Which one of the following forms of political protests derived from the name of the person who used it for the first time? ?->(Show Answer!)

1. Which one of the following forms of political protests derived from the name of the person who used it for the first time?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->Egypt"s oldest and most influential Islamist group which was banned in September after President Mohamed Morsi was toppled by the army following mass protests against his government on July?....

QA->What is the total earnings of a worker from the following data? Standard time for completing the job 50 hours. Actual time taken for completing the job 45 hours. Time rate is Rs.20 per hour, premium bonus is 60% of time saved.....

QA->A person who believes in being married to one person at a time Or, A man who has only one wife....

QA->A name derived from father's name.....

QA->After weeks of widespread protests and national strikes, which country has voted to pass a new bill that will increase the retirement age from 60 to 62, and the pension age from 65 to 67?....

MCQ-> Study the following information carefully to answer the given question Ten persons from different companies viz Samsung, Bata, Microsoft, Google, Apple, HCL, ITC, Reliance, Airtel and Vodafone are sitting in two parallel rows containing five people each, in such a way that there is an equal distance between adjacent persons. In row 1- B, C, D, E and F are seated and all of them are facing south. In row-2 R, S, T, U and V are seated and all of them are facing north. Therefore, in the given seating arrangement, each member seated in a row faces another member of the other row. (All the information given above does not the order of seating as in give thefinal arrangement.) • There people sit between R and the person from Apple. The person from Reliance is an immediate neighbour of the one who faces the person from Apple. V sits to the immediate left of the one who faces the person from Reliance. • Only one person sits between V and T. The person from Bata sits second to the right of the one who faces T. F sits second to the left of the person from Google. The person from Google does not sit at an extreme end of the line. • Only two people sit between F and D. The person from Samsung faces an immediate neighbour of D. U is an immediate neighbour of the person from Microsoft. V is not from Microsoft. B sits second to the left of C. • The person from ITC is an immediate neighbour of the person from Vodafone. Neither V nor F is from ITC. The person from ITC faces the person from HCL.F is related to ITC in the same way as T is related to HCL, based on the given arrangement. To who amongst the following is D related to following the same pattern ?
....

MCQ->Of the four forms of political protests mentioned below, which one is derived from the name of the- person who used it as a political weapon for the first time?....

MCQ-> Directions : Study the following information carefully to answer these questions: Eight persons from different banks viz. UCO Bank, Syndicate Bank, Canara Bank, PNB, Dena Bank, Oriental Bank of Commerce, Indian Bank and Bank of Maharashtra are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row-1 A, B, C and D are seated and all of them are facing South. In row-2 P, Q, R and S are seated and all of them are facing North. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. (All the information given above does not necessarily represent the order of seating as in the final arrangement.) ★ C sits second to right of the person from bank of Maharashtra. R is an immediate neighbour of the person who faces the person from bank of Maharashtra. ★ Only one person sits between R and the person for PNB. Immediate neighbour of the person from PNB faces the person from Canara Bank. ★ The person from UCO Bank faces the person from Oriental Bank of Commerce. R is not from Oriental Bank of Commerce. P is not from PNB. P does not face the person from Bank of Maharashtra. ★ Q faces the person from Dena Bank. The one who faces S sits to the immediate left of A. ★ B does not sit at any of the extreme ends of the line. The person from Bank of Maharashtra does not face the person from Syndicate Bank.Which of the following is true regarding A?
....

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?
....

MCQ-> Read the following passage and provide appropriate answers for the questionsThere is an essential and irreducible ‘duality’ in the normative conceptualization of an individual person. We can see the person in terms of his or her ‘agency’, recognizing and respecting his or her ability to form goals, commitments, values, etc., and we can also see the person in terms of his or her ‘well-being’. This dichotomy is lost in a model of exclusively self- interested motivation, in which a person’s agency must be entirely geared to his or her own well-being. But once that straitjacket of self-interested motivation is removed, it becomes possible to recognize the indisputable fact that the person’s agency can well be geared to considerations not covered - or at least not fully covered - by his or her own well-being. Agency may be seen as important (not just instrumentally for the pursuit of well-being, but also intrinsically), but that still leaves open the question as to how that agency is to be evaluated and appraised. Even though the use of one’s agency is a matter for oneself to judge, the need for careful assessment of aims, objective, allegiances, etc., and the conception of the good, may be important and exacting. To recognize the distinction between the ‘agency aspect’ and the ‘well-being aspect’ of a person does not require us to take the view that the person’s success as an agent must be independent, or completely separable from, his or her success in terms of well-being. A person may well feel happier and better off as a result of achieving what he or she wanted to achieve - perhaps for his or her family, or community, or class, or party, or some other cause. Also it is quite possible that a person’s well-being will go down as a result of frustration if there is some failure to achieve what he or she wanted to achieve as an agent, even though those achievements are not directly concerned with his or her well-being. There is really no sound basis for demanding that the agency aspect and the well-being aspect of a person should be independent of each other, and it is, I suppose, even possible that every change in one will affect the other as well. However, the point at issue is not the plausibility of their independence, but the sustainability and relevance of the distinction. The fact that two variables may be so related that one cannot change without the other, does not imply that they are the same variable, or that they will have the same values, or that the value of one can be obtained from the other on basis of some simple transformation. The importance of an agency achievement does not rest entirely on the enhancement of well-being that it may indirectly cause. The agency achievement and well-being achievement, both of which have some distinct importance, may be casually linked with each other, but this fact does not compromise the specific importance of either. In so far as utility - based welfare calculations concentrate only on the well- being of the person, ignoring the agency aspect, or actually fails to distinguish between the agency aspect and well-being aspect altogether, something of real importance is lost.According to the ideas in the passage, the following are not true expect:
....