would not be able to earn money and contribute to the society. After mulling over the issues, he went to his mentor "Guruji". Guruji realized that it was really a difficult puzzle: if one saves the environment, there seems to be no development and if the people and the government sought development, the environment and hence future of this planet and human beings was at stake. After careful thought, he felt that the dilemma could be resolved. He fixed up a meeting with Bhola to answer Bhola's queries.Should Bhola still think of doing business?
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