the school of arts developed during the kusham period with the mixture of indian and greek style know as ?->(Show Answer!)

1. the school of arts developed during the kusham period with the mixture of indian and greek style know as

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MCQ-> Read passage carefully. Answer the questions by selecting the most appropriate option (with reference to the passage). PASSAGE 4While majoring in computer science isn't a requirement to participate in the Second Machine Age, what skills do liberal arts graduates specifically possess to contribute to this brave new world? Another major oversight in the debate has been the failure to appreciate that a good liberal arts education teaches many skills that are not only valuable to the general world of business, but are in fact vital to innovating the next wave of breakthrough tech-driven products and services. Many defenses of the value of a liberal arts education have been launched, of course, with the emphasis being on the acquisition of fundamental thinking and communication skills, such as critical thinking, logical argumentation, and good communication skills. One aspect of liberal arts education that has been strangely neglected in the discussion is the fact that the humanities and social sciences are devoted to the study of human nature and the nature of our communities and larger societies. Students who pursue degrees in the liberal arts disciplines tend to be particularly motivated to investigate what makes us human: how we behave and why we behave as we do. They're driven to explore how our families and our public institutions-such as our schools and legal systems-operate, and could operate better, and how governments and economies work, or as is so often the case, are plagued by dysfunction. These students learn a great deal from their particular courses of study and apply that knowledge to today's issues, the leading problems to be tackled, and various approaches for analyzing and addressing those problems. The greatest opportunities for innovation in the emerging era are in applying evolving technological capabilities to finding better ways to solve human problems like social dysfunction and political corruption; finding ways to better educate children; helping people live healthier and happier lives by altering harmful behaviors; improving our working conditions; discovering better ways to tackle poverty; Improving healthcare and making it more affordable; making our governments more accountable, from the local level up to that of global affairs; and finding optimal ways to incorporate intelligent, nimble machines into our work lives so that we are empowered to do more of the work that we do best, and to let the machines do the rest. Workers with a solid liberal arts education have a strong foundation to build on in pursuing these goals. One of the most immediate needs in technology innovation is to invest products and services with more human qualities. with more sensitivity to human needs and desires. Companies and entrepreneurs that want to succeed today and in the future must learn to consider in all aspects of their product and service creation how they can make use of the new technologies to make them more humane. Still, many other liberal arts disciplines also have much to provide the world of technological innovation. The study of psychology, for example, can help people build products that are more attuned to our emotions and ways of thinking. Experience in Anthropology can additionally help companies understand cultural and individual behavioural factors that should be considered in developing products and in marketing them. As technology allows for more machine intelligence and our lives become increasingly populated by the Internet of things and as the gathering of data about our lives and analysis of it allows for more discoveries about our behaviour, consideration of how new products and services can be crafted for the optimal enhancement of our lives and the nature of our communities, workplaces and governments will be of vital importance. Those products and services developed with the keeneSt sense of how they' can serve our human needs and complement our human talents will have a distinct competitive advantage. Much of the criticism of the liberal arts is based on the false assumption that liberal arts students lack rigor in comparison to those participating in the STEM disciplines and that they are 'soft' and unscientific whereas those who study STEM fields learn the scientific method. In fact the liberal arts teach many methods of rigorous inquiry and analysis, such as close observation and interviewing in ways that hard science adherents don't always appreciate. Many fields have long incorporated the scientific method and other types of data driven scientific inquiry and problem solving. Sociologists have developed sophisticated mathematical models of societal networks. Historians gather voluminous data on centuries-old household expenses, marriage and divorce rates, and the world trade, and use data to conduct statistical analyses, identifying trends and contributing factors to the phenomena they are studying. Linguists have developed high-tech models of the evolution of language, and they've made crucial contributions to the development of one of the technologies behind the rapid advance of automation- natural language processing, whereby computers are able to communicate with the, accuracy and personality of Siri and Alexa. It's also important to debunk the fallacy that liberal arts students who don't study these quantitative analytical methods have no 'hard' or relevant skills. This gets us back to the arguments about the fundamental ways of thinking, inquiring, problem solving and communicating that a liberal arts education teaches.What is the central theme of the passage?
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MCQ-> Read the following information carefully and answer the given questions. In a College P there are 19,000 students. They know different languages like Japanese. Korean and Latin. Ratio of males and females is 9 : 11. 14% of males know only Japanese. 12% know only Korean. 20% know only Latin. 16% know only Korean and Japanese. 22% know only Korean and Latin. 8% know only Japanese and Latin. Remaining boys know all the languages. 22% females know only Japanese. 18% know only Korean. 20% know only Latin. 12% know only Japanese and Korean. 16% know only Korean and Latin. 10% know only Japanese and Latin. Remaining females know all the languages.How many male students in the college know at least two languages ?
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MCQ->the school of arts developed during the kusham period with the mixture of indian and greek style know as....

MCQ-> Choose the best answer for each question.The production of histories of India has become very frequent in recent years and may well call for some explanation. Why so many and why this one in particular? The reason is a two-fold one: changes in the Indian scene requiring a re-interpretation of the facts and changes in attitudes of historians about the essential elements of Indian history. These two considerations are in addition to the normal fact of fresh information, whether in the form of archeological discoveries throwing fresh light on an obscure period or culture, or the revelations caused by the opening of archives or the release of private papers. The changes in the Indian scene are too obvious to need emphasis. Only two generations ago British rule seemed to most Indian as well as British observers likely to extend into an indefinite future; now there is a teenage generation which knows nothing of it. Changes in the attitudes of historians have occurred everywhere, changes in attitudes to the content of the subject as well as to particular countries, but in India there have been some special features. Prior to the British, Indian historiographers were mostly Muslims, who relied, as in the case of Sayyid Ghulam Hussain, on their own recollection of events and on information from friends and men of affairs. Only a few like Abu’l Fazl had access to official papers. These were personal narratives of events, varying in value with the nature of the writer. The early British writers were officials. In the 18th century they were concerned with some aspect of Company policy, or like Robert Orme in his Military Transactions gave a straight narrative in what was essentially a continuation of the Muslim tradition. In the early 119th century the writers were still, with two notable exceptions, officials, but they were now engaged in chronicling, in varying moods of zest, pride, and awe, the rise of the British power in India to supremacy. The two exceptions were James Mill, with his critical attitude to the Company and John Marchman, the Baptist missionary. But they, like the officials, were anglo-centric in their attitude, so that the history of modern India in their hands came to be the history of the rise of the British in India.The official school dominated the writing of Indian history until we get the first professional historian’s approach. Ramsay Muir and P. E. Roberts in England and H. H. Dodwell in India. Then Indian historians trained in the English school joined in, of whom the most distinguished was Sir Jadunath Sarkar and the other notable writers: Surendranath Sen, Dr Radhakumud Mukherji, and Professor Nilakanta Sastri. They, it may be said, restored India to Indian history, but their bias was mainly political. Finally have come the nationalists who range from those who can find nothing good or true in the British to sophisticated historical philosophers like K. M. Panikker.Along the types of historians with their varying bias have gone changes in the attitude to the content of Indian history. Here Indian historians have been influenced both by their local situation and by changes of thought elsewhere. It is this field that this work can claim some attention since it seeks to break new ground, or perhaps to deepen a freshly turned furrow in the field of Indian history. The early official historians were content with the glamour and drama of political history from Plassey to the Mutiny, from Dupleix to the Sikhs. But when the raj was settled down, glamour departed from politics, and they turned to the less glorious but more solid ground of administration. Not how India was conquered but how it was governed was the theme of this school of historians. It found its archpriest in H. H. Dodwell, its priestess in Dame Lilian Penson, and its chief shrine in the Volume VI of the Cambridge History of India. Meanwhile, in Britain other currents were moving, which led historical study into the economic and social fields. R. C. Dutt entered the first of these currents with his Economic History of India to be followed more recently by the whole group of Indian economic historians. W. E. Moreland extended these studies to the Mughal Period. Social history is now being increasingly studied and there is also of course a school of nationalist historians who see modern Indian history in terms of the rise and the fulfillment of the national movement.All these approaches have value, but all share in the quality of being compartmental. It is not enough to remove political history from its pedestal of being the only kind of history worth having if it is merely to put other types of history in its place. Too exclusive an attention to economic, social, or administrative history can be as sterile and misleading as too much concentration on politics. A whole subject needs a whole treatment for understanding. A historian must dissect his subject into its elements and then fuse them together again into an integrated whole. The true history of a country must contain all the features just cited but must present them as parts of a single consistent theme.Which of the following may be the closest in meaning to the statement ‘restored India to Indian history’?
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MCQ-> Read the passage and answer the questions that follow: Passage II Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions. This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthless) rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills. Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men). The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory. Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera. Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.In this passage, the word "reverence" can be interpreted as....