The Thief Who Stole My Heart is the title given to a lecture series delivered at the National Gallery of Art in Washington by : ?->(Show Answer!)

1. The Thief Who Stole My Heart is the title given to a lecture series delivered at the National Gallery of Art in Washington by :

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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/phrases are printed in ‘’bold’’ to help you to locate them while answering some of the questions.To open up a field of study, draw attention to its vital elements, the lecture is invaluable. To listen to a lecture can be thrilling experience from which the student may gain ideas obtainable in no other way. But possibly to a greater degree than other forms of instruction, lecturing presumes a high order of intellectual competence on the part of learners. The purposes of the lecture are to summarize, to clarify, to stimulate and to humanize the materials of the course. It should synthesize, evaluate, criticise and compare ideas and facts with which students have come in contact through out-of-class assignments.The effectiveness of lectures could be enhanced by introducing the lecture with a brief review of the work preceding. It should also be indicated how the day’s lecture fits into the course pattern. A lecture should seldom be presented in one unbroken discourse. Unless exceptionally interesting, a long lecture ‘’strains’’ the capacity for concentrated listening, causing intermittent wandering of attention and loss of continuity in thought. The lecture should therefore be organized in a few block or units. As a rule, the exposition should be concluded before the end of the class period so as to allow some time for general discussion.For students to obtain maximum benefit from a lecture, individual participation in study in both precede and follow it. On their own initiative, most students would not engage in preparatory study, hence formal assignments may be necessary. The lecture should be concluded on the assumption that the assignments has been fulfilled. It pays to explore the aids available for teaching a course particularly through lectures, since verbal exposition alone, however ‘’lucid’’ has its shortcomings.Which of the following is the best suited title for the passage ?
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MCQ-> Read the following information and answer the quetions below. The principal of a college scheduled the following week, starting from Monday to Sunday. i) Management skills six lecture ii) Decision making iii) Motivation iv) Soft skills v) Faculty development vi) Quality circles It is decided to organise the lecture on Motivation immediatly after Faculty development. The lecture on Quality circles is to be scheduled on Wednesday and it should be followed by Soft skills. The lecture on Decision making should be organised on Friday. The lecture on Management skills and the lecture on Soft skills are to be scheduled with a gap of two days M which no lecture is to be scheduled on one day (Saturday is not that day) just after the lecture day on Soft skills.On which day, no lecture is arranged in a week?
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MCQ->The Thief Who Stole My Heart is the title given to a lecture series delivered at the National Gallery of Art in Washington by:....

MCQ->The Thief Who Stole My Heart is the title given to a lecture series delivered at the National Gallery of Art in Washington by :....

MCQ-> Read the passage given below and answer the questions that follow it:There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.A young man visits a critically acclaimed modern art exhibition in his city and finds that he doesn’t like any of the exhibits. If he were to share his experience with the author of the passage, which of the following is most likely to be the author’s response?
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