Maximum period of weightage increased subject to conditions to actual period of service on sanctioning invalid pension: ?->(Show Answer!)

1. Maximum period of weightage increased subject to conditions to actual period of service on sanctioning invalid pension:

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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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MCQ->Maximum period of weightage increased subject to conditions to actual period of service on sanctioning invalid pension:....

MCQ-> Read the following passages carefully and answer the questions given at the end of each passage.PASSAGE 1In a study of 150 emerging nations looking back fifty years, it was found that the single most powerful driver of economic booms was sustained growth in exports especially of manufactured products. Exporting simple manufactured goods not only increases income and consumption at home, it generates foreign revenues that allow the country to import the machinery and materials needed to improve its factories without running up huge foreign bills and debts. In short, in the case of manufacturing, one good investment leads to another. Once an economy starts down the manufacturing path, its momentum can carry it in the right direction for some time. When the ratio of investment to GDP surpasses 30 percent, it tends to stick at the level for almost nine years (on an average). The reason being that many of these nations seemed to show a strong leadership commitment to investment, particularly to investment in manufacturing. Today various international authorities have estimated that the emerging world need many trillions of dollars in investment on these kinds of transport and communication networks. The modern outlier is India where investment as a share of the economy exceeded 30 percent of GDP over the course of the 2000s, but little of that money went into factories. Indian manufacturing had been stagnant for decades at around 15 percent of GDP. The stagnation stems from the failures of the state to build functioning ports and power plants and to create an environment in which the rules governing labour, land and capital are designed and enforced in a way that encourages entrepreneurs to invest, particularly in factories. India has disappointed on both counts creating labour friendly rules and workable land acquisition norms. Between 1989 and 2010 India generated about ten million new jobs in manufacturing, but nearly all those jobs were created in enterprises that are small and informal and thus better suited to dodge India’s bureaucracy and its extremely restrictive rules regarding firing workers It is commonly said in India that the labour laws are so onerous that it is practically impossible to comply with even half of them without violating the other half.Informal shops, many of them one man operations, now account for 39 percent of India’s manufacturing workforce, up from 19 percent in 1989 and they are simply too small to compete in global markets. Harvard economist Dani Rodrik calls manufacturing the “automatic escalator” of development, because once a country finds a niche in global manufacturing, productivity often seems to start rising automatically. During its boom years India was growing in large part on the strength of investment in technology service industries, not manufacturing. This was put forward as a development strategy. Instead of growing richer by exporting even more advanced manufactured products, India could grow rich by exporting the services demanded in this new information age. These arguments began to gain traction early in the 2010s.In new research on the “service escalators”, a 2014 working paper from the World Bank made the case that the old growth escalator in manufacturing was already giving way to a new one in service industries. The report argued that while manufacturing is in retreat as a share of the global economy and is producing fewer jobs, services are still growing, contributing more to growth in output and jobs for nations rich and poor. However, one basic problem with the idea of service escalator is that in the emerging world most of the new service jobs are still in very traditional ventures. A decade on, India’s tech sector is still providing relatively simple IT services mainly in the same back office operations it started with and the number of new jobs it is creating is relatively small. In India, only about two million people work in IT services, or less than 1 percent of the workforce. So far the rise of these service industries has not been big enough to drive the mass modernisation of rural farm economies. People can move quickly from working in the fields to working on an assembly line, because both rely for the most part on manual labour. The leap from the farm to the modern service sector is much tougher since those jobs often require advanced skills. Workers who have moved into IT service jobs have generally come from a pool of relatively better educated members of the urban middle class, who speak English and have atleast some facility with computers. Finding jobs for the underemployed middle class is important but there are limits to how deeply it can transform the economy, because it is a relatively small part of the population. For now, the rule is still factories first, not service first.According to the information in the above passage, manufacturing in India has been stagnant because there is
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