Whichbacteria has been identified in chicken that is a source of transmission of themultidrug resistance pathogen to humans ? ?->(Show Answer!)

1. Whichbacteria has been identified in chicken that is a source of transmission of themultidrug resistance pathogen to humans ?

Answer: Helicobacterpullorum

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MCQ-> Read the passage carefully and answer the questions givenGrove snails as a whole are distributed all over Europe, but a specific variety of the snail, with a distinctive white-lipped shell, is found exclusively in Ireland and in the Pyrenees mountains that lie on the border between France and Spain. The researchers sampled a total of 423 snail specimens from 36 sites distributed across Europe, with an emphasis on gathering large numbers of the white-lipped variety. When they sequenced genes from the mitochondrial DNA of each of these snails and used algorithms to analyze the genetic diversity between them, they found that. . . a distinct lineage (the snails with the white-lipped shells) was indeed endemic to the two very specific and distant places in question.Explaining this is tricky. Previously, some had speculated that the strange distributions of creatures such as the white-lipped grove snails could be explained by convergent evolution—in which two populations evolve the same trait by coincidence—but the underlying genetic similarities between the two groups rules that out. Alternately, some scientists had suggested that the white-lipped variety had simply spread over the whole continent, then been wiped out everywhere besides Ireland and the Pyrenees, but the researchers say their sampling and subsequent DNA analysis eliminate that possibility too. “If the snails naturally colonized Ireland, you would expect to find some of the same genetic type in other areas of Europe, especially Britain. We just don’t find them,” Davidson, the lead author, said in a press statement.Moreover, if they’d gradually spread across the continent, there would be some genetic variation within the white-lipped type, because evolution would introduce variety over the thousands of years it would have taken them to spread from the Pyrenees to Ireland. That variation doesn’t exist, at least in the genes sampled. This means that rather than the organism gradually expanding its range, large populations instead were somehow moved en mass to the other location within the space of a few dozen generations, ensuring a lack of genetic variety.“There is a very clear pattern, which is difficult to explain except by involving humans,” Davidson said. Humans, after all, colonized Ireland roughly 9,000 years ago, and the oldest fossil evidence of grove snails in Ireland dates to roughly the same era. Additionally, there is archaeological evidence of early sea trade between the ancient peoples of Spain and Ireland via the Atlantic and even evidence that humans routinely ate these types of snails before the advent of agriculture, as their burnt shells have been found in Stone Age trash heaps.The simplest explanation, then? Boats. These snails may have inadvertently traveled on the floor of the small, coast-hugging skiffs these early humans used for travel, or they may have been intentionally carried to Ireland by the seafarers as a food source. “The highways of the past were rivers and the ocean-as the river that flanks the Pyrenees was an ancient trade route to the Atlantic, what we’re actually seeing might be the long lasting legacy of snails that hitched a ride…as humans travelled from the South of France to Ireland 8,000 years ago,” Davidson said.The passage outlines several hypotheses and evidence related to white-lipped grove snails to arrive at the most convincing explanation for:
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MCQ-> Read the passage carefully and answer the questions given. . . “Everybody pretty much agrees that the relationship between elephants and people has dramatically changed,” [says psychologist Gay] Bradshaw. . . . “Where for centuries humans and elephants lived in relatively peaceful coexistence, there is now hostility and violence. Now, I use the term ‘violence’ because of the intentionality associated with it, both in the aggression of humans and, at times, the recently observed behavior of elephants.” . . .Typically, elephant researchers have cited, as a cause of aggression, the high levels of testosterone in newly matured male elephants or the competition for land and resources between elephants and humans. But. . . Bradshaw and several colleagues argue. . . that today’s elephant populations are suffering from a form of chronic stress, a kind of species-wide trauma. Decades of poaching and culling and habitat loss, they claim, have so disrupted the intricate web of familial and societal relations by which young elephants have traditionally been raised in the wild, and by which established elephant herds are governed, that what we are now witnessing is nothing less than a precipitous collapse of elephant culture. . . .Elephants, when left to their own devices, are profoundly social creatures. . . . Young elephants are raised within an extended, multitiered network of doting female caregivers that includes the birth mother, grandmothers, aunts and friends. These relations are maintained over a life span as long as 70 years. Studies of established herds have shown that young elephants stay within 15 feet of their mothers for nearly all of their first eight years of life, after which young females are socialized into the matriarchal network, while young males go off for a time into an all-male social group before coming back into the fold as mature adults. . . .This fabric of elephant society, Bradshaw and her colleagues [demonstrate], ha[s] effectively been frayed by years of habitat loss and poaching, along with systematic culling by government agencies to control elephant numbers and translocations of herds to different habitats. . . . As a result of such social upheaval, calves are now being born to and raised by ever younger and inexperienced mothers. Young orphaned elephants, meanwhile, that have witnessed the death of a parent at the hands of poachers are coming of age in the absence of the support system that defines traditional elephant life. “The loss of elephant elders,” [says] Bradshaw . . . "and the traumatic experience of witnessing the massacres of their family, impairs normal brain and behavior development in young elephants.”What Bradshaw and her colleagues describe would seem to be an extreme form of anthropocentric conjecture if the evidence that they’ve compiled from various elephant researchers. . . weren’t so compelling. The elephants of decimated herds, especially orphans who’ve watched the death of their parents and elders from poaching and culling, exhibit behavior typically associated with post-traumatic stress disorder and other trauma-related disorders in humans: abnormal startle response, unpredictable asocial behavior, inattentive mothering and hyperaggression. . . .[According to Bradshaw], “Elephants are suffering and behaving in the same ways that we recognize in ourselves as a result of violence. . . . Except perhaps for a few specific features, brain organization and early development of elephants and humans are extremely similar.”Which of the following statements best expresses the overall argument of this passage?
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MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
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