UnionGovernment has announced that currently ___ Indian satellites are operationalin the space. ?->(Show Answer!)

1. UnionGovernment has announced that currently ___ Indian satellites are operationalin the space.

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MCQ-> In the given passage there are blanks, each of which has been numbered. Against each five words are suggested, one of which fits the blank appropriately. Find out the appropriate word in each case.If China’s state owned commercial banks seem burdened by bad debts, the country’s rural financial sector is even worse. In the villages, the only formal banking institutions are what are known as rural credit co-operatives. These ___(1)___the distinction in China of having been officially declared insolvent. The rural credit co-operatives are ill named. They are often reluctant to___(2)___ and they are not run as cooperatives as they do not ___(3)___ any profits and their customers have no say in their operations. Until 1996, they were offshoots of the Agricultural Bank of China.. Since then they have been ___(4)___by the Central Bank, though they are in reality run by county governments. Even the word ‘rural’ is misleading. ___(5)___ of their deposits are sucked up and put in the urban banking system. Farmers usually find it easier to ___(6)___ from friends or relatives or black market moneylenders. Yet the co-operatives remain a big part of China’s financial system. Last year, they___(7)___1 for 12 percent of deposits and 11 percent of loans. In recent years, commercial banks (in eluding the Agricultural bank) have closed down___(8)___in the countryside. Yet some 40,000 credit co-operatives remain in place with one in almost every township (as the larger villages or smaller) rural loans are___(9)___. If as the government claims, the credit co-operatives are beginning to turn a profit after six years of losses, it is not because they are any better run. In an effort to ___(10)
___ a stagnant rural economy, the central bank has pumped more than $9 billion into them hoping that they will lend more to farmers. But the root causes of their problems remain and the real solution may have to involve a mix of approaches from commercial banking to real cooperatives.(10)
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MCQ-> In the following passage some of the words have been left out. Read the passage carefully and select the correct answer for the given blank out of the four alternatives.The thoughts, behavior and tastes of fashion, music, television and other ___(1)___ of life of the masses are often seen having a ___(2)___ impact on the living of the society. We tend to get influenced by the lifestyles of our peer group. The changing ways of life of our peers often __(3)____ us to change our ways of looking at life and leading it. It's a human tendency to do what the crowd does. Few have the courage to resist the peer pressure and be their own selves rather than being one among the lot. Peer pressure is bound to affect most of us, both, positively and ___(4)___. The distinction between positive and negative peer pressure lies in a thoughtful analysis of the views of the masses. Following your peers ___(5)___ leaves a negative impact on your life while an analytical approach of looking at peer behavior can act positively. Let us look at the positive and negative effects of peer pressure.television and other ______ of life
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MCQ-> In the following passage some of the words have been left out. Read the passage carefully and select the correct answer for the given blank out of the four alternatives.Books are our __ (1)____ friends. They are our guides. We can learn everything from them. The books contain all the great ___(2)___ of the world's leaders and we can learn them by reading the books. The books help us find ___(3)___ to our questions. The books never fail us. We should read as ___(4)___ books as we can. But all books are not good. So we should ___(5)___ only good books.Books are our ______ friends.
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MCQ-> In the following passage some of the words have been left out. Read the passage carefully and select the correct answer for the given blank out of the four alternatives.A mother is the most ___(1)___ person in the life of everyone about which we cannot ___(2)___ completely in the words. However, some of the ___(3)___ moments with our mother can be described. A mother is __(4)____ most beautiful and caring person in our lives. She always cares every moment for our every need without her any __(5)____ intention. In the morning, she calls us very softly to get a rise from the bed and during the night she tells us lovely stories to make us sleep with a beautiful dream.A mother is the most ______ person
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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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