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1. Idiom of To nurse a grudge
Answer: To revenge
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MCQ-> A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.My mom grew up in a traditional Chinese family in which open expressions of love were never encouraged. When she had me and my three siblings, she treated us with the same hard hand. It was not that she was a slave driver or anything, but she never openly showed affection. Instead, she demonstrated that she cared in more practical ways.My parents couldn't have been more different emotionally. My dad is a really open-hearted person who constantly showers us with hugs and kisses no matter the occasion. After much persuasion from him, my mother did try to change, but it was clear that she never felt quite right expressing her emotions. Eventually, she reverted to her old self.The difference between my parents was never starker than whenever I brought home good test results from school. My dad would practically jump with joy, offering warm and affectionate words of congratulations, and my mother? "Ah, good, good" she would typically say with a tense smile etched on her face. "Do better next time, OK?"I tried not to hold a grudge against her for being so reserved. That was just her way. I reasoned.Why did the narrator not bear a grudge against her mother?
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MCQ-> In the following question, out of the four given alternatives, select the alternative which best expresses the meaning of the Idiom/Phrase.Grudge ...
MCQ->
Read the passage carefully and answer the questions given
Will a day come when India’s poor can access government services as easily as drawing cash from an ATM? . . . [N]o country in the world has made accessing education or health or policing or dispute resolution as easy as an ATM, because the nature of these activities requires individuals to use their discretion in a positive way. Technology can certainly facilitate this in a variety of ways if it is seen as one part of an overall approach, but the evidence so far in education, for instance, is that just adding computers alone doesn’t make education any better. . . . The dangerous illusion of technology is that it can create stronger, top down accountability of service providers in implementation-intensive services within existing public sector organisations. One notion is that electronic management information systems (EMIS) keep better track of inputs and those aspects of personnel that are ‘EMIS visible’ can lead to better services. A recent study examined attempts to increase attendance of Auxiliary Nurse Midwife (ANMs) at clinics in Rajasthan, which involved high-tech time clocks to monitor attendance. The study’s title says it all: Band-Aids on a Corpse . . . e-governance can be just as bad as any other governance when the real issue is people and their motivation. For services to improve, the people providing the services have to want to do a better job with the skills they have. A study of medical care in Delhi found that even though providers, in the public sector had much better skills than private sector providers their provision of care in actual practice was much worse. In implementation-intensive services the key to success is face-to-face interactions between a teacher, a nurse, a policeman, an extension agent and a citizen. This relationship is about power. Amartya Sen’s . . . report on education in West Bengal had a supremely telling anecdote in which the villagers forced the teacher to attend school, but then, when the parents went off to work, the teacher did not teach, but forced the children to massage his feet. . . . As long as the system empowers providers over citizens, technology is irrelevant. The answer to successfully providing basic services is to create systems that provide both autonomy and accountability. In basic education for instance, the answer to poor teaching is not controlling teachers more . . . The key . . . is to hire teachers who want to teach and let them teach, expressing their professionalism and vocation as a teacher through autonomy in the classroom. This autonomy has to be matched with accountability for results—not just narrowly measured through test scores, but broadly for the quality of the education they provide. A recent study in Uttar Pradesh showed that if, somehow, all civil service teachers could be replaced with contract teachers, the state could save a billion dollars a year in revenue and double student learning. Just the additional autonomy and accountability of contracts through local groups—even without complementary system changes in information and empowerment—led to that much improvement. The first step to being part of the solution is to create performance information accessible to those outside of the government. . . .According to the author, service delivery in Indian education can be improved in all of the following ways EXCEPT through:
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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