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Question 1
Assertion (A):In urban areas, smog episodes occur frequently in winters.
Reason (R): In winters, a lot of biomass is burnt by people for heating purposes or to keep themselves warm. Choose the correct answer from the code given below:
Reason (R): In winters, a lot of biomass is burnt by people for heating purposes or to keep themselves warm. Choose the correct answer from the code given below:
Question 2
Which of the following pollutants is the major cause of respiratory diseases?
Question 3
Match List-I and List-II and Identify the correct code:
List-I
a. World Health Day
b. World population Day
c. World Ozone Day
d. World AIDS Day
List-II
i. 16th September
ii. 1st December
iii. 11th July
iv. 7th April
List-I
a. World Health Day
b. World population Day
c. World Ozone Day
d. World AIDS Day
List-II
i. 16th September
ii. 1st December
iii. 11th July
iv. 7th April
Question 4
Indian government’s target for power production from small hydro projects by the year 2022 is
Question 5
Assertion (A) : Conserving our soil resources is critical to human survival.
Reason (R) :Soil is home to many micro- organisms and contains minerals.
Choose the correct code:
Reason (R) :Soil is home to many micro- organisms and contains minerals.
Choose the correct code:
Question 6
Read the following passage carefully.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
What was the impact of the last great on Indian literature?
Question 7
Read the following passage carefully.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
What did Tagore articulate in his last testament?
Question 8
Read the following passage carefully.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
What was the stance of Indian intelligentsia during the period of great war?
Question 9
Read the following passage carefully.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
Identify the factor responsible for the submergence of creative energy in Indian literature.
Question 10
Read the following passage carefully.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
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
sympathizing with England’s dogged courage in the hour of peril, with the Russians fighting
with their backs to the wall against the ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under 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 the collapse of colonialism in the neighboring 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. But 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.
What was the aftermath that survived tragedies in Kashmir and Bangladesh?
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