The Varnas came to be transformed into the hereditary castes during the? ?->(Show Answer!)

1. The Varnas came to be transformed into the hereditary castes during the?

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MCQ->The Varnas came to be transformed into the hereditary castes during the?....

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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MCQ-> Read the following passage and answer the questions that follow. Certain words and phrases are printed in bold to help you locate them while answering some of the questions: After a stringent regime of autarky and command and control economy, from 1956 to 1975, India started on a slow path of reintegration into the world economy, albeit in a nascent form. Empirical comparison of the period before and after liberalization demonstrates that, instead of economic stagnation, India achieved a marked acceleration in economic growth after liberalization. Indeed, India broke the barrier of stagnation that had been the lot of the country before globalization. India’s rate of growth from 1975 to 2007 has been over 5.5 percent, compared to the derisively termed “Hindu” rate of growth of 3.4 percent over the period 1956 to 1975, and especially to the pathetic 2.6 Percent over the decade prior to the nascent liberalization in 1975. In the dozen years from 1995 to 2007 the growth rate has been over 6.5 percent; during the last four years India has sustained an unprecedented average growth rate of over 8 percent. It is difficult to exaggerate this accomplishment in growth acceleration. It has provided additional resources not only for investment in human capital but also for expenditures on the social sectors and poverty alleviation. Besides, the economic dynamism associated with this growth has imparted a self-confidence for successfully building a consolidated nation-state. It has indeed transformed a country that had been mocked as “the sick man of Asia” - an inveterate supplicant for foreign aid – into a credible contender for a major role in the balance of power in Asia. Similarly, far from the specter of deindustrialization held out by critics, foreign imports have not swamped Indian industry after tariffs were lowered as part of India’s reintegration into the world economy. Rather, Indian industry has grown at a higher rate than it had prior to liberalization of the economy. The growth rate of manufacturing has been around 6.5 percent since 1975 and close to 7 percent during the dozen years up to 2006. Select the word that is MOST OPPOSITE to the given word, as used in the passage: Acceleration
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MCQ->Consider the following statements : I. Traits may be classified in terms of the modality through which they are expressed II. Any single trait may represent the outcome of the operation of enviornmental factors, hereditary factors or both III. Traits that result from environmental conditions are called environmental mould traits IV. Traits that reflect hereditary factors are called constitutional traits. Of the statements :....

MCQ-> The membrane-bound nucleus is the most prominent feature of the eukaryotic cell. Schleiden and Schwann, when setting forth the cell doctrine in the 1830s, considered that it had a central role in growth and development. Their belief has been fully supported even though they had only vague notions as to what that role might be, and how the role was to be expressed in some cellular action. The membraneless nuclear area of the prokaryotic cell, with its tangle of fine threads, is now known to play a similar role.Some cells, like the sieve tubes of vascular plants and the red blood cells of mammals, do not possess nuclei during the greater part of their existence, although they had nuclei when in a less differentiated state. Such cells can no longer divide and their life span is limited Other cells are regularly multinucleate. Some, like the cells of striated muscles or the latex vessels of higher plants, become so through cell fusion. Some, like the unicellular protozoan paramecium, are normally binucleate, one of the nuclei serving as a source of hereditary information for the next generation, the other governing the day-to-day metabolic activities of the cell. Still other organisms, such as some fungi, are multinucleate because cross walls, dividing the mycelium into specific cells, are absent or irregularly present. The uninucleate situation, however, is typical for the vast majority of cells, and it would appear that this is the most efficient and most economical manner of partitioning living substance into manageable units. This point of view is given credence not only by the prevalence of uninucleate cells, but because for each kind of cell there is a ratio maintained between the volume of the nucleus and that of the cytoplasm. If we think of the nucleus as the control centre of the cell, this would suggest that for a given kind of cell performing a given kind of work, one nucleus can ‘take care of’ a specific volume of cytoplasm and keep it in functioning order. In terms of material and energy, this must mean providing the kind of information needed to keep flow of materials and energy moving at the correct rate and in the proper channels. With the multitude of enzymes in the cell, materials and energy can of course be channelled in a multitude of ways; it is the function of some information molecules to make channels of use more preferred than others at any given time. How this regulatory control is exercised is not entirely clear.The nucleus is generally a rounded body. In plant cells, however, where the centre of the cell is often occupied by a large vacuole, the nucleus may be pushed against the cell wall, causing it to assume a lens shape. In some white blood cells, such as polymorphonucleated leukocytes, and in cells of the spinning gland of some insects and spiders, the nucleus is very much lobed The reason for this is not clear, but it may relate to the fact that for a given volume of nucleus, a lobate form provides a much greater surface area for nuclear-cytoplasmic exchanges, possibly affecting both the rate and the amount of metabolic reactions. The nucleus, whatever its shape, is segregated from the cytoplasm by a double membrane, the nuclear envelope, with the two membranes separated from each other by a perinuclear space of varying width. The envelope is absent only during the time of cell division, and then just for a brief period The outer membrane is often continuous with the membranes of the endoplasmic reticulum, a possible retention of an earlier relationship, since the envelope, at least in part, is formed at the end cell division by coalescing fragments of the endoplasmic reticulum. The cytoplasmic side of the nucleus is frequently coated with ribosomes, another fact that stresses the similarity and relation of the nuclear envelope to the endoplasmic reticulum. The inner membrane seems to posses a crystalline layer where it abuts the nucleoplasm, but its function remains to be determined.Everything that passes between the cytoplasm and the nucleus in the eukaryotic cell must transverse the nuclear envelope. This includes some fairly large molecules as well as bodies such as ribosomes, which measure about 25 mm in diameter. Some passageway is, therefore, obviously necessary since there is no indication of dissolution of the nuclear envelope in order to make such movement possible. The nuclear pores appear to be reasonable candidates for such passageways. In plant cells these are irregularly, rather sparsely distributed over the surface of the nucleus, but in the amphibian oocyte, for example, the pores are numerous, regularly arranged, and octagonal and are formed by the fusion of the outer and inner membrane.Which of the following kinds of cells never have a nuclei?
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