Arattupuzha Velayudha Panicker built another temple in ?->(Show Answer!)

1. Arattupuzha Velayudha Panicker built another temple in

Answer: Cheruvaranam (1855)

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MCQ-> Read the following passage carefully and answer the questions given below it.Certain words/phrases have been printed in bold to help you locate them while answering some of the questions.Princess Chandravati was very beautiful. She loved all kinds of ornaments and always wanted to wear the most precious and lovely jewels. Once, a jeweller came to the palace and gifted the king a wonderful diamond necklace. It glittered with big and small diamonds. It was certainly a very expensive necklace. The princess fell in love with it as soon as she saw it. So the king presented it to her. From that day on, the princess always wore that necklace, wherever she went. One day before going for a swim in the pond, she took the necklace off and put in the hands of her oldest and the most trustworthy servant. “Hold this and be careful. This is the most precious necklace in the whole world,” she said. The servant was an old woman. She sat under a tree, holding the ornament tightly and waited for the princess. It was a hot afternoon and the servant was very tired so she dozzed off .under the tree. Suddenly the servant felt that someone was tugging at the necklace and she woke up with a start. She looked around but no one was there and the necklace was gone. Scared out of her wits, the old servant started screaming. On hearing her scream the royal guards rushed to her. She pointed towards the direction in which the thief may have gone and the guards ran off that way. There was a poor and dim-witted farmer walking on the same road. As soon as he saw the royal guards running towards him, he thought that they wanted to catch him and started running. But he was not a strong man and could not outrun the hefty guards. The royal guards caught him in no time. “Where is it ?” they demanded, shaking him. “Where is what ?” the poor farmer stammered back. “The necklace you stole 1” thundered one of the royal guards. The farmer had no idea what they were talking about. He only understood that some precious necklace was lost and he was supposed to have it. He quickly replied, “I don’t know where it is now. I gave it to my landlord.” The guards ran towards the landlord’s house. “Give us the necklace right now !” the guards demanded of the fat landlord. “Necklace ? I don’t have any !” the stunned landlord replied. “Then tell us quickly who does,” demanded the soldiers. In order to get the royal guards off his back, the landlord pointed towards a priest who was walking by his house and said, “He does.” The guards now caught hold of the priest who was walking towards the temple and thinking about the lunch he had just eaten. The priest was stunned when one of the burly guards jumped on him and asked about the necklace. He remembered that the minister, Bhupati, was at the temple. He took the guards to the temple and pointed towards the praying minister, “I gave it to him,” he said. Bhupati too was caught and all four men were thrown in jail. The chief minister of the kingdom knew Bhupati well and was sure that Bhupati would never steal. He decided to find out who the culprit was. He hid near the jail where all four men were put and heard them talking. First, Bhupati asked the priest, “Panditji, why did you say that you gave the necklace to me ? I was quietly praying at the temple and now you have landed me in jail for no fault of mine.” The priest looked apologetic. He pointed towards the landlord and said, “I didn’t know what to say. He set the guards on me. I was simply passing by his house and was on my way to the temple.” The land lord looked at the priest sheepishly. Then he turned towards the poor farmer and yelled, “You lazy good-for-nothing man Why did you say that I had the necklace ?” The farmer, trembling under the angry gaze of all three men, said, “I was just walking home, The guards caught me and I did not know what to say.” On hearing, this conversation, the chief minister understood that all the four men were innocent. He immediately ordered the royal guards to search thoroughly, near the pond. The guards searched high and low till they saw something glinting on the tree. On the tree sat a monkey with the princess’ favourite necklace around his neck. It took a lot of coaxing and bananas before the monkey threw the necklace on the ground. The king apologised to all the four men and gave them gold coins as compensation. He requested his daughter to wear the necklace only indoors.Why did the king present the diamond necklace to his daughter ?
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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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MCQ-> Directions : In the following questions, you have two brief passages with 5 questions in each passage, Read the passages carefully and choose the best answer to each question out of the four alternatives. PASSAGE -I Stuck with be development dilemma? Stay away from management courses. Seriously, one of the biggest complaints that organisations have about management courses is that they fail to impact the participants' on-the-job behaviour. Some management trainers stress the need for follow-up and reinforcement on the job. Some go so far as briefing the participants' managers on what behaviour they should be reinforcing back on the job. Others include a follow-up training day to review the progress of the participants. None of this is really going far enough. The real problem is that course promoters view development as something which primarily, takes place in a classroom. A course is an event and events are, by definition limited in time. When you talk about follow-up after a course, it is seen as a nice idea, but not as an essential part of the participants' development programme. Any rational, empowered individual should be able to take what has been learnt in a course and transfer it to the work place or so the argument goes. Another negative aspect of the course mindset is that, primarily, development is thought to be about skill-acquisition. So, it is felt that the distinction between taking the course and behaving differently in the work place parallels the distinction between skill-acquisition and skill-application. But can such a sharp distinction be maintained ? Skills are really acquired only in the context of applying them on the job, finding them effective and therefore, reinforcing them. The problem with courses is that they are events, while development is an on-going process which, involves, within a complex environment, continual interaction, regular feedback and adjustment. As we tend to equate development with a one-off event, it is difficult to get seriously motivated about the follow-up. Anyone paying for a course tends to look at follow-up as an unnecessary and rather costly frill. PASSAGE II One may look at life, events, society, history, in another way. A way which might, at a stretch, be described as the Gandhian way, though it may be from times before Mahatma Gandhi came on the scene. The Gandhian reaction to all the grim poverty, squalor and degradation of the human being would approximate to effort at self-change and self-improvement, to a regime of living regulated by discipline from within. To change society, the individual must first change himself. In this way of looking at life and society, words too begin to mean differently. Revolution, for instance, is a term frequently used, but not always in the sense it has been in the lexicon of the militant. So also with words like peace and struggle. Even society may mean differently, being some kind of organic entity for the militant, and more or less a sum of individuals for the Gandhian. There is yet another way, which might, for want of a better description, be called the mystic. The mystic's perspective measures these concerns that transcend political ambition and the dynamism of the reformer, whether he be militant or Gandhian. The mystic measures the terror of not knowing the remorseless march of time:he seeks to know what was before birth, what comes after death. The continuous presence of death, of the consciousness of death, sets his priorities. and values: militants and Gandhians kings and prophets must leave all that they have built:all that they have un-built and depart when messengers of the buffalo-riding Yama come out of the shadows. Water will to water, dust to dust. Think of impermanence. Everything passes.What is the passage about?
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MCQ->The high school math department needs to appoint a new chairperson, which will be based on seniority. Ms. West has less seniority than Mr. Temple, but more than Ms. Brody. Mr. Rhodes has more seniority than Ms. West, but less than Mr. Temple. Mr. Temple doesn't want the job. Who will be the new math department chairperson?...