Idiom of To set one's face against ?->(Show Answer!)

1. Idiom of To set one's face against

Answer: To oppose

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MCQ-> Answer the questions based on the information given below: Madhubala Devi, who works as a domestic help, received Rs. 2500 as Deepawali bonus from her employer. With that money she is contemplating purchase of one or more among 5 available government bonds - A, B, C, D and E. To purchase a bond Madhubala Devi will have to pay the price of the bond. If she owns a bond she receives a stipulated amount of money every year (which is termed as the coupon payment) till the maturity of the bond. At the maturity of the bond she also receives the face value of the bond. Price of a bond is given by: $$P=[\sum_{t=1}^T\frac{C}{(1+r)^{t}}]+\frac{F}{(1+r)^{t}}$$ where C is coupon payment on the bond. which is the amount of money the holder of the bond receives annually; F is the face value of the bond, which is the amount of money the holder of the bond receives when the bond matures (over and above the coupon payment for the year of maturity); T is the number of years in which the bond matures; R = 0.25, which means the market rate of interest is 25%. Among the 5 bonds the bond A and another two bonds mature in 2 years, one of the bonds matures in 3 years, and the bond D matures in 5 years. The coupon payments on bonds A, E, B, D and C are in arithmetic progression, such that the coupon payment on bond A is twice the common difference, and the coupon payment on bond B is half the price of bond A. The face value of bond B is twice the face value of bond E, but the price of bond B is 75% more than the price of bond E. The price of bond C is more than Rs. 1800 and its face value is same as the price of bond A. The face value of bond A is Rs. 1000. Bond D has the largest face value among the five bonds.The face value of bond E must be
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MCQ-> Study the following information carefully and answer the questions given below :Eight persons — A, B, C, D, P, Q, R and S — are sitting around a circular table with equal distances between each other (but not necessarily in the same order). Some of them face outside and some others face the centre. NOTE : Facing the same direction means if one faces the centre then the other also faces the centre and viceversa. Facing the opposite directions means if one faces the centre then the other faces outside and viceversa. Immediate neighbours face the same direction means if one neighbour faces the centre then the other neighbour also faces the centre and viceversa. Immediate neighbours face the opposite directions means if one neighbour faces the centre then the other neighbour faces outside and viceversa. P sits to the immediate right of C. Only three persons sit between P and A. R sits third to the left of A. Neither A nor C is an immediate neighbour of B. D sits to the immediate left of B. Q sits second to the left of D. The immediate neighbours of A face the same direction. The immediate neighbours of B face opposite directions. S sits second to the right of P. The immediate neighbours of C face the same direction. S faces outsideFour of the following five are alike in a certain way based on the given sitting arrangement and so form a group. Which is the one that does not belong to that group?
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MCQ-> Study the information carefully and answer the questions.I, J, K, L, M, N, 0 and P are sitting around a circular area at equal distance between each other but not necessarily in the same order. Some people face the centre while some face the outside (i.e. in a direction opposite to the centre.)J sits third to the right of M. M faces outside. Only one person sits between j and N. Both the immediate neighbours of N face outside. Only three people sit between 0 and P. 0 is not an immediate neighbour of J. Both the immediate neighbours of L face the centre. L is not an immediate neighbour of 0. Both the immediate neighbours of K face the centre. Both the immediate neighbours of M face a direction opposite to that of 0 (i.e. if 0 faces the centre then both the immediate neighbours of M face outside and viceversa.)Which of the following is true regarding I as per the given arrangement ?
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MCQ-> Study the following information and answer the questions that follow: Twelve persons are sitting in two parallel lines in such a way that there are six persons in each row at equidistance. A, B, C, D, E and F are sitting in row-1 and they face towards east. P, Q, R, S, T and V are sitting in row-2 and they face towards west. One person of one row faces the other person of the other row. P, who is sitting at one of the ends of the row, is second to the right of T. A does not face P or T. A is third to the left of F. There are two persons between Q and V. There is only one person between C and D. C and D do not face P. B is neighbour of C. S, who does not face D, is not the neighbour of Q.Who among the following faces F?
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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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