1. Who among the following has written the famous poem, 'Sarfaroshi ki Tamanna'?





Write Comment

Type in
(Press Ctrl+g to toggle between English and the chosen language)

Comments

Show Similar Question And Answers
QA->'Who among the following are credited to have built the famous Ellora caves?....
QA->Through which poem written in 1921, Vagbhatananda proclaimed the manifesto of Athmavidya Sangham....
QA->Mahakavi Kurnaranasan's famous poem ‘Veena Poovu’ was first published in?....
QA->Who among the following has issued the coin rupee for the first time?....
QA->Who is known as a sportsman among kings and king among Sportsmen?....
MCQ->Who among the following has written the famous poem, 'Sarfaroshi ki Tamanna'?....
MCQ->Who wrote ‘’Sarfaroshi ki tamanna ab Hamare Dil mein hai ‘’ ?....
MCQ-> Answer the questions based on the following information. Mr. Mansingh has five sons – Arun, Mahi, Rohit, Nilesh and Saurav, and three daughters – Tamanna, Kuntala and Janaki. Three sons of Mr. Mansingh were born first followed by two daughters. Saurav is the eldest child and Janki is the youngest. Three of the children are studying at Trinity School and three are studying at St. Stefan. Tamanna and Rohit study at St. Stefan school. Kuntala, the eldest daughter, plays chess. Mansorover school offers cricket only, while Trinity school offers chess. Beside, these schools offer no other games. The children who are at Mansorover school have been born in succession. Mahi and Nilesh are cricketers while Arun plays football. Rohit who was born just before Janki, plays hockey.Arun is the _________ child of Mr. Mansingh.
 ....
MCQ-> Mathematicians are assigned a number called Erdos number (named after the famous mathematician, Paul Erdos). Only Paul Erdos himself has an Erdos number of zero. Any mathematician who has written a research paper with Erdos has an Erdos number of 1.For other mathematicians, the calculation of his/her Erdos number is illustrated below:Suppose that a mathematician X has co-authored papers with several other mathematicians. 'From among them, mathematician Y has the smallest Erdos number. Let the Erdos number of Y be y. Then X has an Erdos number of y+1. Hence any mathematician with no co-authorship chain connected to Erdos has an Erdos number of infinity. :In a seven day long mini-conference organized in memory of Paul Erdos, a close group of eight mathematicians, call them A, B, C, D, E, F, G and H, discussed some research problems. At the beginning of the conference, A was the only participant who had an infinite Erdos number. Nobody had an Erdos number less than that of F.On the third day of the conference F co-authored a paper jointly with A and C. This reduced the average Erdos number of the group of eight mathematicians to 3. The Erdos numbers of B, D, E, G and H remained unchanged with the writing of this paper. Further, no other co-authorship among any three members would have reduced the average Erdos number of the group of eight to as low as 3.• At the end of the third day, five members of this group had identical Erdos numbers while the other three had Erdos numbers distinct from each other.• On the fifth day, E co-authored a paper with F which reduced the group's average Erdos number by 0.5. The Erdos numbers of the remaining six were unchanged with the writing of this paper.• No other paper was written during the conference.The person having the largest Erdos number at the end of the conference must have had Erdos number (at that time):
 ....
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?
 ....
Terms And Service:We do not guarantee the accuracy of available data ..We Provide Information On Public Data.. Please consult an expert before using this data for commercial or personal use
DMCA.com Protection Status Powered By:Omega Web Solutions
© 2002-2017 Omega Education PVT LTD...Privacy | Terms And Conditions