Atom Bomb was used for the first time in: ?->(Show Answer!)

1. Atom Bomb was used for the first time in:

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MCQ-> Analyse the following passage and provide appropriate answers An example of scientist who could measure without instruments is Enrico Fermi (1901-1954), a physicist who won the Nobel Prize in physics in 1938. He had a well-developed knack for intuitive, even casual-sounding measurements. One renowned example of his measurement skills was demonstrated at the first detonation of the atom bomb, the Trinity Test site, on July 16, 1945, where he was one of the atomic scientists observing the blast from base camp. While final adjustments were being made to instruments used to measure the yield of the blast, Fermi was making confetti out of a page of notebook paper. As the wind from the initial blast wave began to blow through the camp, he slowly dribbled the confetti into the air, observing how far back it was scattered by the blast (taking the farthest scattered pieces as being the peak of the pressure wave). Fermi concluded that the yield must be greater than 10 kilotons. This would have been news, since other initial observers of the blast did not know that lower limit. After much analysis of the instrument readings, the final yield estimate was determined to be 18.6 kilotons. Like Eratosthenes, Fermi was aware of a rule relating one simple observation—the scattering of confetti in the wind —to a quantity he wanted to measure. The value of quick estimates was something Fermi was familiar with throughout his career. He was famous for teaching his students skills at approximation of fanciful-sounding quantities that, at first glance, they might presume they knew nothing about. The best-known example of such a "Fermi question" was Fermi asking his students to estimate the number of piano tuners in Chicago, when no one knows the answer. His students—science and engineering majors—would begin by saying that they could not possibly know anything about such a quantity. Of course, some solutions would be to simply do a count of every piano tuner perhaps by looking up advertisements, checking with a licensing agency of some sort, and so on But Fermi was trying to teach his students how to solve problems where the ability to confirm the results would not be so easy. He wanted them to figure out that they knew something about the quantity in question.Suppose you apply the same logic as Fermi applied to confetti, which of the following statements would be the most appropriate?
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MCQ-> In the table below is the listing of players, seeded from highest (#1) to lowest (#32), who are due to play in an Association of Tennis Players (ATP) tournament for women. This tournament has four knockout rounds before the final, i.e., first round, second round, quarterfinals, and semi-finals. In the first round, the highest seeded player plays the lowest seeded player (seed # 32) which is designated match No. 1 of first round; the 2nd seeded player plays the 31st seeded player which is designated match No. 2 of the first round, and so on. Thus, for instance, match No. 16 of first round is to be played between 16th seeded player and the 17th seeded player. In the second round, the winner of match No. 1 of first round plays the winner of match No. 16 of first round and is designated match No. 1 of second round. Similarly, the winner of match No. 2 of first round plays the winner of match No. 15 of first round, and is designated match No. 2 of second round. Thus, for instance, match No. 8 of the second round is to be played between the winner of match No. 8 of first round and the winner of match No. 9 of first round. The same pattern is followed for later rounds as well.

If there are no upsets (a lower seeded player beating a higher seeded player) in the first round, and only match Nos. 6, 7, and 8 of the second round result in upsets, then who would meet Lindsay Davenport in quarter finals, in case Davenport reaches quarter finals?
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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?
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