Which Kerala mission was won the HUDCO National award for best practice in 2011-12? ?->(Show Answer!)

1. Which Kerala mission was won the HUDCO National award for best practice in 2011-12?

Answer: Kudumbasree

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MCQ-> Answer question based on the following information:In the country of Gagan, air travellers can buy their tickets either directly from the airlines or from three websites that are licensed to offer ticketing services online. In Gagan most of the commercial transactions are done electronically, and all citizens have an account with its national bank CeeCee. As a result the three websites have become popular and each transaction through these websites carries a surcharge of Gs. 250 (Gs. refers to Guppes, currency of Gagan). Given below are four post new - year (January 2, 2011 to February 28, 2011) offers from three competing websites: Cozy _ travel Offer : Make a confirmed booking for any service (fight ticket, hotel or rail tickets) through Cozy_travel.com from December 5, 2010 to February 8, 2011 and become eligible for two free air tickets (offer is limited to the base fare). Free tickets have to be booked through online request from January 1, 2011 to February 28, 2011. The request for free tickets should be submitted at least twenty - one days in advance. Free tickets are non - amendable (expect the passenger name) and cannot be cancelled. Free ticket cannot be exchanged for cash or kind with anybody. Cozy_travel will try its best to secure the free ticket as per the request. However, ticket confirmation is subject to airline schedule and set availability in airlines selected and finalized by Cozy_travel from specific available airlines. Cool_yatra Offer : Book any air ticket of any airline on Cool_yatra.com on or after December 21, 2010 and get your next ticket free. Under this offer, only the base fare of free ticket will be refunded by Cool_Yatra.com. Customer will have to bear rest of the charges (other fees and surcharges). The value of base fare will be refunded to passenger on/after March 1 or fifteen days after completion of travel on free ticket (whichever is later). The free ticket can be booked only on Gaga Air flights. The free ticket must be booked within fifteen days of booking the original ticket and the travel date of free ticket must be fifteen days after the booking date of free ticket. There must be a seven day gap between the travel date of main/original ticket and the free ticket. The travel date of free ticket should be on or before February 28, 2011. The free ticket cannot be transferred. On cancellation of the original ticket(s), you no longer remain eligible for the free ticket(s).Easy_travel Cash Back Offer : Easy travel offers 25% cash back on all air ticket bookings between December 5, 2010 and February 28, 2011 using CeeCee net banking service or its debit/credit card. The cash back amount will be credited back to customers account within twenty - one days from making the transaction. Maximum cash back during the period is Gs. 400 per person per ticket and total amount that can be claimed by the customer is Gs. 2,400Ek Ke Sath Ek Offer from Easy_travel : Book an AirSpice ticket with Easy_travel using any credit/debit card, and get another ticket absolutely free. The free tickets will be issued on AirSpice on its entire network. The offer is valid for sale from January 11, 2011 to January 31, 2011. The free ticket must be booked at least fifteen days prior to the date of travel and need to be completed within the offer period. The promotion code for the free ticket will get activated only seven days after booking the main ticket. Easy_travel will charge a handling fee of Gs. 1000/- per person for any amendments made on main ticket. Cancellations of tickets purchased under this offer are not permitted. The free ticket obtained under this offer can not be exchanged for cash and cannot be re-routed.Which offer has got the maximum chance for becoming the most popular among the air travellers of Gagan during post new - year period? Among the following options, choose the best offer - explanation combination.
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MCQ-> The motive force that has carried the psychoanalytic movement to a voluminous wave of popular attention and created for it considerable following those discontent with traditional methods and attitudes, is the frank direction of the psychological instruments of exploration to the insistent and intimate problems of human relations. However false or however true its conclusions, however weak or strong its arguments, however effective or defective or even pernicious its practice, its mission is broadly humanistic. Psychological enlightenment is presented as a program of salvation. By no other appeal could the service of psychology have become so glorified. The therapeutic promise of psychoanalysis came as the most novel, most ambitious, most releasing of the long procession of curative systems that mark the History of mental healing.To the contemporary trends in psychology psychoanalysis actually offered a rebuke, a challenge, a supplement, though it appeared to ignore them. With the practical purpose of applied psychology directed to human efficiency it had no direct relation and thus no quarrel. The solution of behaviorism, likewise bidding for popular approval by reducing adjustment to a program of conditioning, it inevitably found alien and irrelevant, as the behaviorist in reciprocity found psychoanalytic doctrine mystical, fantastic, assumptive, remote. Even to the cognate formulations of mental hygiene, as likewise in its contacts with related fields of psychology, psychoanalysis made no conciliatory advances. Towards psychiatry, its nearest of kin, it took an unfriendly position, quite too plainly implying a disdain for an unprogressive relative.These estrangements affected its relations throughout the domain of mind and its ills; but they came to head in the practice. From the outset in the days of struggle, when it had but a sparse and scattered discipleship, to the present position of prominence, Freudianism went its own way, for the most part neglected by academic psychology. Of dreams, lapses and neuroses, orthodox psychology had little say. The second reason for the impression made by psychoanalysis when once launched against the tide of academic resistance was its recognition of depth psychology, so much closer to human motivation, so much more intimate and direct than the analysis of mental factors. Most persons in trouble would be grateful for relief without critical examination of the theory behind the practice that helped them.Anyone at all acquainted with the ebb and flow of cures . cures that cure cures that fail . need not be told that the scientific basis of the system is often the least important factor. Many of these systems arise empirically within a practice, which by trial, seems to give results. This is not the case in psychoanalysis. Psychoanalysis belongs to the typical groups of therapies in which practice is entirely a derivative of theory. Here the pertinent psychological principle reads: .Create a belief in the theory, and the fact will create themselves..The distinctive feature of psychoanalysis is that
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MCQ-> Study the given information carefully to answer the given questions.Five people A, B, C, D and E won different number of competitions. Only two people won more number of competitions than E. B won more competitions than 0 but less than A. C won more competitions than D. C neither won the maximum number of competitions nor second lowest number of competitions. The one who won the second lowest number of competitions won 8 competitions.If the difference between the number of competitions won by B and A is 16, then which of the following may possibly represent the number of competitions won by E?
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MCQ-> In the following questions, you have two 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-II The National Highways Network of India measures over 70,934 km as of 2010, including over 1,000 km of limited-access expressways. Out of 71,000 km of National Highways 15,000 plus km are 4 or 6 lanes and remaining 50,000 km are 2 lanes. The National Highways Authority of India (NHAI) is the nodal agency responsible for building, upgrading and maintaining most of the national highways network. The National Highways Development Project (NHDP) is a major effort to expand and upgrade the network of highways. NHAI often uses a public-private partnership model for highway development, maintenance and toll-collection. National highways constituted about 2% of all the roads in India, but carried about 40% of the total road traffic as of 2010. The majority of existing national highways are two-lane roads (one lane in each direction), though much of this is being expanded to four-lanes, and some to six or eight lanes. Some sections of the network are toll roads. Over 30.000 km of new highways are planned or under construction as part of the NHDP, as of 2011. This includes over 2,600 km of expressways currently under construction.What is the current measurement of expressways under construction in India ?
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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?
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