During India's freedom struggle„ the newspaper 'Young India' was published by ?->(Show Answer!)

1. During India's freedom struggle„ the newspaper 'Young India' was published by

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MCQ-> Study the following information carefully to answer the questions. The teachers’ colony has 2800 members, out of which 650 members read only English newspaper. 550 members read only Hindi newspaper and 450 members read only Marathi newspaper. The number of members reading all the 3 newspapers is 100. Members reading Hindi as well as English newspaper are 200. 400 members read Hindi as well as Marathi newspaper and 300 members read English as well as Marathi newspaper.Find the difference between number of members reading English as well as Marathi newspaper and the number of members reading English as well as Hindi newspaper.
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MCQ-> Read the passage carefully and answer the questions given. . . “Everybody pretty much agrees that the relationship between elephants and people has dramatically changed,” [says psychologist Gay] Bradshaw. . . . “Where for centuries humans and elephants lived in relatively peaceful coexistence, there is now hostility and violence. Now, I use the term ‘violence’ because of the intentionality associated with it, both in the aggression of humans and, at times, the recently observed behavior of elephants.” . . .Typically, elephant researchers have cited, as a cause of aggression, the high levels of testosterone in newly matured male elephants or the competition for land and resources between elephants and humans. But. . . Bradshaw and several colleagues argue. . . that today’s elephant populations are suffering from a form of chronic stress, a kind of species-wide trauma. Decades of poaching and culling and habitat loss, they claim, have so disrupted the intricate web of familial and societal relations by which young elephants have traditionally been raised in the wild, and by which established elephant herds are governed, that what we are now witnessing is nothing less than a precipitous collapse of elephant culture. . . .Elephants, when left to their own devices, are profoundly social creatures. . . . Young elephants are raised within an extended, multitiered network of doting female caregivers that includes the birth mother, grandmothers, aunts and friends. These relations are maintained over a life span as long as 70 years. Studies of established herds have shown that young elephants stay within 15 feet of their mothers for nearly all of their first eight years of life, after which young females are socialized into the matriarchal network, while young males go off for a time into an all-male social group before coming back into the fold as mature adults. . . .This fabric of elephant society, Bradshaw and her colleagues [demonstrate], ha[s] effectively been frayed by years of habitat loss and poaching, along with systematic culling by government agencies to control elephant numbers and translocations of herds to different habitats. . . . As a result of such social upheaval, calves are now being born to and raised by ever younger and inexperienced mothers. Young orphaned elephants, meanwhile, that have witnessed the death of a parent at the hands of poachers are coming of age in the absence of the support system that defines traditional elephant life. “The loss of elephant elders,” [says] Bradshaw . . . "and the traumatic experience of witnessing the massacres of their family, impairs normal brain and behavior development in young elephants.”What Bradshaw and her colleagues describe would seem to be an extreme form of anthropocentric conjecture if the evidence that they’ve compiled from various elephant researchers. . . weren’t so compelling. The elephants of decimated herds, especially orphans who’ve watched the death of their parents and elders from poaching and culling, exhibit behavior typically associated with post-traumatic stress disorder and other trauma-related disorders in humans: abnormal startle response, unpredictable asocial behavior, inattentive mothering and hyperaggression. . . .[According to Bradshaw], “Elephants are suffering and behaving in the same ways that we recognize in ourselves as a result of violence. . . . Except perhaps for a few specific features, brain organization and early development of elephants and humans are extremely similar.”Which of the following statements best expresses the overall argument of this passage?
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MCQ-> Read the following passage and solve the questions based on it. a.Six Indian professors from six different institutions (Jupiter, Mars, Mercury, Neptune, Pluto, Uranus) went to China to attend an international conference on “Sustainability and Innovation in Management: A Global Scenario” and they stayed in six successive rooms on the second floor of a hotel (201 _ 206). b.Each of them has published papers in a number of journals and has donated to a number of institutions last year. c.The professor in room no. 202 has published in twice as many journals as the professor who donated to 8 institutions last year. d.The professor from Uranus and the Professor in room number 206 together published in a total of 40 journals. e.The professor from Jupiter published in 8 journals less than the professor from Pluto but donated to 10 more institutions last year. f.Four times the number of 4 journal publications by the professor in room number 204 is lesser than the number of institutions to which he donated last year. g.The professor in room number 203 published in 12 journals and donated to 8 institutions last year. h.The professor who published in 16 journals donated to 24 institutions last year. i.The professor in room number 205 published in 8 journals and donated to 2 institutions less than the professor from Mercury last year. The Mercury professor is staying in an odd numbered room. j.The Mars professor is staying two rooms ahead of Pluto professor who is staying two rooms ahead of the Mercury professor in ascending order of room numbers. k.The professors from Mercury and Jupiter do not stay in room number 206.In which room is the Mars professor staying?
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MCQ->During India's freedom struggle„ the newspaper 'Young India' was published by....

MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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