TIL – A

Passage for the questions 1 to 5

BBC4, a comparatively new TV channel, has a character of its own. From the start it aimed to be “a place to think”, and it was always designed as something “that the commercial market would never do”, says Roly Keating, its controller and formerly head of arts at the BBC. Its first week’s schedule indeed verged on a parody of non-commercial TV, with township opera from South Africa and a performance by a Senegalese singer in a London church hall. A top-rated show will typically draw some 50,000 viewers – almost negligible in television terms. Yet that narrow appeal makes BBC4 a model of what a publicly financed broadcaster ought to do. It has roamed into territory where its ratings-driven sister channel, BBC1, seldom dares to tread. Despite a tiny 35m budget, it boasts an intelligent prime-time talk show and a world news programme so internationally minded that its London provenance is barely visible. BBC4 may wear its gravity a little too heavily at times, but it supplies a variety and thoughtfulness unavailable on prime time BBC1. The more the other BBC channels chase the ratings, and the more that BBC4 refuses to be dictated to by them, the more the channel looks like a model for what BBC television could look like. 

It is clear from the passage that, since BBC4 is publicly financed, it ----.

In the passage, BBC1 is described as being “ratings-driven”; this means ----.

Before he took over the running of BBC4, Roly Keating ----.Deselect Answer

According to the passage, the programmes BBC4 has to offer ----.Deselect Answer

It is clear that the writer of the passage ----.Deselect Answer

It is no simple matter to describe, evaluate or interpret the French Renaissance. We no longer believe that it should be read as the advent of modernity in all fields. The final assessment is far more contradictory than previously believed for all the issues in which we thought we could

recognize the promise of the future, political autonomy, a spirit of observation, the rediscovery of Classical art or the development of scientific research. A reasonable conclusion might be, then, that the actual novelty of the period lay in the discovery of conflicts and diversity, in terms of contrasts that frighten or amuse, or in internal lacerations which manifested themselves most cruelly in the religious crisis. However, this interpretation does not take sufficient account of the extraordinary vitality that infused the whole of French society throughout the 16th century,

with unforgettable reverberations in literature and art. Hence historians’ great discomfort, conscious of the impossibility of finding an efficient definition for this vast development. The problem presents too many facets: culture, of which France, as usual, considers itself a harbinger, is both too ambitious (“good manners”, “courtesy”) and closely bound to the medieval past. The complexities of the symbolic thought that is characteristic of the period have been neglected for too long. Obviously, the events in France cannot be isolated from the European context. However, in art history there has been frequent misuse of sources and influences. In fact, to put it bluntly, the whole picture needs reviewing and completing. For over a century there have been two alternating lines of interpretation: the dynamism of the Italian models, discovered through the conquests, and on the other hand, the effect of the Flemish and Rheinian models, that spread thanks to the exceptional success of the graphic arts. These relationships, which in any case remain fundamental, have been proficuously studied; however, some sort of more or less passive submission to the foreign models is always suggested. The consequence of this has been the neglect of a factor that seems increasingly essential. The French were used to being the initiators of all fashion in the western world. During the 15th century, the difficulties posed by wars abroad and at home had seriously undermined this supremacy. They did not, however, take away the idea of a national superiority from the minds of the powerful and the elite, and this was to manifest itself again. Interaction with Italy and with the northern European workshops was always complicated by this instinctive reaction. One often has the impression, for instance, that sculptors’ and glaziers’ recourse to models engraved by Dürer or Marcantonio confirmed the conviction that those imprints were nothing but a foreign contribution to the progress of French art. After all, enamellers and caisson makers created new works of art from the original compositions. French art has always adopted “selective assimilation” (to use the phrase coined by Erwin Panofsky), an attitude that requires a solid sense of autonomy and that justifies the ease, or perhaps the ingratitude with which it treated its sources. The path to follow is never completely clear. Some of the ideas regarding the salient features of the French Renaissance have developed around these manifestations, which today seem surprising. Foremost there is the concept of a new sort of teaching, far more complex and chaotic than is usually believed, which aimed at an ambitious cultural revolution initially in line with the ideas of Erasmus.

The decisions that made King Francis the First famous required an analysis of society. In the critical view of contemporary Italians, traditional French aristocracy was as brilliant as it was ignorant if compared with the new class of officials that included the “noblesse de robe”. It is

interesting to confirm whether and how this sharp criticism of nobility had consequences on taste, architecture and art collections. Even though this issue barely appears in the studies that follow, it has allowed us to identify a fundamental topic that has generally been neglected by historians

of culture and literature. The topic is the chivalrous ideal, and it would be naïve to think that it had disappeared with the arrival of the new era.

Historians usually interpret French Renaissance as:(see text 1)

The idea of a French primacy in the arts: (see text 1)Deselect Answer

French Renaissance: (see text 1)Deselect Answer

Certain medieval ideas, like “good manners” and “courtesy”:
(see text 1)Deselect Answer

Which of these aspects was less relevant on the French Renaissance culture?(see text 1)

Which one of the following actors did not play James Bond?Deselect Answer

Which fruit is associated with Isaac Newton?Deselect Answer

Which one of the following scientists is known for his contributions to the science of evolution?Deselect Answer

In which city did Diana, Princess of Wales, died?Deselect Answer

Who was the revolutionary behind the Unification of Italy?Deselect Answer

Who was the first sailor who discovered India through the seaway?Deselect Answer

The United Nations’ General Assembly:Deselect Answer

What does the term “palimpsest” denote?Deselect Answer

Who supports the Theory of Evolution in his famous book “The Origin of Species”?Deselect Answer

Cast iron is:Deselect Answer

Fact 1: Some pens don’t write.

Fact 2: All blue pens write.

Fact 3: Some writing utensils are pens.

If the first three statements are facts, which of the following statements must also be a fact?

There are 10 students in a class and they like visiting each other. A visit means that one student visits the home of another student. We know that each student in the class has visited the same number of students. No two students in the class have both visited each other.

What is the maximum number of students that a student in this class could have visited?

1. Suppose you know that
If John is on the volleyball team, then he is good at volleyball.
Then would this be true?
If John is good at volleyball, then he is on the volleyball team

     2. Suppose you know that
If people have fins, then they live in water.
People have fins.
People can swim only if they live in water.
Then would this be true?
People can swim. 

What are the answers of the above statements respectivelyDeselect Answer

I am planning a one-way flight and I can fly with one of the following five companies.

* None of the three maximum dimensions can be exceeded.

I have two bags, one of size 52 × 40 × 22 cm and one of size 40 × 30 × 20 cm. I am happy to take either bag with me. I need to have priority boarding.

Which company should I choose if I wish to spend as little as possible?

Some bags are suits.

All suits are trousers.

Some trousers are shirts.

All shirts are coats.

From given statements above which of the followings must be true?

Volunteers for a coastal conservation charity have cleaned beaches since the late 1990s and have recorded the number of items collected. Three items found on the beach by volunteers which have seen an increase are shown below in the table.

Which one of the following graphs could show the percentage increase in items collected
between 1997 and 2017?

Four usual dice are thrown on the ground. The total of numbers on the top faces of these four dice is 13 as the top faces showed 4, 3, 1 and 5 respectively. What is the total of the faces touching the ground?

Which statement about Pablo Picasso’s painting Guernica reflects the truth?Deselect Answer

The Sleep of Reason Produces Monsters, below, is a painting by:
Deselect Answer

The term “grotesque decoration” comes from:Deselect Answer

Which among the following works in Rome is not made by Donato Bramante?Deselect Answer

Put in chronological order the constructions shown in the photos:
Deselect Answer

The sculpture below is by:
Deselect Answer

Put in chronological order the following events:

• a) Cape Horn was reached for the first time by a European crew
• b) Vasco da Gama reaches the Indies sailing past the Cape of Good Hope
• c) Europeans ships for the first time cincumnavigate the earth
• d) James Cook discovers Australia
• e) The Danish explorer Vitus Bering sails through the strait that will bear his name

The portal depicted in the image is represented in:

The image depicts schematically:
Deselect Answer

Given the front and right views of a solid, what is its correct three-dimensional representation?
Deselect Answer

What is the development of the object in the picture?
Deselect Answer

Among the military assonometry plans view in figure, which one is coherent with the orthographic projections?
Deselect Answer

Among the sections obtained with the cutting planes indicated in plan view, identify the one represented in the image. (In the section the projections are taken along the direction and the orientation indicated by the arrows)
Deselect Answer

A ball is projected with an initial velocity of magnitude Vο=40 m/s toward a vertical wall as shown in the figure above. How long does the ball take to reach the wall?
Cos(60)=0.5Deselect Answer

Whole numbers
Real Numbers
Rational number
Irrational numbers
Integers
How many numerical sets above does √3 belongs to ?Deselect Answer

Deselect Answer

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Deselect Answer

What is a+b-c=?

The flow of charge per unit time defines

Two parallel plates 6. 0 x 10^-2 m long are separated by 2.5 x10^-2 m and have a potential difference of 850 V. Point P is located midway between the two plates as shown below.

What is the magnitude of the electric field at point P?

Which is the most accurate definition of the heat

A decrease in R₃ leads to a decrease