Which of the following instructions tells C++ to merge the source code from the iostream.h file into the current file? ?->(Show Answer!)

1. Which of the following instructions tells C++ to merge the source code from the iostream.h file into the current file?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Which of the following instructions is redundant (can be implemented by other conventional ones) ?....

QA->In UNIX, which of the following system calls transform an executable binary file into a process?....

QA->Assuming 2 sorted lists of sizes ‘S1 ’ and ‘S2’, the worst case number of comparisons needed by the merge sort algorithm is :....

QA->State Bank of India has planned to merge how many associate banks to acquire theirbusinesses including assets and liabilities?....

QA->When a file is finally disposed of the file with a copy of which is sent to record room:....

MCQ->Which of the following instructions tells C++ to merge the source code from the iostream.h file into the current file?....

MCQ->Which of the following statements are correct about JIT? JIT compiler compiles instructions into machine code at run time. The code compiler by the JIT compiler runs under CLR. The instructions compiled by JIT compilers are written in native code. The instructions compiled by JIT compilers are written in Intermediate Language (IL) code. The method is JIT compiled even if it is not called....

MCQ-> The pages of a book are numbered 0, 1, 2 . upto M, M>0. There are four categories of instructions that direct a person in positioning the book at a page. The instruction types and their meanings are : 1. OPEN : Position the book at page No. 1 2. CLOSE : Position the book at page No. 0 3. FORWARD, n :From the current page move forward by n pages; if, in this process, page number M is reached, stop at M. 4. BACKWARD, n : From the current page, move backward by n pages; if in this process, page number 0 is reached, stop at page number 0. In each of the following questions, you will find a sequence of instructions formed from the above categories. In each case, let n1 be the page number before the instructions are executed and n2 be the page number at which the book is positioned after the instructions are executed.FORWARD, 25 ; BACKWARD, 10. which of the following statements is true?
....

MCQ->On executing the below program what will be the contents of 'target.txt' file if the source file contains a line "To err is human"? #include<stdio.h> int main() { int i, fss; char ch, source[20] = "source.txt", target[20]="target.txt", t; FILE fs, ft; fs = fopen(source, "r"); ft = fopen(target, "w"); while(1) { ch=getc(fs); if(ch==EOF) break; else { fseek(fs, 4L, SEEK_CUR); fputc(ch, ft); } } return 0; }....

MCQ-> The narrative of Dersu Uzala is divided into two major sections, set in 1902, and 1907, that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the film opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon one another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’s recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back father even than 1910 to discover who he was. But this narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialised, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vacuum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalise him and his example, as Dersu passes from history into myth. We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that isbeing built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, lookinguncomfortable and disoriented. A man passing in a wagon asks him what he is doing, and the explorersays he is looking for a grave. The driver replies that no one has died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu had died. It is his grave for which the explorer searches. His passing symbolises the new order, the development that now surrounds Arseniev. The explorer says he buried his friend three years ago next to huge cedar and fir trees, but now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile of bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a woman hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmurs desolately, ‘Dersu’. The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’s meeting with Dersu and their friendship. Kurosawa defines the world of the film initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the film celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and in human vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appears, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appear animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity to Dersu and their friendship. It makes him a fit pupil for the hunter.How is Kurosawa able to show the erosion of Dersu’s way of life?
....