Question
Each day at the Shantiniketan School starts with the Saraswati Vandana. When painting competitions are held in the school, images of Hindu gods and goddesses are most common. Sanskrit is a favourite subject of many a student. Nothing new about it except that the 1,200 - odd students studying in the Hindu - run school are Muslims.
In 1983, when Ranchodbhai Kiri started Shantiniketan in the all - Muslim Juhapura area of Ahmedabad in Gujarat, only 20 percent of the students were Muslims. But when riots involving the Muslims of Juhapura and the Hindus of nearby Jivrajpark - Vejalpur affected the locality, Hindus started migrating. Today, all the students are Muslims and the school is an unparalled example of harmony. In the 2002, when a section of inflamed Muslims wanted the school closed, the parents of the students stood like a wall behind it.
Shantiniketan's principal says, "We never thought of moving the school out of the area because of the love and affection of the local Muslims. Indeed, they value the high standard of education which we have set." Such is the reputation of the school that some of the local Muslim strongmen accused of involvement in communal riots are willing to protect the school during the riots.
The parents of Shantiniketan's students believe that it's the best school when it comes to the quality of the teaching. A large number of students have gone for both graduation and post graduation studies. Significantly, the only Muslim teacher in the 40 - member teaching staff, Husena Mansuri, teaches Sanskrit. In fact, she is so happy at the school that she recently declined the principalship of another Muslim - run school.
Some of the students' entries in a recent school painting competition mere truly moving. One drew a picture of Bharat Mata with a mosque and temple, while another portrayed a boy tying rakhi to his sister. Trully, Shantiniketan is a beacon of hope that, despite the provocations from both communities, Hindus and Muslims can live side-by-side with mutual respect.
Que. Who is the teacher of Sanskrit?
a.
Ranchodbhai Kiri
b.
Manisha Vakil
c.
Husena Mansuri
d.
Husena Khatoon
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Q. Read the following passage and answer the question that follow: Each day at the Shantiniketan School starts with the Saraswati Vandana. When painting competitions are held in...
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Q. Read the passage carefully and answer question.
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(b) Geographical attributes
(c) Lack of financial resources
(d) Lack of traditional knowledge
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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Q. Read the following passage carefully and answer the following question:
The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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Q. Read the following passage carefully and answer the following question:
The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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Q. Read the following passage carefully and answer the following question:
The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
Que. What did Tagore articulate in his last testament?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What is not a consistent concern across the two organisational contexts ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What will be sufficient for an independent production company to be successful ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What does an advanced-technology company expect from the learning experience of its participants ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What is not the expectation of an independent production company in the case of its participants ?
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