WHO IS KNOWN AS FATHER OF RENAISSANCE ?->(Show Answer!)

1. WHO IS KNOWN AS FATHER OF RENAISSANCE

Answer: PETRARCH

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MCQ-> Read the passage carefully and choose the best answer to each question out of the four alternatives.The Bengal Renaissance refers to a social reform movement during the nineteenth and early twentieth centuries in the region of Bengal in Undivided India during the period of British rule. The Bengal renaissance can be said to have started with Raja Ram Mohan Roy (1775-1833) and ended with Rabindranath Tagore (1861-1941) , although there have been many stalwarts thereafter embodying particular aspects of the unique intellectual and creative output. Nineteenth century Bengal was a unique blend of religious and social reformers, scholars, literary giants, journalists, patriotic orators and scientists, all merging to form the image of a renaissance, and marked the transition from the ‘medieval’ to the ‘modern’. During this period, Bengal witnessed an intellectual awakening that is in some way similar to the European Renaissance during the 16th century, although Europeans of that age were not confronted with the challenge and influence of alien colonialism. This movement questioned existing orthodoxies, particularly with respect to women, marriage, the dowry system, the caste system andreligion. One of the earliest social movements that emerged during this time was the Young Bengal movement, that espoused rationalism and atheism as the common denominators of civil conduct among upper caste educated Hindus. The parallel socio- religious movement, the Brahmo Samaj, developed during this time period and counted many of the leaders of the Bengal Renaissance among its followers.Find the option that is opposite in meaning to alien.
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MCQ->A father and his son are waiting at a bus stop in the evening. There is a lamp post behind them. The lamp post, the father and his son stand on the same straight line. The father observes that the shadows of his head and his son's head are incident at the same point on the ground. If the heights of the lamp post, the father and his son are 6 metres, 1.8 metres and 0.9 metres respectively, and the father is standing 2.1 metres away from the post then how far (in metres) is son standing form his father?...

MCQ->A child is looking for his father. He went 90 metres in the east before turning to his right. He went 20 metres before turning to his right again to look for his father at his uncle's place 30 metres from this point. His father was not here. From here he went 100 metres to his north before meeting his father in a street. How far did the son meet his father from the starting point?...

MCQ-> On the basis of the information provided, answer the questions below.Eight doctors P, Q, R, S, T, U, V and W of the same family i.e. father, mother, father’s sister, mother’s brother, 2 daughters and 2 sons visit a clinic every day for one hour each except on Monday which is a holiday. The timings are 9 am to 1 pm and 2 pm to 6 pm, with lunch time from 1 pm to 2 pm. Each has a different specialisation namely Cardiologist, Orthodontist, Neurologist, Paediatrician, Gynaecologist, Urologist, Radiologist and General Physician.1.No doctor visits the clinic before doctor Q and after doctor U. 2.The Orthodontist visits right after lunch and is followed by R who is a female. 3.The mother comes in at the same place before lunch as the younger son P after lunch. 4.The General Physician is the sister of Urologist’s father and is last to visit before lunch. 5.The Cardiologist is the first while the elder daughter is the last to visit. 6.T is the mother’s brother of U and visits between the father and mother. 7.Before 1 pm, V comes after the Radiologist, who is second to visit during the day 8.S, the mother comes at 11 am after the father. 9.The Neurologist is at the same place after lunch as the Gynaecologist before lunch and comes right after Urologist.The General Physician is a ____________ and comes at ___________
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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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