A man who remains unmarried ?->(Show Answer!)

1. A man who remains unmarried

Answer: Bachelor

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MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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MCQ-> Every age has its pet contradictions. A few decades back, we used to accept Marx and Freud together, and then wonder, like the chameleon on the turkey carpet, why life was so confusing. Today there is similar trouble over the question whether there is, or is not, something called Human Nature. On the one hand, there has been an explosion of animal behavior studies, and comparisons between animals and men have become immensely popular. People use evidence from animals to decide whether man is naturally aggressive, or naturally territorial; even whether he has an aggressive or territorial instinct. Moreover, we are still much influenced by Freudian psychology, which depends on the notion of instinct. On the other hand, many still hold what may be called the Blank Paper view, that man is a creature entirely without instincts. So do Existentialist philosophers. If man has no instincts, all comparison with animals must be irrelevant. (Both these simple party lines have been somewhat eroded over time, but both are still extremely influential.)According to the Blank Paper view, man is entirely the product of his culture. He starts off infinitely plastic, and is formed completely by the society in which he grows up. There is then no end to the possible variations among cultures; what we take to be human instincts are just the deep-dug prejudices of our own society. Forming families, fearing the dark, and jumping at the sight of a spider are just results of our conditioning. Existentialism at first appears a very different standpoint, because the Existentialist asserts man’s freedom and will not let him call himself a product of anything. But Existentialism too denies that man has a nature; if he had, his freedom would not be complete. Thus Sartre insisted that “there is no human nature …. Man first of all exists, encounters himself, surges up in the world, and defines himself afterwards. If man as the Existentialist sees him is not definable, it is because to begin with he is nothing. He will not be anything until later, and then he will be what he makes himself.” For Existentialism there is only the human condition, which is what happens to man and not what he is born like. If we are afraid of the dark, it is because we choose to be cowards; if we care more for our own children than for other people’s, it is because we choose to be partial. We must never talk about human nature or human instincts. This implicit moral notion is still very influential, not at all confined to those who use the metaphysic of essence and existence. So I shall sometimes speak of it, not as Existentialist, but as Libertarian ― meaning that those holding it do not just (like all of us) think liberty important, but think it supremely important and believe that our having a nature would infringe it.Philosophers have not yet made much use of informed comparison with other species as a help in the understanding of man. One reason they have not is undoubtedly the fear of fatalism. Another is the appalling way terms such as instinct and human nature have been misused in the past. A third is the absurdity of some ethological propaganda.A business school led by an existentialist director, wanted to decide on admission policy for its executive MBA program, which requires candidates to possess minimum five years of managerial experience.With respect to the selection process, which of the following statements will be closest to the director’s belief:
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MCQ-> Read the following passage carefully and answer the question given below it. Certain words are printed in bold to help you to locate them while answering some of the question.Once upon a time in a village, there lived six blind men. In spite of their blindness they had managed to educate themselves Seeking to expand their knowledge they decided to visit a zoo and try out their skills in recognizing animals by their touch. The first animal they came across, as soon as they entered the zoo was an elephant.As the first man approched the elephant, the elephant waved its trunk, and the man felt something brush past him. Managing to hold on to it, and found something long and moving. He jumped back in alarm, shouting "Move away ! This is a snake !" Meanwhile ,the second man had moved closer, and walked right near its legs. As the man touched the thick, cylindrical¬shaped legs, he called out "Do not worry. These are just four trees here. There is acertainly no snake !" The third man was curious hearing the other two, and moved forward. As he walked towards the elephant, he felt his hand touch one of the tusks. Feeling the smooth, sharp ivory tusk, the man cried out " Be careful ! There is a sharp spear here". The fourth man cautiously walked up behind the elephant and felt its swinging tail. "It's just a rope ! he said. The fifth man had meanwhile reached out and was touching the huge ears of the animal. "I think all of you have lost your sense of touch !" he said. "This is nothing but a huge fan!" The sixth man did not want to be left out. As he walked towards the elephant, he bumped into the massive body, and he exclaimed, "Hey ! This is just a huge mud wall ! There is no animal at all !" All six of them were convinced that they were right, and began arguing amongst themselves.The zoo keeper returned to the elephant and saw each of them shouting at the top of their voice ! "Quiet" he shouted out and when they had calmed down, he asked, "Why are all of you shouting and arguing in this manner ?" They replied, "sir, as you can see, we all are blind. We came here to expand our knowledge. We sensed an animal here and tried to get an idea of its appearance by feeling it. However, we are not able to arrive at a consensus over its appearance, and hence are arguing. Can you please help us and tell us which of us is right" ?The zoo keeper laughed before answering "My dear men, each of you has touched just one portion of the animal. The animal you see is neither a snake, nor any of other things you have mentioned. The animal in front on you is an elephant !" As the men, bowed their head ashamed of the scence they had created, the zoo keeper said, "My dear men, this is a huge animal and luckily, it is tame. It stood by calmly as each of you touched it. You are extremely lucky that it stayed calm even during your argument, for if it had got angry, it would have trampled all of you to death !" He continued further , "It is also important to learn to share and pool your knowledge .Instead of fighting amongst yourselves, if you had tried to put all your observations together, you might have had an idea of the animal as a whole ! Also, when you cannot see the entire truth, it is better to go to someone who does know the complete truth, rather than guess about small parts of it. Such half¬knowledge is not only useless, but also dangerous. If you had come directly to me, I would have helped you identify all the animals without putting you in danger !" The six men apologized to the zoo keeper, and assured him that they had learnt their lesson. From now on they would seek true knowledge from qualified people, and would seek true knowledge from qualified people, and would also try to work together as a team so that they could learn moreWhich part of the elephant resembled a big fan ?
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MCQ-> In the following questions, you have a brief passages with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives.Once upon an unfortunate time, there was a hairy thing called ‘man’. Along with him was a hairier thing called ‘animal’. Man had a larger brain which made him think he was superior to animals. Some men thought they were superior to others. They became leader men. Leader men said, ‘We have no need to work; we will kill animals to eat.’ So they did. Man increased and animals decreased. Eventually leader men said, There are not enough animals left to eat. We must grow our own food.’ So man grew food.Everywhere man killed all wild life. Soon there was none and all the birds were poisoned. Leader men said, ‘At last we are free of pests.’ Man’s numbers increased. The world became crowded with men. They all had to sleep standing up. One day a leader man saw some new creatures eating his crops. The creature’s name was the starving people’. ‘These creatures are a menace!’ said the leader man.‘We have no need to work’ said the leader man because
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MCQ-> I want to stress this personal helplessness we are all stricken with in the face of a system that has passed beyond our knowledge and control. To bring it nearer home, I propose that we switch off from the big things like empires and their wars to more familiar little things. Take pins for example! I do not know why it is that I so seldom use a pin when my wife cannot get on without boxes of them at hand; but it is so; and I will therefore take pins as being for some reason specially important to women.There was a time when pinmakers would buy the material; shape it; make the head and the point; ornament it; and take it to the market, and sell it and the making required skill in several operations. They not only knew how the thing was done from beginning to end, but could do it all by themselves. But they could not afford to sell you a paper of pins for the farthing. Pins cost so much that a woman's dress allowance was calling pin money.By the end of the 18th century Adam Smith boasted that it took 18 men to make a pin, each man doing a little bit of the job and passing the pin on to the next, and none of them being able to make a whole pin or to buy the materials or to sell it when it was made. The most you could say for them was that at least they had some idea of how it was made, though they could not make it. Now as this meant that they were clearly less capable and knowledgeable men than the old pin-makers, you may ask why Adam Smith boasted of it as a triumph of civilisation when its effect had so clearly a degrading effect. The reason was that by setting each man to do just one little bit of the work and nothing but that, over and over again, he became very quick at it. The men, it is said, could turn out nearly 5000 pins a day each; and thus pins became plentiful and cheap. The country was supposed to be richer because it had more pins, though it had turned capable men into mere machines doing their work without intelligence and being fed by the spare food of the capitalist just as an engine is fed with coals and oil. That was why the poet Goldsmith, who was a farsighted economist as well as a poet, complained that 'wealth accumulates, and men decay'.Nowadays Adam Smith's 18 men are as extinct as the diplodocus. The 18 flesh-and-blood men have been replaced by machines of steel which spout out pins by the hundred million. Even sticking them into pink papers is done by machinery. The result is that with the exception of a few people who design the machines, nobody knows how to make a pin or how a pin is made: that is to say, the modern worker in pin manufacture need not be one-tenth so intelligent, skilful and accomplished as the old pinmaker; and the only compensation we have for this deterioration is that pins are so cheap that a single pin has no expressible value at all. Even with a big profit stuck on to the cost-price you can buy dozens for a farthing; and pins are so recklessly thrown away and wasted that verses have to be written to persuade children (without success) that it is a sin to steal, if even it’s a pin.Many serious thinkers, like John Ruskin and William Morris, have been greatly troubled by this, just as Goldsmith was, and have asked whether we really believe that it is an advance in wealth to lose our skill and degrade our workers for the sake of being able to waste pins by the ton. We shall see later on, when we come to consider the Distribution of Leisure, that the cure for this is not to go back to the old free for higher work than pin-making or the like. But in the meantime the fact remains that the workers are now not able to make anything themselves even in little bits. They are ignorant and helpless, and cannot lift their finger to begin their day's work until it has all been arranged for them by their employer's who themselves do not understand the machines they buy, and simply pay other people to set them going by carrying out the machine maker's directions.The same is true for clothes. Earlier the whole work of making clothes, from the shearing of the sheep to the turning out of the finished and washed garment ready to put on, had to be done in the country by the men and women of the household, especially the women; so that to this day an unmarried woman is called a spinster. Nowadays nothing is left of all this but the sheep shearing; and even that, like the milking of cows, is being done by machinery, as the sewing is. Give a woman a sheep today and ask her to produce a woollen dress for you; and not only will she be quite unable to do it, but you are likely to find that she is not even aware of any connection between sheep and clothes. When she gets her clothes, which she does by buying them at the shop, she knows that there is a difference between wool and cotton and silk, between flannel and merino, perhaps even between stockinet and other wefts; but as to how they are made, or what they are made of, or how they came to be in the shop ready for her to buy, she knows hardly anything. And the shop assistant from whom she buys is no wiser. The people engaged in the making of them know even less; for many of them are too poor to have much choice of materials when they buy their own clothes.Thus the capitalist system has produced an almost universal ignorance of how things are made and done, whilst at the same time it has caused them to be made and done on a gigantic scale. We have to buy books and encyclopaedias to find out what it is we are doing all day; and as the books are written by people who are not doing it, and who get their information from other books, what they tell us is twenty to fifty years out of date knowledge and almost impractical today. And of course most of us are too tired of our work when we come home to want to read about it; what we need is cinema to take our minds off it and feel our imagination.It is a funny place, this word of capitalism, with its astonishing spread of education and enlightenment. There stand the thousands of property owners and the millions of wage workers, none of them able to make anything, none of them knowing what to do until somebody tells them, none of them having the least notion of how it is made that they find people paying them money, and things in the shops to buy with it. And when they travel they are surprised to find that savages and Esquimaux and villagers who have to make everything for themselves are more intelligent and resourceful! The wonder would be if they were anything else. We should die of idiocy through disuse of our mental faculties if we did not fill our heads with romantic nonsense out of illustrated newspapers and novels and plays and films. Such stuff keeps us alive, but it falsifies everything for us so absurdly that it leaves us more or less dangerous lunatics in the real world.Excuse my going on like this; but as I am a writer of books and plays myself, I know the folly and peril of it better than you do. And when I see that this moment of our utmost ignorance and helplessness, delusion and folly, has been stumbled on by the blind forces of capitalism as the moment for giving votes to everybody, so that the few wise women are hopelessly overruled by the thousands whose political minds, as far as they can be said to have any political minds at all, have been formed in the cinema, I realise that I had better stop writing plays for a while to discuss political and social realities in this book with those who are intelligent enough to listen to me.A suitable title to the passage would be
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