Meaningful learning takesplace when the teacher explain the concepts ?->(Show Answer!)

1. Meaningful learning takesplace when the teacher explain the concepts

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MCQ-> Analyse the following passage and provide appropriate answers for questions that follow. The understanding that the brain has areas of specialization has brought with it the tendency to teach in ways that reflect these specialized functions. For example, research concerning the specialized functions of the left and right hemispheres has led to left and right hemisphere teaching. Recent research suggests that such an approach neither reflects how the brain learns, nor how it functions once learning has occurred. To the contrary, in most ‘higher vertebrates’ brain systems interact together as a whole brain with the external world. Learning is about making connections within the brain and between the brain and outside world. What does this mean? Until recently, the idea that the neural basis for learning resided in connections between neurons remained a speculation. Now, there is direct evidence that when learning occurs, neuro – chemical communication between neurons is facilitated, and less input is required to activate established connections over time. This evidence also indicates that learning creates connections between not only adjacent neurons but also between distant neurons, and that connections are made from simple circuits to complex ones and from complex circuits to simple ones As connections are formed among adjacent neurons to form circuits, connections also begin to form with neurons in other regions of the brain that are associated with visual, tactile, and even olfactory information related to the sound of the word. Meaning is attributed to ‘sounds of words’ because of these connections. Some of the brain sites for these other neurons are far from the neural circuits that correspond to the component sounds of the words; they include sites in other areas of the left hemisphere and even sites in the right hemisphere. The whole complex of interconnected neurons that are activated by the word is called a neural network. In early stages of learning, neural circuits are activated piecemeal, incompletely, and weakly. It is like getting a glimpse of a partially exposed and blurry picture. With more experience, practice, and exposure, the picture becomes clearer and more detailed. As the exposure is repeated, less input is needed to activate the entire network. With time, activation and recognition become relatively automatic, and the learner can direct her attention to other parts of the task. This also explains why learning takes time. Time is needed to establish new neutral networks and connections between networks. Thi suggests that the neutral mechanism for learning is essentially the same as the products of learning. Learning is a process that establishes new connections among networks. The newly acquired skills or knowledge are nothing but formation of neutral circuits and networks.It can be inferred that, for a nursery student, learning will ...
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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. The wisdom of learning from failure is incontrovertible. Yet organisations that do it well are extraordinarily rare. This gap is not due to a lack of commitment to learning. Managers in the vast majority of enterprises that I have studied over the past 20 years —pharmaceutical. financial services, product design, telecommunications, and construction companies: hospitals; and NASA’s space shuttle program, among others— genuinely wanted to help their organisations learn from failures to improve future performance. In some cases they and their teams had devoted many hours to afteraction reviews, postmortems, and the like. But time after time I saw that these painstaking efforts led to no real change. The reason: Those managers were thinking about failure the wrong way. Most executives I’ve talked to believe that failure is bad (of course!). They also believe that learning from it is pretty straightforward: Ask people to reflect on what they did wrong and exhort them to avoid similar mistakes in the future—or, better yet, assign a team to review and write a report on what happened and then distribute it throughout the organisation. These widely held beliefs are misguided. First, failure is not always bad. In organisational life it is sometimes bad, sometimes inevitable, and sometimes even good. Second, learning from organisational failures is anything but straightforward. The attitudes and activities required to effectively detect and analyze failures are in short supply in most companies, and the need for context-specific learning strategies is underappreciated. Or – ganisations need new and better ways to go beyond lessons that are superficial (“Procedures weren’t followed”) or self-serving (“The market just wasn’t ready for our great new product”). That means jettisoning old cultural beliefs and stereotypical notions of success and embracing failure’s lessons. Leaders can begin by understanding how the blame game gets in the way. The Blame Game Failure and fault are virtually inseparable in most households. organisations, and cultures. Every child learns at some point that admitting failure means taking the blame. That is why so few organisations have shifted to a culture of psychological safety in which the rewards of learning from failure can be fully realised. Executives I’ve interviewed in organisations as different as hospitals and investment banks admit to being torn: How can they respond constructively to failures without giving rise to an anything-goes attitude? If people aren’t blamed for failures, what will ensure that they try as hard as possible to do their best work? This concern is based on a false dichotomy. In actuality, a culture that makes it safe to admit and report on failure can—and in some organisational contexts must–coexist with high standards for performance. To understand why, look at the exhibit “A Spectrum of Reasons for Failure,” which lists causes ranging from deliberate deviation to thoughtful experimentation. Which of these causes involve blameworthy actions? Deliberate deviance, first on the list, obviously warrants blame. But inattention might not. If it results from a lack of effort, perhaps it’s blameworthy. But if it results from fatigue near the end of an overly long shift, the manager who assigned the shift is more at fault than the employee. As we go down the list, it gets more and more difficult to find blameworthy acts. In fact, a failure resulting from thoughtful experimentation that generates valuable information may actually be praiseworthy. When I ask executives to consider this spectrum and then to estimate how many of the failures in their organisations are truly blameworthy, their answers are usually in single digits—perhaps 2% to 5%. But when I ask how many are treated as blameworthy, they say (after a pause or a laugh) 70% to 90%. The unfortunate consequence is that many failures go unreported and their lessons are lost. Question : sophisticated understanding of failure’s causes and contexts will help to avoid the blame game and institute an effective strategy for learning from failure. Although an infinite number of things can go wrong in organisations, mistakes fall into three broad categories: preventable, complexity-related, and intelligent.Which of the following statement (s) is/are true in the context of the given passage ? I. Most executives believe that failure is bad and learning from it is pretty straightforward. II. The wisdom of learning from failure is disputable. III. Deliberate deviance, first on the list of the exhibit, “A Spectrum of Reasons for Failure” obviously warrants blame.....

MCQ->Meaningful learning takesplace when the teacher explain the concepts....

MCQ-> Read the following passage carefully and answer the questions given below it. Certain words have been printed in bold to help you locate them while answering some of the questions. Keshava, the washerman had a donkey. They worked together all day, and Keshava would pour out his heart to the donkey. One day, Keshava was walking home with the donkey when he felt tired. He tied the donkey te=a tree and sat down to rest fora while, near a school. A window was open, and through it, a teacher could be heard scolding the students. “Here I am, trying to turn you donkeys into human beings, but you just won’t study!” As soon as Keshava heard these words, his ears pricked up. A man who could actually turn, donkeys into humans! This was the answer to his prayers. Impatiently, he waited for school to be over that day. When everyone had gone home, and only the teacher remained behind to check some papers, Keshava entered the classroom. “How can I help you?” asked the teacher. Keshava scratched his head and said. “I heard what you said to the children. This donkey is my companion. If you made it human, we could have such good times together.” The teacher decided to trick Keshava. He pretended to think for a while and then said, “Give me six months and it will cost you a thousand rupees.” The washerman agreed and rushed home to get the money. He then left the donkey in the teacher’s care. After the six months were up, Keshava went to the teacher. The teacher had been using the donkey for his own work. Not wanting to give it up, he said, “Oh, your doilkey became so clever that it ran away. He is the headman of the next village. “When Keshava reached the next village he found the village elders sitting under a -tree, discussing serious problems: How surprised they were when Keshava marched up to the headman, grabbed his arm and said. “How dare you? You think you are so clever that you ran away? Come home at once!” The headman understood someone had played a trick on Keshava. “I am not your donkey!” he said. “Go find the sage in the forest. “Keshava found the sage sitting under a tree with his eyes closed, deep in meditation: He crept up and grabbed the sage’s beard.”Come back home now!” he shouted. The startled sage somehow calmed Keshava. When he heard what had happened, he had a good laugh. Then he told the washerman kindly, “The teacher made a fool of you. Your donkey must be still with him. Go and take it back from him. Try to make some real friends, who will talk with you and share your troubles. A donkey will never be able to do that!” Keshava returned home later that day with his donkey, sadder and wiser.Which of the following can be said about the teacher?
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MCQ-> A remarkable aspect of art of the present century is the range of concepts and ideologies which it embodies. It is almost tempting to see a pattern emerging within the art field - or alternatively imposed upon it a posteriori - similar to that which exists under the umbrella of science where the general term covers a whole range of separate, though interconnecting, activities. Any parallelism is however - in this instance at least - misleading. A scientific discipline develops systematically once its bare tenets have been established, named and categorized as conventions. Many of the concepts of modern art, by contrast, have resulted from the almost accidental meetings of groups of talented individuals at certain times and certain places. The ideas generated by these chance meetings had twofold consequences. Firstly, a corpus of work would be produced which, in great part, remains as a concrete record of the events. Secondly, the ideas would themselves be disseminated through many different channels of communication - seeds that often bore fruit in contexts far removed from their generation. Not all movements were exclusively concerned with innovation. Surrealism, for instance, claimed to embody a kind of insight which can be present in the art of any period. This claim has been generally accepted so that a sixteenth century painting by Spranger or a mysterious photograph by Atget can legitimately be discussed in surrealist terms. Briefly, then, the concepts of modern art are of many different (often fundamentally different) kinds and resulted from the exposures of painters, sculptors and thinkers to the more complex phenomena of the twentieth century, including our ever increasing knowledge of the thought and products of earlier centuries. Different groups of artists would collaborate in trying to make sense of a rapidly changing world of visual and spiritual experience. We should hardly be surprised if no one group succeeded completely, but achievements, though relative, have been considerable. Landmarks have been established - concrete statements of position which give a pattern to a situation which could easily have degenerated into total chaos. Beyond this, new language tools have been created for those who follow - semantic systems which can provide a springboard for further explorations. The codifying of art is often criticized. Certainly one can understand that artists are wary of being pigeonholed since they are apt to think of themselves as individuals - sometimes with good reason. The notion of self-expression, however, no longer carries quite the weight it once did; objectivity has its defenders. There is good reason to accept the ideas codified by artists and critics, over the past sixty years or so, as having attained the status of independent existence - an independence which is not without its own value. The time factor is important here. As an art movement slips into temporal perspective, it ceases to be a living organism - becoming, rather, a fossil. This is not to say that it becomes useless or uninteresting. Just as a scientist can reconstruct the life of a prehistoric environment from the messages codified into the structure of a fossil, so can an artist decipher whole webs of intellectual and creative possibility from the recorded structure of a ‘dead’ art movement. The artist can match the creative patterns crystallized into this structure against the potentials and possibilities of his own time. As T.S. Eliot observed, no one starts anything from scratch; however consciously you may try to live in the present, you are still involved with a nexus of behaviour patterns bequeathed from the past. The original and creative person is not someone who ignores these patterns, but someone who is able to translate and develop them so that they conform more exactly to his - and our - present needs.Many of the concepts of modern art have been the product of
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