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1. Malaysia-Merdeka Day (Freedom Day)
Answer: August 31
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News Item Dated 22 Jan 2017:
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Saina Nehwal's Triumph at Malaysia Masters Final
Days after recovering from knee injury during Rio Olympics, Saina Nehwal is back with a bang as this Indian badminton ace thrashes Pompawee Chochuwong of Thailand by 22-20 and 22-20, thereby claiming the Malaysia Masters Grand title.Quashing the air about her ability to win titles, the world No 10 Nehwal clinched her first Masters within five months since knee injury. Nehwal had to undergo surgery after an early exit from the Rio Olympics where her fellow citizen PV Sindhu created history by claiming the first silver medal for Indian badminton.Silencing the critiques, Saina returned to action within a quarter of her surgery setback. Once the absolute queen of Indian badminton, she faced early exits and missed the qualification mark for Sharjah World Super Series Finals. Also, she lost to Sindhu in the Premier Badminton League. However, Malaysia Masters Grand title has been her winning start to 2017....
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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MCQ-> Study the following information carefully and answer the questions given below: Rohan speaks about seven different countries viz., Egypt, China, Indonesia, Japan, Malaysia, France and Austria in a seminar held on seven different days of the same week starting from Monday and ending on Sunday but not necessarily in the same order. Thus on one day Rohan speaks about only one country. Rohan speaks about Japan on Friday. He speaks about Egypt on one of the days after Japan. He speaks only about two countries between Egypt and China. He speaks about only one country between China and France. He speaks about France on one of the days before he speaks about China. He speaks only about one country between Japan and Malaysia. He speaks about Austria on one of the days before he speaks about China but not on Monday.Rohan speaks about which country on Thursday?
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/phrases have been printed in bold to help you locate them while answering some of the questions. Long ago, a Brahmin called Haridatta lived in a little village. He was a farmer but the piece of land he cultivated provided him with so little to survive on that he was very poor. One day, unable to stand the heat of the summer sun, he went to rest for a whilevunder a big tree on his land. Before he could
stretch out
on the ground, he saw a huge black cobra slithering out of an anthill nearby. The snake then spread hisvhood and swayed gracefully from side to side. Haridatta was
astonished
tov seevthis and he thought, “This cobra must really be the god of this land. I have nevervseen or worshipped him before, which is probably why I am not able to get anything from the land. From this day onwards, I will worship him.” He hurried back to his home at once and returned with a glass full of milk. He poured it into a bowl and turning to the anthill said, “0 ruler of the land, I did not know you were living in this anthill. That is why I have not paid my tribute to you. Please accept my apologies for this omission and accept this
humble
offering.” He then placed the bowl of milk at the entrance of the anthill and left the place. The next day when the Brahmin arrived to work on his land before the sun rose, he found a gold coin in the bowl he had left at the anthill. He was very happy indeed and from that day on, he made it a practice to offer the cobra milk in a bowl each day. The next morning he would collect a gold coin and leave. One day Haridatta had to go to a neighbouring village on business. He asked his son to go to the anthill as usual and leave a bowl of milk for the cobra. The son did as he was told, but when he went to the same spot the next day and collected the gold coin he thought, “This anthill must be full of gold. If I kill the cobra, I can collect all the gold in an instant, instead of having to waste my time coming here every day.” He then struck the cobra with a big stick. The cobra deftly dodged the blow but bit Haridatta’s son with his poisonous fangs. The boy soon died. When Haridatta returned to his village the next day, he heard how his son had met his death. He realised at once that his son’s greed would probably have caused him to attack the cobra. The Brahmin went to the anthill the day after his son’s cremation and offered milk to the cobra as usual. This time, the cobra did not even come out of his hole. Instead, he called out to Haridatta, “You have come here for gold, forgetting That you have just lost a precious son and that you are in mourning. The reason for this is pure greed. From today, there is no meaning to our relationship. I am going to give you a diamond as a final gift. But please don’t ever come back again.” He slithered away as the Brahmin watched.Which of the following is TRUE according to the story ?
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