Question
Radically changing monsoon patterns, reduction in the winter rice harvest and a quantum increase in respiratory diseases all part of the environmental doomsday scenario which is reportedly playing out in South Asia. According to a United Nations Environment Programme report, a deadly three-kilometer deep blanket of pollution comprising a fearsome, cocktail of ash, acids, aerosols and other particles has enveloped in this region. For India, already struggling to cope with a drought, the implication of this are devastating and further crop failure will amount to a life and death question for many Indians. The increase in premature deaths will have adverse social and economic consequences and a rise in morbidities will place an unbearable burden on our crumbling health system. And there is no one to blame but ourselves. Both official and corporate India has always been allergic to any mention of clean technology. Most mechanical two wheelers roll of the assembly line without proper pollution control system. Little effort is made for R&D on simple technologies, which could make a vital difference to people's lives and the environment.
However, while there is no denying that South Asia must clean up its act, skeptics might question the timing of the haze report. The Kyoto meet on climate change is just two weeks away and the stage is set for the usual battle between the developing world and the West, particularly the Unites States of America. President Mr. Bush has adamantly refused to sign any protocol, which would mean a change in American consumption level. U.N. environment report will likely find a place in the U.S. arsenal as it plants an accusing finger towards controls like India and China. Yet the U.S.A. can hardly deny its own dubious role in the matter of erasing trading quotas.
Richer countries can simply buy up excess credits from poorer countries and continue to pollute. Rather than try to get the better of developing countries, who undoubtedly have taken up environmental shortcuts in their bid to catch up with the West, the USA should take a look at the environmental profligacy, which is going on within. From opening up virgin territories for oil exploration to relaxing the standards for drinking water, Mr. Bush's policies are not exactly beneficial, not even to America's interests. We realize that we are all in this together and that pollution anywhere should be a global concern otherwise there will only be more tunnels at the end of the tunnel.
Que. Which of the following is the indication of environmental degradation in South Asia?
a.
Social and economic inequality
b.
Crumbling health care system
c.
Inadequate pollution control system
d.
Radically changing monsoon pattern
Posted under UGC NET general paper Comprehension
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Q. Read the following passage carefully and answer the question that follow: Radically changing monsoon patterns, reduction in the winter rice harvest and a quantum increase in...
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Gandhi’s overall social and environmental philosophy is based on what human beings need rather than what they want. His early introduction to the teachings of Jains, Theosophists, Christian sermons, Ruskin and Tolstoy, and most significantly the Bhagavad Gita, were to have profound impact on the development of Gandhi’s holistic thinking on humanity, nature and their ecological interrelation. His deep concern for the disadvantaged, the poor and rural population created an ambience for an alternative social thinking that was at once far-sighted, local and immediate. For Gandhi was acutely aware that the demands generated by the need to feed and sustain human life, compounded by the growing industrialization of India, far outstripped the finite resources of nature. This might nowadays appear naïve or commonplace, but such pronouncements were as rare as they were heretical a century ago. Gandhi was also concerned about the destruction, under colonial and modernist designs, of the existing infrastructures which had more potential for keeping a community flourishing within ecologically-sensitive traditional patterns of subsistence, especially in the rural areas, than did the incoming Western alternatives based on nature-blind technology and the enslavement of human spirit and energies.
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Gandhi’s overall social and environmental philosophy is based on what human beings need rather than what they want. His early introduction to the teachings of Jains, Theosophists, Christian sermons, Ruskin and Tolstoy, and most significantly the Bhagavad Gita, were to have profound impact on the development of Gandhi’s holistic thinking on humanity, nature and their ecological interrelation. His deep concern for the disadvantaged, the poor and rural population created an ambience for an alternative social thinking that was at once far-sighted, local and immediate. For Gandhi was acutely aware that the demands generated by the need to feed and sustain human life, compounded by the growing industrialization of India, far outstripped the finite resources of nature. This might nowadays appear naïve or commonplace, but such pronouncements were as rare as they were heretical a century ago. Gandhi was also concerned about the destruction, under colonial and modernist designs, of the existing infrastructures which had more potential for keeping a community flourishing within ecologically-sensitive traditional patterns of subsistence, especially in the rural areas, than did the incoming Western alternatives based on nature-blind technology and the enslavement of human spirit and energies.
Perhaps the moral principle for which Gandhi is best known is that of active non-violence, derived from the traditional moral restraint of not injuring another being. The most refined expression of this value is in the great epic of the Mahabharata, (c. 100 BCE to 200 CE), where moral development proceeds through placing constraints on the liberties, desires and acquisitiveness endemic to human life. One’s action is judged in terms of consequences and the impact it is likely to have on another. Jainas had generalized this principle to include all sentient creatures and biocommunities alike. Advanced Jaina monks and nuns will sweep their path to avoid harming insects and even bacteria. Non-injury is a non-negotiable universal prescription.
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Gandhi’s overall social and environmental philosophy is based on what human beings need rather than what they want. His early introduction to the teachings of Jains, Theosophists, Christian sermons, Ruskin and Tolstoy, and most significantly the Bhagavad Gita, were to have profound impact on the development of Gandhi’s holistic thinking on humanity, nature and their ecological interrelation. His deep concern for the disadvantaged, the poor and rural population created an ambience for an alternative social thinking that was at once far-sighted, local and immediate. For Gandhi was acutely aware that the demands generated by the need to feed and sustain human life, compounded by the growing industrialization of India, far outstripped the finite resources of nature. This might nowadays appear naïve or commonplace, but such pronouncements were as rare as they were heretical a century ago. Gandhi was also concerned about the destruction, under colonial and modernist designs, of the existing infrastructures which had more potential for keeping a community flourishing within ecologically-sensitive traditional patterns of subsistence, especially in the rural areas, than did the incoming Western alternatives based on nature-blind technology and the enslavement of human spirit and energies.
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This is Manoj Kumar’s Desh Ki dharti with a difference : there is culture, not contentious politics; balle balle, not bombs : no dooriyan (distance), only nazdeekiyan
(closeness).
All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name : Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
Que. Who made Lamhe in 1991 ?
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Q. Read the following passage and answer the question that follow:
After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls : as a nation, who are we ? As a people, where are we going ?
The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.
This is Manoj Kumar’s Desh Ki dharti with a difference : there is culture, not contentious politics; balle balle, not bombs : no dooriyan (distance), only nazdeekiyan
(closeness).
All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name : Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
Que. Which movie is associated with Manoj Kumar ?
View solution
Q. Read the following passage and answer the question that follow:
After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls : as a nation, who are we ? As a people, where are we going ?
The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.
This is Manoj Kumar’s Desh Ki dharti with a difference : there is culture, not contentious politics; balle balle, not bombs : no dooriyan (distance), only nazdeekiyan
(closeness).
All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name : Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
Que. Which is the latest film by Yash Chopra ?
View solution
Q. Read the following passage and answer the question that follow:
After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls : as a nation, who are we ? As a people, where are we going ?
The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhas Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.
This is Manoj Kumar’s Desh Ki dharti with a difference : there is culture, not contentious politics; balle balle, not bombs : no dooriyan (distance), only nazdeekiyan
(closeness).
All four films are heralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name : Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades. The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
Que. Which is the dress of the heroine in Veer-Zaara ?
View solution
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