Practice of having one wife or husband ?->(Show Answer!)

1. Practice of having one wife or husband

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MCQ->Mr. Raju took the members of his family for a picnic. His father’s mother and mother’s father including their two children were in one car. His father’s son and sister’s husband, brother’s wife were in second car. He along with his wife, wife’s sister, wife’s brother and son’s wife with a kid was in the third car. How many members of Mr. Raju’s family were there in the picnic along with Mr. Raju and how many were left behind (assuming all members of the third generation are married)?....

MCQ-> The motive force that has carried the psychoanalytic movement to a voluminous wave of popular attention and created for it considerable following those discontent with traditional methods and attitudes, is the frank direction of the psychological instruments of exploration to the insistent and intimate problems of human relations. However false or however true its conclusions, however weak or strong its arguments, however effective or defective or even pernicious its practice, its mission is broadly humanistic. Psychological enlightenment is presented as a program of salvation. By no other appeal could the service of psychology have become so glorified. The therapeutic promise of psychoanalysis came as the most novel, most ambitious, most releasing of the long procession of curative systems that mark the History of mental healing.To the contemporary trends in psychology psychoanalysis actually offered a rebuke, a challenge, a supplement, though it appeared to ignore them. With the practical purpose of applied psychology directed to human efficiency it had no direct relation and thus no quarrel. The solution of behaviorism, likewise bidding for popular approval by reducing adjustment to a program of conditioning, it inevitably found alien and irrelevant, as the behaviorist in reciprocity found psychoanalytic doctrine mystical, fantastic, assumptive, remote. Even to the cognate formulations of mental hygiene, as likewise in its contacts with related fields of psychology, psychoanalysis made no conciliatory advances. Towards psychiatry, its nearest of kin, it took an unfriendly position, quite too plainly implying a disdain for an unprogressive relative.These estrangements affected its relations throughout the domain of mind and its ills; but they came to head in the practice. From the outset in the days of struggle, when it had but a sparse and scattered discipleship, to the present position of prominence, Freudianism went its own way, for the most part neglected by academic psychology. Of dreams, lapses and neuroses, orthodox psychology had little say. The second reason for the impression made by psychoanalysis when once launched against the tide of academic resistance was its recognition of depth psychology, so much closer to human motivation, so much more intimate and direct than the analysis of mental factors. Most persons in trouble would be grateful for relief without critical examination of the theory behind the practice that helped them.Anyone at all acquainted with the ebb and flow of cures . cures that cure cures that fail . need not be told that the scientific basis of the system is often the least important factor. Many of these systems arise empirically within a practice, which by trial, seems to give results. This is not the case in psychoanalysis. Psychoanalysis belongs to the typical groups of therapies in which practice is entirely a derivative of theory. Here the pertinent psychological principle reads: .Create a belief in the theory, and the fact will create themselves..The distinctive feature of psychoanalysis is that
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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words have been printed in bold to help you locate them while answering some of the questions. Govind’s father was a rich landlord, who was loved and respected by all his tenants. When he died. he left large tracts of land to Govind. But Govind did not spend a single day looking after his land. He had a funny idea, that there existed a magic potion which, if it was poured on any object would turn it into gold. He spent all his time trying to learn more about this potion. People took advantage of him and cheated him. His wife grew anxious. Given the amount of money Govind was spending, she was sure that they would soon be paupers. One day, a widely respected sage who had been to the Himalayas came to their town. Govind asked him about the potion. To his surprise the sage answered, “I have learnt how to brew such a potion. But it is a difficult process.” -Fell me!” insisted Govind, hardly able to believe his luck. “You have to collect the dew which settles on the leaves of a banana tree every morning during.winter. There is a condition though. The tree should be planted and watered regularly with your own hands. Store the collected dew in an earthen vessel and when you have five litres, bring it to me. I will recite a sacred mantra to transform the dew into the potion. A drop of the potion will be sufficient to change any object into gold.” Govind was worried. “Winter is only for a few months in the year. It will take me years to collect the dew.” “You can plant as many trees as you want.” replied the sage. Govind went home and after talking to his wife, began clearing the large fields which has been lying vacant for years. He planted rows of banana saplings. He tended them with great care. His wife helped him too. She would take the banana crop to market and get a good price. Over the years the plantation grew and finally after six years Govind had live litres of dew. He went to the sage who smiled, uttered a mantra and sprinkled a few drops of dew on a copper vessel. To Govind’s dismay, nothing happened. “You have cheated me!” he shouted at the sage. The sage however smiled. Govind’s wife then came forward with a box. The sage opened it and revealed stacks of gold coins inside. Turning to Govind he said, “You worked hard on your land and created a plantation. Your wife sold ‘the produce in the market. It was your hard work which created this wealth, not magic. If I had told you this earlier, you would not have listened.” Govind understood the wisdom behind the sage’s words and worked even harder from that day on.Why did Govind’s father give him large plots of land?
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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MCQ-> Direction for questions:Given below are six statements followed by sets of three. You are to mark the option in which the statements are most logically related.1. No wife is a life 2. All life is strife 3. Some wife is strife 4. All that is wife is life 5. All wife is strife 6. No wife is strife ....