Which connection is rarely used? ?->(Show Answer!)

1. Which connection is rarely used?

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MCQ-> Fifty feet away three male lions lay by the road. They didn’t appear to have a hair on their heads. Noting the color of their noses (leonine noses darken as they age, from pink to black), Craig estimated that they were six years old — young adults. “This is wonderful!” he said, after staring at them for several moments. “This is what we came to see. They really are maneless.” Craig, a professor at the University of Minnesota, is arguably the leading expert on the majestic Serengeti lion, whose head is mantled in long, thick hair. He and Peyton West, a doctoral student who has been working with him in Tanzania, had never seen the Tsavo lions that live some 200 miles east of the Serengeti. The scientists had partly suspected that the maneless males were adolescents mistaken for adults by amateur observers. Now they knew better.The Tsavo research expedition was mostly Peyton’s show. She had spent several years in Tanzania, compiling the data she needed to answer a question that ought to have been answered long ago: Why do lions have manes? It’s the only cat, wild or domestic, that displays such ornamentation. In Tsavo she was attacking the riddle from the opposite angle. Why do its lions not have manes? (Some “maneless” lions in Tsavo East do have partial manes, but they rarely attain the regal glory of the Serengeti lions.) Does environmental adaptation account for the trait? Are the lions of Tsavo, as some people believe, a distinct subspecies of their Serengeti cousins?The Serengeti lions have been under continuous observation for more than 35 years, beginning with George Schaller’s pioneering work in the 1960s. But the lions in Tsavo, Kenya’s oldest and largest protected ecosystem, have hardly been studied. Consequently, legends have grown up around them. Not only do they look different, according to the myths, they behave differently, displaying greater cunning and aggressiveness. “Remember too,” Kenya: The Rough Guide warns, “Tsavo’s lions have a reputation of ferocity.” Their fearsome image became well-known in 1898, when two males stalled construction of what is now Kenya Railways by allegedly killing and eating 135 Indian and African laborers. A British Army officer in charge of building a railroad bridge over the Tsavo River, Lt. Col. J. H. Patterson, spent nine months pursuing the pair before he brought them to bay and killed them. Stuffed and mounted, they now glare at visitors to the Field Museum in Chicago. Patterson’s account of the leonine reign of terror, The Man-Eaters of Tsavo, was an international best seller when published in 1907. Still in print, the book has made Tsavo’s lions notorious. That annoys some scientists. “People don’t want to give up on mythology,” Dennis King told me one day. The zoologist has been working in Tsavo off and on for four years. “I am so sick of this maneater business. Patterson made a helluva lot of money off that story, but Tsavo’s lions are no more likely to turn man-eater than lions from elsewhere.”But tales of their savagery and wiliness don’t all come from sensationalist authors looking to make a buck. Tsavo lions are generally larger than lions elsewhere, enabling them to take down the predominant prey animal in Tsavo, the Cape buffalo, one of the strongest, most aggressive animals of Earth. The buffalo don’t give up easily: They often kill or severely injure an attacking lion, and a wounded lion might be more likely to turn to cattle and humans for food.And other prey is less abundant in Tsavo than in other traditional lion haunts. A hungry lion is more likely to attack humans. Safari guides and Kenya Wildlife Service rangers tell of lions attacking Land Rovers, raiding camps, stalking tourists. Tsavo is a tough neighborhood, they say, and it breeds tougher lions.But are they really tougher? And if so, is there any connection between their manelessness and their ferocity? An intriguing hypothesis was advanced two years ago by Gnoske and Peterhans: Tsavo lions may be similar to the unmaned cave lions of the Pleistocene. The Serengeti variety is among the most evolved of the species — the latest model, so to speak — while certain morphological differences in Tsavo lions (bigger bodies, smaller skulls, and maybe even lack of a mane) suggest that they are closer to the primitive ancestor of all lions. Craig and Peyton had serious doubts about this idea, but admitted that Tsavo lions pose a mystery to science.The book Man-Eaters of Tsavo annoys some scientists because
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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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