Which of the following Harappan towns is divided into three parts ? ?->(Show Answer!)

1. Which of the following Harappan towns is divided into three parts ?

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MCQ-> Read the following information and the sentence A,B,C,D and E given below it carefully and answer the question which follow: A host of foreign companies are in talks with the Indian government for selling B150, a tough short-haul plane ideal for connectivity of smaller towns which is lacking in India at present. (A) B150 planes have not only low operating costs than competing planes like Cezana but also a much better track record in terms of safety and efficiency. (B) The profit margin of road transport operators in the smaller towns connected by B150 planes has been reduced substantially as a majority of people prefer air transport over other means of transport. (C)Smaller towns at present, are better connected by roads and railways as compared to flight services. (D)B150 planes are capable of operating in sectors where large airlines cannot fly due to challenging conditions such as mist short runways etc.Such planes can also double up as cargo planes and charter flights for the rich and the elite (E)B150 planes need to operate in the existing airports which are situated in bigger cities only and are poorly connected to the smaller cities.Which of the statements (A),(B),(C),(D)and (E) can be inferred from the facts/information given in the statement ? (An inference is something which is not directly stated but can be inferred from the given facts.)
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MCQ-> Read the following information and sentences 1, 2, 3, 4 and 5 given below it carefully and answer the questions which follow: ‘’A host of foreign companies are in talks with the Indian government for selling B 150, a tough short haul plane ideal for connectivity of smaller towns which is lacking in India at present. A. B 150 planes not only have low operating costs than competing planes like Cezana but also a much better track record in terms of safety and efficiency. B. The profit margin of road transport operators in the smaller towns connected by B 150 planes has been reduced substantially as a majority of people prefer air transport over other means of transport. C. Smaller towns, at present, are better connected by roads and railways as compared to flight services D. B 150 planes are capable of operating in sectors where large airlines cannot fly due to challenging conditions such as mist, short runways, etc. Such planes can also double up as cargo planes and charter flights for the rich and the elite. E. B 150 planes need to operate in the existing airports which are situated in bigger cities only and are poorly connected to the smaller cities.Which of the statements A, B, C, D and E can be inferred from the facts/information given in the statement? (An ‘’inference’’ is something which is not directly but can be inferred from the given facts.)....

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?
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