1. In a class of 50 students, 32 students passed in English and 38 students passed in Mathematics. If 20 students passed in both the subjects, the number of students who passed neither English nor Mathematics is :

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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->In a class of 50 students, 32 students passed in English and 38 students passed in Mathematics. If 20 students passed in both the subjects, the number of students who passed neither English nor Mathematics is :...
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MCQ-> Study the following information carefully to answer the given questions.This data is regarding number of Junior Coliege students, Graduate students and Post-Graduate students (PG) only, studying in colleges A, B, C and D. The respective ratio between the total number of students studying in the Colleges A, B, C and D is 3 : 5 : 2 : 5. In College A, 40% of the total number of students are Junior College students. Out of the remaining, the respective ratio between the number of Graduate students and number of PG students is 5 : 4. In College B, $${2 \over 5}$$th of the total number of students are Junior College students. Out of the remaining, the respective ratio between the number of Graduate students and number of PG students is 5 : 3. In College C, 50% of the total number of students are Junior College students. Out of the remaining, $${5 \over 8}$$th are Graduate students and the remaining are PG students.In College D, 35% of the total number of students are Graduate students,$$ {8 \over {13}}$$th of the remaining students are Junior College students and the rest 1500 are PG students.What is the respective ratio between the total number of graduate students in College A and the total number of Graduate students in College B?
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MCQ-> Study the given information carefully to .answer the given questions. Seven people — J, K, L, M, N, O and P have an interview on seven different days of the same week, starting from Monday and ending on Sunday, but not necessarily in the same order. Each one of them also likes different subjects namely - Statistics, Zoology, Sociology, English, Mathematics, Psychology and Economics, but not necessarily in the same order. Only four people have their interview between N and the one Who likes Zoology. Neither N nor the one who likes Zoology has an interview on Sunday. P has an interview immediately after the one who likes Zoology. Only two people have their interviews between P and J. The one who likes Psychology has an interview on one of the days before J but not on Wednesday. Neither N nor P likes Psychology. Only two people have their interviews between the one who likes Psychology and the one who likes Statistics. The one who likes Economics has an interview immediately before the one who likes Statistics. The number of people having interview between P and the one who likes Economics is same as that of the number of people between J and the one who likes English. N does not like English. Only one person has an interview between the one who likes English and K. The one who likes Sociology has an interview immediately after O. L has an interview on one of the days after M .Four of the following five are alike in a certain way based on the given arrangement and hence form a group. Which of the following does not belong to the group ?
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