The following incident related to Indian Republic Day? ?->(Show Answer!)

1. The following incident related to Indian Republic Day?

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MCQ-> Choose the best answer for each question.The production of histories of India has become very frequent in recent years and may well call for some explanation. Why so many and why this one in particular? The reason is a two-fold one: changes in the Indian scene requiring a re-interpretation of the facts and changes in attitudes of historians about the essential elements of Indian history. These two considerations are in addition to the normal fact of fresh information, whether in the form of archeological discoveries throwing fresh light on an obscure period or culture, or the revelations caused by the opening of archives or the release of private papers. The changes in the Indian scene are too obvious to need emphasis. Only two generations ago British rule seemed to most Indian as well as British observers likely to extend into an indefinite future; now there is a teenage generation which knows nothing of it. Changes in the attitudes of historians have occurred everywhere, changes in attitudes to the content of the subject as well as to particular countries, but in India there have been some special features. Prior to the British, Indian historiographers were mostly Muslims, who relied, as in the case of Sayyid Ghulam Hussain, on their own recollection of events and on information from friends and men of affairs. Only a few like Abu’l Fazl had access to official papers. These were personal narratives of events, varying in value with the nature of the writer. The early British writers were officials. In the 18th century they were concerned with some aspect of Company policy, or like Robert Orme in his Military Transactions gave a straight narrative in what was essentially a continuation of the Muslim tradition. In the early 119th century the writers were still, with two notable exceptions, officials, but they were now engaged in chronicling, in varying moods of zest, pride, and awe, the rise of the British power in India to supremacy. The two exceptions were James Mill, with his critical attitude to the Company and John Marchman, the Baptist missionary. But they, like the officials, were anglo-centric in their attitude, so that the history of modern India in their hands came to be the history of the rise of the British in India.The official school dominated the writing of Indian history until we get the first professional historian’s approach. Ramsay Muir and P. E. Roberts in England and H. H. Dodwell in India. Then Indian historians trained in the English school joined in, of whom the most distinguished was Sir Jadunath Sarkar and the other notable writers: Surendranath Sen, Dr Radhakumud Mukherji, and Professor Nilakanta Sastri. They, it may be said, restored India to Indian history, but their bias was mainly political. Finally have come the nationalists who range from those who can find nothing good or true in the British to sophisticated historical philosophers like K. M. Panikker.Along the types of historians with their varying bias have gone changes in the attitude to the content of Indian history. Here Indian historians have been influenced both by their local situation and by changes of thought elsewhere. It is this field that this work can claim some attention since it seeks to break new ground, or perhaps to deepen a freshly turned furrow in the field of Indian history. The early official historians were content with the glamour and drama of political history from Plassey to the Mutiny, from Dupleix to the Sikhs. But when the raj was settled down, glamour departed from politics, and they turned to the less glorious but more solid ground of administration. Not how India was conquered but how it was governed was the theme of this school of historians. It found its archpriest in H. H. Dodwell, its priestess in Dame Lilian Penson, and its chief shrine in the Volume VI of the Cambridge History of India. Meanwhile, in Britain other currents were moving, which led historical study into the economic and social fields. R. C. Dutt entered the first of these currents with his Economic History of India to be followed more recently by the whole group of Indian economic historians. W. E. Moreland extended these studies to the Mughal Period. Social history is now being increasingly studied and there is also of course a school of nationalist historians who see modern Indian history in terms of the rise and the fulfillment of the national movement.All these approaches have value, but all share in the quality of being compartmental. It is not enough to remove political history from its pedestal of being the only kind of history worth having if it is merely to put other types of history in its place. Too exclusive an attention to economic, social, or administrative history can be as sterile and misleading as too much concentration on politics. A whole subject needs a whole treatment for understanding. A historian must dissect his subject into its elements and then fuse them together again into an integrated whole. The true history of a country must contain all the features just cited but must present them as parts of a single consistent theme.Which of the following may be the closest in meaning to the statement ‘restored India to Indian history’?
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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. Long ago, a Brahmin called Haridatta lived in a little village. He was a farmer but the piece of land he cultivated provided him with so little to survive on that he was very poor. One day, unable to stand the heat of the summer sun, he went to rest for a whilevunder a big tree on his land. Before he could stretch out on the ground, he saw a huge black cobra slithering out of an anthill nearby. The snake then spread hisvhood and swayed gracefully from side to side. Haridatta was astonished tov seevthis and he thought, “This cobra must really be the god of this land. I have nevervseen or worshipped him before, which is probably why I am not able to get anything from the land. From this day onwards, I will worship him.” He hurried back to his home at once and returned with a glass full of milk. He poured it into a bowl and turning to the anthill said, “0 ruler of the land, I did not know you were living in this anthill. That is why I have not paid my tribute to you. Please accept my apologies for this omission and accept this humble offering.” He then placed the bowl of milk at the entrance of the anthill and left the place. The next day when the Brahmin arrived to work on his land before the sun rose, he found a gold coin in the bowl he had left at the anthill. He was very happy indeed and from that day on, he made it a practice to offer the cobra milk in a bowl each day. The next morning he would collect a gold coin and leave. One day Haridatta had to go to a neighbouring village on business. He asked his son to go to the anthill as usual and leave a bowl of milk for the cobra. The son did as he was told, but when he went to the same spot the next day and collected the gold coin he thought, “This anthill must be full of gold. If I kill the cobra, I can collect all the gold in an instant, instead of having to waste my time coming here every day.” He then struck the cobra with a big stick. The cobra deftly dodged the blow but bit Haridatta’s son with his poisonous fangs. The boy soon died. When Haridatta returned to his village the next day, he heard how his son had met his death. He realised at once that his son’s greed would probably have caused him to attack the cobra. The Brahmin went to the anthill the day after his son’s cremation and offered milk to the cobra as usual. This time, the cobra did not even come out of his hole. Instead, he called out to Haridatta, “You have come here for gold, forgetting That you have just lost a precious son and that you are in mourning. The reason for this is pure greed. From today, there is no meaning to our relationship. I am going to give you a diamond as a final gift. But please don’t ever come back again.” He slithered away as the Brahmin watched.Which of the following is TRUE according to the story ?
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MCQ-> Two traders, Chetan and Michael, were involved in the buying and selling Of MCS shares over five trading days. At the beginning of the first day, the MCS share was priced at Rs 100, while at the end of the fifth day it was priced at Rs 110. At the end of each day, the MCS share price either went up by Rs 10, or else, it came down by Rs 10. Both Chetan and Michael took buying and selling decisions at the end of each trading day. The beginning price of MCS share on a given day was the same as the ending price of the previous day. Chetan and Michael started with the same number of shares and amount of cash, and had enough of both. Below are some additional facts about how Chetan and Michael traded over the five trading days.• Each day if the price went up, Chetan sold 10 shares of MCS at the closing price. On the other hand, each day if the price went down, he bought 10 shares at the closing price.• If on any day, the closing price was above Rs 110, then Michael sold 10 shares of MCS, while if it was below Rs 90, he bought 10 shares, all at the closing price.If Chetan sold 10 shares of MCS on three consecutive days, while Michael sold 10 shares only once during the five days, what was the price of MCS at the end of day 3?
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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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MCQ-> Read Ito’ following passage carefully and answer the questions given below it. Certain words are printed in bold to help you locate them while answering sonic of the questions. Once upon a time. there was a shrewd shopkeeper called Makitrand. He had a friend called Mihir, who had saved a lot of money. Mihir was keen on going on a pilgrimage. But he did not know where to leave his precious savings. So he came to Makarand’s shop and said, ‘my friend, I trust you more than anyone. Could you please look after my life’s savings till i return from my pilgrimage Makarand pretended to be deep in thought, and then said, ‘1 would rather not. Money spoils relationships. What if something hap • pens to your money while you are away ? You will no longer be my friend.’ As Mihir stood there by his shop thinking about what his friend had just said, an old woman entered the shup and bought some things. One of the boys helping Makarand, gave her less change than he should have. Makaranc saw this and pretended to scold the boy, he then ordered him to return the remaining money to the woman. Mihir not knowing that this was an act put up by Makarand to make him believe that he was honest, was convinced about his decision and said to Makarand, ‘I have decided. I will leave the money only with you.’ Makarand smiled. Then let us do something. Let’s take the bag of coins and bury it in a place that only you and I will know of. That way, even if something happens to me while you are away, you will know where your money is: Mihir, simple that he was. thought this was a good idea and the two went and hid the bag in a secret place. Mihir left the next day on his pilgrimage. happy his savings Were in safe hands. Six months later, Mihir returned. He dumped his luggage at home and went to dig out his bag of savings. But even though he searched and searched for his valuables, there was no sign of the bag anywhere. In panic, he ran in Makarand, who was busy in his shop. When Mihir asked him about the bitg, Makarand pretended to be surprised. ‘But I did not go that way in all these months. Why don’t you search for it again ?’ he said, putting on his most innocent look. Mihir had no choice but to believe him. Sadly, he went home. On the way, as luck would have it, he met the old woman he had seen in Makarand’s shop. Seeing him sad. she asked him what the matter was. Mihir told her the whole story, Then she smiled and whispered a plan to him. Not long after, the woman came to Makarand’s shop, carrying a big box. ‘Brother, I heard you are a good and honest man. My son went on a pilgrimage many months ago and has still not returned. 1 am worried and have decided to go and loo for him. Will you look after my box of two hundred gold coins while I am away ?Makarand could not believe his luck. He was about to launch into his idea about- hiding the box, when an angry Mihir entered the shop, ‘Where is but before he could complete his sentence, Makarand, afraid of being accused in front of the old woman, said quickly, ‘I forgot. I had seen some pigs digging around there and had removed the bag just to keep it safe. Here it is.’ And he handed Mihir the bag he had stolen many months ago. Now the old woman pretended she was seeing Mihir for the first time, Son, did you also go on a pilgrimage? Could you tell me if you met my son anywhere? His name is Jahangir.’ Mihir, clutching onto his precious bag, said, ‘Yes, Auntie, I met him on the road a few villages away. He was on his way home. He should be here in a week.’ The old woman leaned over and took her box away from Makarand. Thank you. Brother, you have saved me an unnecessary trip. Now, I will need some money to prepare for my son’s welcome,’ she added and the two left the shop. Makarand could only stare at them Open-mouthed,What incident in the passage convinced Mihir that Makarand was indeed an honest man? (A) The incident where he scolded his helper boy for returning less change to the old woman who was a customer in his shop. (B) The fact that Makarand refused to keep Mihir’s money, in the event that it might destroy their friendship. (C) The incident where Makarand told Mihir that he had kept his hag with him as he saw pigs digging at the very spot where the treasure was buried.....