----------is an example of ‘Sasthra’ ?->(Show Answer!)

1. ----------is an example of ‘Sasthra’

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Renowned medical scientist and cardiac surgeon who has been chosen for Kerala Sasthra Puraskaram-2013, the highest science award of Kerala?....

QA->Rephano brassica is an example for....

QA->An automobile engine is an example of :....

QA->Goodwill, trademarks, patent etc. are the example of _____ assets.....

QA->Preliminary expense is an example of ______.....

MCQ->----------is an example of ‘Sasthra’....

MCQ-> Read the following passage and answer the given questions.Politics is local but most problems are international. That is the fundamental problem for national governments caught between the twin forces of globalisation and voters' anger. Tfie European refugee crisis, for example, seems to cry out for a continentwide solution. But the tide of migrants has been vast and national governments have been tempted to put up barriers first, and answer questions later. The latest example saw Sweden introduce checks on those travelling from Denmark, leading the turn country, in turn, to impose temporary controls on its southern border with Germany. Antiimmigration parties have been gaining in the polls, with the exception of the German Chancellor; mainstream politicians want to head off the challenge. In a way, this looks like the same mismatch that has plagued the euro a single currency without a unitary fiscal and political authority. Many economists have advocated much greater integration of the euro zone in the wake of the bloc's crisis. The European banking system. would be stronger if there was a comprehensive depositinsurance scheme, the economy would be more balanced if there were fiscal transfers from rich to poor countries. But such plans are unpopular with voters in rich countries (who perceive them as handouts) Fand in poor countries (who worry about the implied loss of local control that reforms would require). All that the European Union's (EU) leaders have managed so far is to cobble together solutions (such as the Greek bailouts) at the last minute. Gone is the pledge of unity of the G20's summit in London in 2009, when leaders agreed on a coordinated stimulus in response to the financial crisis. Central banks are now heading in different directions, the Federal Reserve has just tightened monetary policy while the European Central Bank and the. Bank of Japan are committed to easing. Trade creates tighter links between countries, but global trade growth has been sluggish in recent years. The OECD thinks that trade grew by only 2% in volume in 2015. No longer is trade rising faster than Global GDP, as it was before the crisis. International agreements require compromise, which leaves politicians vulnerable to criticism from inflexiblecomponents. Voters are already dissatisfied with their lot after years of sluggish gains (or declines) in living standards. When populist politicians suggest that voters' woes are all the fault of foreigners, they find a ready audience. Furthermore, economic woes can lead to much more aggressive foreign policy. In the developed world, demographic constraints ( a static or shrinking workforce) may limit the scope for the kind of rapid growth needed to reduce the debt burden and make voters happier. Boosting that sluggish growth rate through domestic reforms (breaking up producer cartels, making labour markets more flexible) is very hard because such reforms arouse strong opposition from those affected. The danger is that a vicious cycle sets in. Global problems are not tackled because governments fail to cooperate, voters get angrier and push their leaders into more nationalistic positions and conflict which poses a threat to all.What can be concluded from the example of the Greek bailout cited in the passage?
....

MCQ-> The narrative of Dersu Uzala is divided into two major sections, set in 1902, and 1907, that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the film opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon one another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’s recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back father even than 1910 to discover who he was. But this narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialised, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vacuum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalise him and his example, as Dersu passes from history into myth. We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that isbeing built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, lookinguncomfortable and disoriented. A man passing in a wagon asks him what he is doing, and the explorersays he is looking for a grave. The driver replies that no one has died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu had died. It is his grave for which the explorer searches. His passing symbolises the new order, the development that now surrounds Arseniev. The explorer says he buried his friend three years ago next to huge cedar and fir trees, but now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile of bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a woman hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmurs desolately, ‘Dersu’. The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’s meeting with Dersu and their friendship. Kurosawa defines the world of the film initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the film celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and in human vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appears, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appear animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity to Dersu and their friendship. It makes him a fit pupil for the hunter.How is Kurosawa able to show the erosion of Dersu’s way of life?
....

MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
....

MCQ-> Analyse the following passage and provide appropriate answers An example of scientist who could measure without instruments is Enrico Fermi (1901-1954), a physicist who won the Nobel Prize in physics in 1938. He had a well-developed knack for intuitive, even casual-sounding measurements. One renowned example of his measurement skills was demonstrated at the first detonation of the atom bomb, the Trinity Test site, on July 16, 1945, where he was one of the atomic scientists observing the blast from base camp. While final adjustments were being made to instruments used to measure the yield of the blast, Fermi was making confetti out of a page of notebook paper. As the wind from the initial blast wave began to blow through the camp, he slowly dribbled the confetti into the air, observing how far back it was scattered by the blast (taking the farthest scattered pieces as being the peak of the pressure wave). Fermi concluded that the yield must be greater than 10 kilotons. This would have been news, since other initial observers of the blast did not know that lower limit. After much analysis of the instrument readings, the final yield estimate was determined to be 18.6 kilotons. Like Eratosthenes, Fermi was aware of a rule relating one simple observation—the scattering of confetti in the wind —to a quantity he wanted to measure. The value of quick estimates was something Fermi was familiar with throughout his career. He was famous for teaching his students skills at approximation of fanciful-sounding quantities that, at first glance, they might presume they knew nothing about. The best-known example of such a "Fermi question" was Fermi asking his students to estimate the number of piano tuners in Chicago, when no one knows the answer. His students—science and engineering majors—would begin by saying that they could not possibly know anything about such a quantity. Of course, some solutions would be to simply do a count of every piano tuner perhaps by looking up advertisements, checking with a licensing agency of some sort, and so on But Fermi was trying to teach his students how to solve problems where the ability to confirm the results would not be so easy. He wanted them to figure out that they knew something about the quantity in question.Suppose you apply the same logic as Fermi applied to confetti, which of the following statements would be the most appropriate?
....