Which of the following is correct with respect to the word thus formed? ?->(Show Answer!)

1. Which of the following is correct with respect to the word thus formed?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Which country lifted a 40-year-old ban on export of oil on December 19, 2015, thus paving the way for energy deficient countries like India?....

QA->Dry steam which is further heated at a constant pressure thus raising its temperature is called as:....

QA->Thus US formally entered the Second World War declaring war on Jappan on ?....

QA->Plants that depend on other plants for their nourishment. They lack chlorophyll and thus cannot make their own food are called ?....

QA->Which18-year old F1 driver created history by winning the Spanish Formula 1 GrandPrix title on 15 May 2016 and thus becoming the youngest in the history to doso?....

MCQ->If each vowel in the word DONATES is changed to next letter in the English alphabetical series and each consonant is changed to previous letter in the English alphabetical series and then all alphabets in the word thus formed are arranged in alphabetical order (from left to right), which of the following will be second from the right end of the new arrangement thus formed?....

MCQ->If each vowel in the word DOMAINS is changed to next letter in the English alphabetical series and each consonant is changed to previous letter in English alphabetical series and then all alphabets in the word thus formed is arranged in alphabetical order (from left to right), which of the following will be third from the right end of the new arrangement thus formed?....

MCQ-> Read the following passage carefully and answer the question given below it Certain words/phrases have been printed in bold to help you locate them while answering some of the questionsOnce a king saw some young boys pelting stones on a snake. He prevented the boys from killing the snake. Thus he saved its life.The snake, which was the King of the Snake World, thanked him and favoured him with a supernatural gift by which he could understand the language of any animal. But he warned him that that divulgence of the secret would cost him his life. One day, when the King was sitting in his garden and enjoying breakfast, a small portion of the sweet fell on the ground.Soon he heard an ant shouting, “My God”, what a big wagon-ful of sweet has fallen and there is none to consume it.Ah ! I can enjoy all, now.”Hearing this, the King smiled and chuckled.The queen, who was sitting next to him,was curious to note the changing countenance of the King.She asked him to tell her the reason for the smile. But the King kept silence,she attacked his self-respect by calling him a “liar” and muttered that all his expressions of endearment like-You are dearer to me than my very life”.-were nothing but a pack of lies.The King, however,could not bear the attacks on his self-respect and eventually conceded to divulge the secret on the following day in the royal,garden; and made up his mind to sacrifice his life. A donkey overheard the King’s resolve and decided to save him,because the King was righteous.So, he picked up one of his friends-the goat and they both decided to save the King. Next day, when the King and his retinues were on the way to the royal park,the donkey and the goat stood conversing on one side of the path.The King overheard the goat saying to the donkey, “You are a fool but not as big a fool as in the king. “Having heard so, the King was curious to know as to why was he being called a “bigger fool”. So, he said to the goat. “Pray, then tell me what to do as I am now committed to tell her on her back”. When the King reached the garden he said to the queen “I am now ready to tell you the secret on the condition that you are willing to receive one hundred lashes in return”.The queen considered the condition a joke and nodded in agreement.The King then waved at one of his guards to lash her with all his power.And no sooner than she received two lashes she wailed and shouted “No ! No ! Stop, do not lash me ! I don’t want to know the secret now”. The King then said scornfully, “You wanted to know the secret at the cost of my life, but now you don’t want to know because you have to save your skin.You deserve a few more lashes.”But before he could order his man to give her a few more lashes, the King’s trustworthy minister intervened and requested him to forgive her.Thus the queen was not lashed further, yet she received the same honour and dignity.Why did the snake give a gift to the King ?
....

MCQ-> The English alphabet is divided into five groups. Each group starts with the vowel and the consonants immediately following that vowel and the consonants immediately following that vowel are included in that group. Thus, the letters A, B, C, D will be in the first group, the letters E, F, G, H will be in the second group and so on. The value of the first group is fixed as 10, the second group as 20 and so on. The value of the last group is fixed as 50. In a group, the value of each letter will be the value of that group. To calculate the value of a word, you should give the same value of each of the letters as the value of the group to which a particular letter belongs and then add all the letters of the word: If all the letters in the word belong to one group only, then the value of that word will be equal to the product of the number of letters in the word and the value of the group to which the letters belong. However, if the letters of the words belong to different groups, then first write the value of all the letters. The value of the word would be equal to the sum of the value of the first letter and double the sum of the values of the remaining letters.For Example : The value of word ‘CAB’ will be equal to 10 + 10 + 10 = 30, because all the three letters (the first letter and the remaining two) belong to the first group and so the value of each letter is 10. The value of letter BUT = $$10 + 2 \times 40 + 2 \times 50 = 190$$ because the value of first letter B is 10, the value of T = 2 $$\times$$ 40 (T belongs to the fourth group) and the value of U = 2 $$\times$$ 50 (U belongs to the fifth group). Now calculate the value of each word given in questions 161 to 165 :AGE
....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
....