Which of the following are necessary for Run-time Polymorphism? The overridden base method must be virtual, abstract or override. Both the override method and the virtual method must have the same access level modifier. An override declaration can ch ?->(Show Answer!)

1. Which of the following are necessary for Run-time Polymorphism? The overridden base method must be virtual, abstract or override. Both the override method and the virtual method must have the same access level modifier. An override declaration can change the accessibility of the virtual method. An abstract inherited property cannot be overridden in a derived class. An abstract method is implicitly a virtual method.

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MCQ->Which of the following are necessary for Run-time Polymorphism? The overridden base method must be virtual, abstract or override. Both the override method and the virtual method must have the same access level modifier. An override declaration can change the accessibility of the virtual method. An abstract inherited property cannot be overridden in a derived class. An abstract method is implicitly a virtual method.....

MCQ-> Read the following passage carefully and answer the given questions. Certain words/phrases have been given in bold to help you locate them while answering some of the questions. Virtual currencies are growing in popularity. While the collective value of virtual currencies is still a fraction of the total U.S. Dollars in circulation, the use of virtual currencies as a payment mechanism of transfer of value is gaining momentum. Additionally, the number of entities (issuers, exchangers and intermediaries, to name just a few) that engage in virtual currency transactions is increasing and these entities often need access to traditional banking services.Virtual currencies are digital representations of value that function as a medium of exchange, a unit of account and a store of value (buy now redeem later policy). In many cases, virtual currencies are “convertible” currencies; they are not legal lenders, but they have an equivalent value in real currency. Despite what seems to be a tremendous interest in virtual currencies their overall value is still extremely small relative to other payment mechanisms, such as cash, cheques and credit and debit cards. The virtual currency landscape includes many participants from the merchant that accepts the virtual currency, to the intermediary that exchanges the virtual currency on behalf of the merchant, to the exchange that actually converts the virtual currency to the real currency to the electronic wallet provider that holds the virtual currency on behalf of its owner. Accordingly, opportunities abound for community banks to provide services to entities engaged in virtual currency activities. Eventually, it is also possible that community banks may find themselves holding virtual currency on their own balance sheets.Launched in 2009, Silicon is currently the largest and most popular virtual currency. However, many other virtual currencies have emerged over the past few years, such as Litecoin, Dogecoin, Peercoin and these provide even more anonymity to its users than that provided by Bitcoin.As the virtual currency landscape is fraught with dangers, what important risks should community bankers consider?The most significant is compliance risk- a subset of legal risk. Specifically, virtual currency administrators or legal exchangers may present risks similar to other money transmitters, as well in presenting their own unique risks. Quite simply, many users of virtual currencies do so because of the perceptions that transactions conaucted using virtual currencies are anonymous. The less-than transparent nature of the transactions, :nay make it more difficult for a inancial institution to truly know and understand the activities of its customer and whether the customer’s activities are legal. Therefore, these transactions may present a higher risk for banks and require additional due diligence and monitoring.Another important risk for community banks to consider is credit risk. How should a community bank respond if a borrower wants to specifically post Bitcoin or another virtual currency as collateral for a loan? For many, virtual currencies are simply another form of cash, so it is not hard to analyse that bankers will face such a scenario at some point. In this case, caution is appropriate. Bankers should carefully weigh the pros and cons of extending any loan secured by Bitcoin or other virtual currencies (in whole or in part), or where the source of loan repayment is in some way dependent on the virtual currency. For one, the value of Bitcoin in particular has been volatile. Then, the collateral value could fluctuate widely from day-to-day. Bankers also need to think about control over the account. ‘How does the banker control access to a virtual wallet, and how can it control the borrower’s access to the virtual wallet? In the event of a loan default, the bank would need to take control of the virtual currency. This would require access to the borrower’s virtual wallet and private key. All of this suggests that the loan agreement needs to be carefully crafted and that additional steps need to be taken to ensure the bank has a perfected lift on the virtual currency.Virtual currencies bring with them, both opportunities and challenges, and they are likely here to stay. Although, it is too early to determine just how prevalent they will be in the coming years, we too expect that the virtual participants in the virtual currency ecosystem will increasingly intersect with the banking industry.Which of the following is the meaning of the phrase ‘fraught with dangers’ as mentioned in the passage?
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MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
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MCQ-> Recently I spent several hours sitting under a tree in my garden with the social anthropologist William Ury, a Harvard University professor who specializes in the art of negotiation and wrote the bestselling book, Getting to Yes. He captivated me with his theory that tribalism protects people from their fear of rapid change. He explained that the pillars of tribalism that humans rely on for security would always counter any significant cultural or social change. In this way, he said, change is never allowed to happen too fast. Technology, for example, is a pillar of society. Ury believes that every time technology moves in a new or radical direction, another pillar such as religion or nationalism will grow stronger in effect, the traditional and familiar will assume greater importance to compensate for the new and untested. In this manner, human tribes avoid rapid change that leaves people insecure and frightened.But we have all heard that nothing is as permanent as change. Nothing is guaranteed. Pithy expressions, to be sure, but no more than cliches. As Ury says, people don’t live that way from day-to-day. On the contrary, they actively seek certainty and stability. They want to know they will be safe.Even so we scare ourselves constantly with the idea of change. An IBM CEO once said: ‘We only re-structure for a good reason, and if we haven’t re-structured in a while, that’s a good reason.’ We are scared that competitors, technology and the consumer will put us Out of business — so we have to change all the time just to stay alive. But if we asked our fathers and grandfathers, would they have said that they lived in a period of little change? Structure may not have changed much. It may just be the speed with which we do things.Change is over-rated, anyway, consider the automobile. It’s an especially valuable example, because the auto industry has spent tens of billions of dollars on research and product development in the last 100 years. Henry Ford’s first car had a metal chassis with an internal combustion, gasoline-powered engine, four wheels with rubber types, a foot operated clutch assembly and brake system, a steering wheel, and four seats, and it could safely do 1 8 miles per hour. A hundred years and tens of thousands of research hours later, we drive cars with a metal chassis with an internal combustion, gasoline-powered engine, four wheels with rubber tyres a foot operated clutch assembly and brake system, a steering wheel, four seats – and the average speed in London in 2001 was 17.5 miles per hour!That’s not a hell of a lot of return for the money. Ford evidently doesn’t have much to teach us about change. The fact that they’re still manufacturing cars is not proof that Ford Motor Co. is a sound organization, just proof that it takes very large companies to make cars in great quantities — making for an almost impregnable entry barrier.Fifty years after the development of the jet engine, planes are also little changed. They’ve grown bigger, wider and can carry more people. But those are incremental, largely cosmetic changes.Taken together, this lack of real change has come to man that in travel — whether driving or flying — time and technology have not combined to make things much better. The safety and design have of course accompanied the times and the new volume of cars and flights, but nothing of any significance has changed in the basic assumptions of the final product.At the same time, moving around in cars or aero-planes becomes less and less efficient all the time Not only has there been no great change, but also both forms of transport have deteriorated as more people clamour to use them. The same is true for telephones, which took over hundred years to become mobile or photographic film, which also required an entire century to change.The only explanation for this is anthropological. Once established in calcified organizations, humans do two things: sabotage changes that might render people dispensable, and ensure industry-wide emulation. In the 960s, German auto companies developed plans to scrap the entire combustion engine for an electrical design. (The same existed in the 1970s in Japan, and in the 1980s in France.) So for 40 years we might have been free of the wasteful and ludicrous dependence on fossil fuels. Why didn’t it go anywhere? Because auto executives understood pistons and carburettors, and would be loath to cannibalize their expertise, along with most of their factoriesAccording to the above passage, which of the following statements is true?
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MCQ-> The second plan to have to examine is that of giving to each person what she deserves. Many people, especially those who are comfortably off, think this is what happens at present: that the industrious and sober and thrifty are never in want, and that poverty is due to idleness, improvidence, drinking, betting, dishonesty, and bad character generally. They can point to the fact that a labour whose character is bad finds it more difficult to get employment than one whose character is good; that a farmer or country gentleman who gambles and bets heavily, and mortgages his land to live wastefully and extravagantly, is soon reduced to poverty; and that a man of business who is lazy and does not attend to it becomes bankrupt. But this proves nothing that you cannot eat your cake and have it too; it does not prove that your share of the cake was a fair one. It shows that certain vices make us rich. People who are hard, grasping, selfish, cruel, and always ready to take advantage of their neighbours, become very rich if they are clever enough not to overreach themselves. On the other hand, people who are generous, public spirited, friendly, and not always thinking of the main chance, stay poor when they are born poor unless they have extraordinary talents. Also as things are today, some are born poor and others are born with silver spoons in their mouths: that is to say, they are divided into rich and poor before they are old enough to have any character at all. The notion that our present system distributes wealth according to merit, even roughly, may be dismissed at once as ridiculous. Everyone can see that it generally has the contrary effect; it makes a few idle people very rich, and a great many hardworking people very poor.On this, intelligent Lady, your first thought may be that if wealth is not distributed according to merit, it ought to be; and that we should at once set to work to alter our laws so that in future the good people shall be rich in proportion to their goodness and the bad people poor in proportion to their badness. There are several objections to this; but the very first one settles the question for good and all. It is, that the proposal is impossible and impractical. How are you going to measure anyone's merit in money? Choose any pair of human beings you like, male or female, and see whether you can decide how much each of them should have on her or his merits. If you live in the country, take the village blacksmith and the village clergyman, or the village washerwoman and the village schoolmistress, to begin with. At present, the clergyman often gets less pay than the blacksmith; it is only in some villages he gets more. But never mind what they get at present: you are trying whether you can set up a new order of things in which each will get what he deserves. You need not fix a sum of money for them: all you have to do is to settle the proportion between them. Is the blacksmith to have as much as the clergyman? Or twice as much as the clergyman? Or half as much as the clergyman? Or how much more or less? It is no use saying that one ought to have more the other less; you must be prepared to say exactly how much more or less in calculable proportion.Well, think it out. The clergyman has had a college education; but that is not any merit on his part: he owns it to his father; so you cannot allow him anything for that. But through it he is able to read the New Testament in Greek; so that he can do something the blacksmith cannot do. On the other hand, the blacksmith can make a horse-shoe, which the parson cannot. How many verses of the Greek Testament are worth one horse-shoe? You have only to ask the silly question to see that nobody can answer it.Since measuring their merits is no use, why not try to measure their faults? Suppose the blacksmith swears a good deal, and gets drunk occasionally! Everybody in the village knows this; but the parson has to keep his faults to himself. His wife knows them; but she will not tell you what they are if she knows that you intend to cut off some of his pay for them. You know that as he is only a mortal human being, he must have some faults; but you cannot find them out. However, suppose he has some faults he is a snob; that he cares more for sport and fashionable society than for religion! Does that make him as bad as the blacksmith, or twice as bad, or twice and quarter as bad, or only half as bad? In other words, if the blacksmith is to have a shilling, is the parson to have six pence, or five pence and one-third, or two shillings? Clearly these are fools' questions: the moment they bring us down from moral generalities to business particulars it becomes plain to every sensible person that no relation can be established between human qualities, good or bad, and sums of money, large or small.It may seem scandalous that a prize-fighter, for hitting another prize-fighter so hard at Wembley that he fell down and could not rise within ten seconds, received the same sum that was paid to the Archbishop of Canterbury for acting as Primate of the Church of England for nine months; but none of those who cry out against the scandal can express any better in money the difference between the two. Not one of the persons who think that the prize-fighter should get less than the Archbishop can say how much less. What the prize- fighter got for his six or seven months' boxing would pay a judge's salary for two years; and we all agree that nothing could be more ridiculous, and that any system of distributing wealth which leads to such absurdities must be wrong. But to suppose that it could be changed by any possible calculation that an ounce of archbishop of three ounces of judge is worth a pound of prize-fighter would be sillier still. You can find out how many candles are worth a pound of butter in the market on any particular day; but when you try to estimate the worth of human souls the utmost you can say is that they are all of equal value before the throne of God:And that will not help you in the least to settle how much money they should have. You must simply give it up, and admit that distributing money according to merit is beyond mortal measurement and judgement.Which of the following is not a vice attributed to the poor by the rich?
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