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Dive deep into the fascinating world of Comprehension with our comprehensive set of Multiple-Choice Questions (MCQs). This page is dedicated to exploring the fundamental concepts and intricacies of Comprehension, a crucial aspect of UGC CBSE NET General Paper. In this section, you will encounter a diverse range of MCQs that cover various aspects of Comprehension, from the basic principles to advanced topics. Each question is thoughtfully crafted to challenge your knowledge and deepen your understanding of this critical subcategory within UGC CBSE NET General Paper.
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Q131.
Read the following passage and answer the question that follow:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. One important symptom of bad governance is:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. One important symptom of bad governance is:
Answer: (a).Corruption
Q132.
Read the following passage and answer the question that follow:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. When corruption is rampant, public officials always aim at many opportunities for
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. When corruption is rampant, public officials always aim at many opportunities for
Answer: (c).Private profit
Q133.
Read the following passage and answer the question that follow:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. Productivity linked incentives to public/private officials is one of the indicatives for:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. Productivity linked incentives to public/private officials is one of the indicatives for:
Answer: (a).Efficient government
Q134.
Read the following passage and answer the question that follow:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. The spiralling corruption can only be contained by promoting:
All political systems need to mediate the relationship between private wealth and public power. Those that fail risk a dysfunctional government captured by wealthy interests. Corruption is one symptom of such failure with private willingness-to-pay trumping public goals. Private individuals and business firms pay to get routine services and to get to the head of the bureaucratic queue. They pay to limit their taxes, avoid costly regulations, obtain contracts at inflated prices and get concessions and privatized firms at low prices. If corruption is endemic, public officials - both bureaucrats and elected officials - may redesign programmes and propose public projects with few public benefits and many opportunities for private profit. Of course, corruption, in the sense of bribes, pay-offs and kickbacks, is only one type of government failure. Efforts to promote ‘good governance’ must be broader than anti-corruption campaigns. Governments may be honest but inefficient because no one has an incentive to work productively, and narrow elites may capture the state and exert excess influence on policy. Bribery may induce the lazy to work hard and permit those not in the inner circle of cronies to obtain benefits. However, even in such cases, corruption cannot be confined to ‘functional’ areas. It will be a temptation whenever private benefits are positive. It may be a reasonable response to a harsh reality but, over time, it can facilitate a spiral into an even worse situation.
Que. The spiralling corruption can only be contained by promoting:
Answer: (c).Good governance
Q135.
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 word Yash Chopra would not be able to pronounce ?
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 word Yash Chopra would not be able to pronounce ?
Answer: (b).Zeitgeist
Q136.
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. Who made Lamhe in 1991 ?
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. Who made Lamhe in 1991 ?
Answer: (b).Yash Chopra
Q137.
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 ?
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 ?
Answer: (d).Desh Ki dharti
Q138.
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 ?
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 ?
Answer: (d).Veer Zaara
Q139.
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 ?
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 ?
Answer: (c).Traditional Punjabi Clothes
Q140.
Read the following passage and answer the question that follow:
The superintendence, direction and control of preparation of electoral rolls for, and the conduct of, elections to Parliament and State Legislatures and elections to the offices of the President and the Vice - President of India are vested in the Election Commission of India. It is an independent constitutional authority.
Independence of the Election Commission and its insulation from executive interference is ensured by a specific provision under Article 324 (5) of the constitution that the chief Election Commissioner shall not be removed from his office except in like manner and on like grounds as a Judge of the Supreme Court and conditions of his service shall not be varied to his disadvantage after his appointment.
In C.W.P. No. 4912 of 1998 (Kushra Bharat Vs. Union of India and others), the Delhi High Court directed that information relating to Government dues owed by the candidates to the departments dealing with Government accommodation, electricity, water, telephone and transport etc. and any other dues should be furnished by the candidates and this information should be published by the election authorities under the commission.
Que. The text of the passage reflects or raises certain questions:
The superintendence, direction and control of preparation of electoral rolls for, and the conduct of, elections to Parliament and State Legislatures and elections to the offices of the President and the Vice - President of India are vested in the Election Commission of India. It is an independent constitutional authority.
Independence of the Election Commission and its insulation from executive interference is ensured by a specific provision under Article 324 (5) of the constitution that the chief Election Commissioner shall not be removed from his office except in like manner and on like grounds as a Judge of the Supreme Court and conditions of his service shall not be varied to his disadvantage after his appointment.
In C.W.P. No. 4912 of 1998 (Kushra Bharat Vs. Union of India and others), the Delhi High Court directed that information relating to Government dues owed by the candidates to the departments dealing with Government accommodation, electricity, water, telephone and transport etc. and any other dues should be furnished by the candidates and this information should be published by the election authorities under the commission.
Que. The text of the passage reflects or raises certain questions:
Answer: (d).This would ensure fair and free elections.
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