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प्रश्न
Read the given passage carefully and answer the questions given after the passage:
1. Often, we passionately pursue matters that in the future appear to be contradictory to our real intention or nature; and triumph is followed by remorse or regret. There are numerous examples of such a trend in the annals of history and contemporary life.
2. Alfred Nobel was the son of Immanuel Nobel, an inventor who experimented extensively with explosives. Alfred too carried out research and experiments with a large range of chemicals; he found new methods to blast rocks for the construction of roads and bridges; he was engaged in the development of technology and different weapons; his life revolved around rockets and cannons and gun powder. The ingenuity of the scientist brought him enough wealth to buy the Bofors armament plant in Sweden.
3. Paradoxically, Nobel's life was a busy one yet he was lonely; and as he grew older, he began suffering from guilt of having invented the dynamite that was being used for destructive purposes. He set aside a huge part of his wealth to institute Nobel Prizes. Besides honouring men and women for their extraordinary achievements in physics, chemistry, medicine and literature, he wished to honour people who worked for the promotion of peace.
4. It's strange that the very man whose name was closely connected with explosives and inventions that helped in waging wars willed a large part of his earnings for the people who work for the promotion of peace and the benefit of mankind. The Nobel Peace Prize is intended for a person who has accomplished the best work for fraternity among nations, for abolition or reduction of war and for promotion of peace.
5. Another example that comes to one's mind is that of Albert Einstein. In 1939, fearing that the Nazis would win the race to build the world's first atomic bomb, Einstein urged President Franklin D Roosevelt to launch an American programme on nuclear research. The matter was considered and a project called the Manhattan Project was initiated. The project involved intense nuclear research the construction of the world's first atomic bomb. All this while, Einstein had the impression that the bomb would be used to protect the world from the Nazis. But in 1945, when Hiroshima was bombed to end World War II, Einstein was deeply grieved and he regretted his endorsement of the need for nuclear research.
6. He also stated that had he known that the Germans would be unsuccessful in making the atomic bomb, he would have probably never recommended making one. In 1947, Einstein began working for the cause of disarmament. But, Einstein's name still continues to be linked with the bomb.
Man's fluctuating thoughts, changing opinions, varying opportunities keep the mind in a state of flux. Hence, the paradox of life: it's certain that nothing is certain in life.
In paragraph 4, the word 'accomplished' means ___________.
विकल्प
made an effort to do something.
won awards.
worked hard.
completed successfully.
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उत्तर
'accomplished' means completed successfully.
APPEARS IN
संबंधित प्रश्न
In view of the passage given below. Choose the best option for question.
When talks come to how India has done for itself in 50 years of Independence, the world has nothing but praise for our success in remaining a democracy. On other fronts, the applause is less loud. In absolute terms, India has not done too badly, of course, life expectancy has increased. So has literacy. Industry, which was barely a fledging, has grown tremendously. And as far as agriculture is concerned, India has been transformed from a country perpetually on the edge of starvation into a success story held up for others to emulate. But these are competitive times when change is rapid, and to walk slowly when the rest of the world is running is almost as bad as standing still on walking backwards.
Compared with large chunks of what was then the developing 'world South Korea, Singapore, Malaysia, Thailand, Indonesia. China and what was till lately a separate Hong Kong-India has fared abysmally. It began with a far better infrastructure than most of these countries had. It suffered hardly or not at all during the Second World War. It had advantages like an English speaking elite, quality scientific manpower (including a Nobel laureate and others who could be ranked among the world's best) and excellent business acumen. Yet, today, when countries are ranked according to their global competitiveness. it is tiny Singapore that figures at the top. Hong Kong is an export powerhouse. So is Taiwan. If a symbol were needed of how far we have fallen back. note that while Korean Cielos are sold in India, no one in South Korea is rushing to buy an Indian car. The reasons list themselves. Topmost is economic isolationism.
The government discouraged imports and encouraged self-sufficiency. Whatever the aim was, the result was the creation of a totally inefficient industry that failed to keep pace with global trends and, therefore. became absolutely uncompetitive. only when the trade gates were opened a little did this become apparent. The years since then have been spent merely trying to catch up. That the government actually sheltered its industrialists from foreign competition is a little strange. For in all other respects, it operated under the conviction that businessmen were little more than crookS how were to be prevented from entering the most important areas of the economy, how we're to be hamstrung in as many ways as possible, how we're to be tolerated in the same way as an inexcusable wan. The high expropriation rates of taxation. the licensing Jaws, the reservation of whole swathes of the industry for the public sector, and the granting of monopolies to the public sector firms were the principal manifestations of this attitude. The government forgot that before wealth could be distributed, it had to be created.
The government forgot that it itself could not create, but only squander wealth. some of the manifestations of the old attitude have changed. Tax rates have fallen. Licensing has been a but abolished. And the gates of global trade have been opened wide. But most of these Changes were first by circumstances partly by the foreign exchange bankruptcy of 1991 ana the recognition that the government could no longer muster the funds of support the public sector, leave alone expand it. Whether the attitude of the government itself. or that of more than handful of ministers has changed, is open to question. In many other ways, however, the government has not changed one with. Business still has to negotiate a welter of negotiations. Transparency is still a long way off. And there is no exit policy. In defending the existing policy, politicians betray an inability to see beyond their noses. A no-exit policy for labour is equivalent to a no-entry policy for new business If one industry is not allowed to retrench labour, other industries will think a hundre<l times before employing new Jabour. Jn other ways too, the government hurts industries.
Public sector monopolies like the department of telecommunications and Yidesh sanchar Nigam Ltd. make it possible for Indian business to operate only at a cost several times that of their counterparts abroad The infrastructure is in a shambles partly because it is unable to formulate a sufficiently remunerative policy for private business, and partly because it does not have the stomach to change market rates for services. After a burst of activity in the early nineties, the government iS dragging itS feet. At the rate, it is going. it will be another fifty years before the government realizes that a pro-buSiness policy is the best pro-people policy By then, of course, the wor1a woul<l nave move<l even farther ahead.
The writer's attitude towards the Government is.
Read the following passage carefully and then answer the questions that follow.
Rural manual workers comprise the single largest occupational category in India. ln 1991, according to the National Commission on Rural Labour, 60 percent of the workers in rural India were manual workers and they numbered more than 160 million. The changes in the working and living conditions of rural labourers are thus central to changes in the welfare of the rural population and of the country as a whole. The structure and working of rural labour markets in India is complex; as is well known, there is great diversity across regions and across segments of the labour market. This article brings together an interesting body of research that seeks to understand and explain the types of changes that have accrued in the structure of rural labour markets over the last few decades.
The 1980s were characterised by an explosion of the rural labour force, slow employment growth in agriculture and a rise in the share of non-agricultural employment. The decade was also characterized by a growing casualisation of the workforce (for a relative rise in casual employment as opposed to regular employment).
At the same time, it was a period when agricultural wages increased in real terms and when income poverty declined. There was what may be called "the tension between the estimated decline in poverty on the one hand, and the slow growth of agricultural employment and increased casualisation of the labour force on the other. Some of the trends in the development of rural labour over for this period are a source of concern. These include, as Radhakrishnan and Sharma note, the continuous widening of the gap between labour productivity in agricultural and non-agricultural occupations, the burgeoning mass of rural casual workers who have no social security safety net, and the increasing number of women employed at very low wages in agriculture. Another matter for concern, one that emerges from the desegregation of data on rural unemployment by age groups, is that the incidence of unemployment is higher for persons in the age group of 15-29 than for any other age group in others words, unemployment is typically high among new entrants to the workforce.
ln, her review of trends in wages, employment and poverty, Sheila Bhalla shows that the real wages of agricultural labourers stagnated from the time of independence to the mid1970s and then began to rise in all parts of the country. This was also the period in which the incidence of rural poverty began to decline. The rise in wages was not limited to the more prosperous agricultural zones, and Bhalla argues that the movement in real wages was co-related with the increase in the share of non-agricultural employment in total employment. As wages in non-agricultural work are typically higher than wages in agriculture, the expansion of non-farm work could also explain some of the declines in rural poverty. In the 1990s, the improvement in real wages and the decline in poverty were reversed while agricultural employment expanded. Economic development all over the world has been associated with a rise in the share of employment in the secondary and tertiary sectors of the economy and a fail in the share of the agricultural sector. In India, changes in the composition of the rural workforce in the 1990's points to a "structural retrogression".
why is the increasing gap between labour productivity in agricultural and non - agricurtural occupations a cause of concern according to Radhakrishnan and Sharma?
Read the following passage carefully and then answer the questions that follow.
Rural manual workers comprise the single largest occupational category in India. ln 1991, according to the National Commission on Rural Labour, 60 percent of the workers in rural India were manual workers and they numbered more than 160 million. The changes in the working and living conditions of rural labourers are thus central to changes in the welfare of the rural population and of the country as a whole. The structure and working of rural labour markets in India is complex; as is well known, there is great diversity across regions and across segments of the labour market. This article brings together an interesting body of research that seeks to understand and explain the types of changes that have accrued in the structure of rural labour markets over the last few decades.
The 1980s were characterised by an explosion of the rural labour force, slow employment growth in agriculture and a rise in the share of non-agricultural employment. The decade was also characterized by a growing casualisation of the workforce (for a relative rise in casual employment as opposed to regular employment).
At the same time, it was a period when agricultural wages increased in real terms and when income poverty declined. There was what may be called "the tension between the estimated decline in poverty on the one hand, and the slow growth of agricultural employment and increased casualisation of the labour force on the other. Some of the trends in the development of rural labour over for this period are a source of concern. These include, as Radhakrishnan and Sharma note, the continuous widening of the gap between labour productivity in agricultural and non-agricultural occupations, the burgeoning mass of rural casual workers who have no social security safety net, and the increasing number of women employed at very low wages in agriculture. Another matter for concern, one that emerges from the desegregation of data on rural unemployment by age groups, is that the incidence of unemployment is higher for persons in the age group of 15-29 than for any other age group in others words, unemployment is typically high among new entrants to the workforce.
ln, her review of trends in wages, employment and poverty, Sheila Bhalla shows that the real wages of agricultural labourers stagnated from the time of independence to the mid1970s and then began to rise in all parts of the country. This was also the period in which the incidence of rural poverty began to decline. The rise in wages was not limited to the more prosperous agricultural zones, and Bhalla argues that the movement in real wages was co-related with the increase in the share of non-agricultural employment in total employment. As wages in non-agricultural work are typically higher than wages in agriculture, the expansion of non-farm work could also explain some of the declines in rural poverty. In the 1990s, the improvement in real wages and the decline in poverty were reversed while agricultural employment expanded. Economic development all over the world has been associated with a rise in the share of employment in the secondary and tertiary sectors of the economy and a fail in the share of the agricultural sector. In India, changes in the composition of the rural workforce in the 1990's points to a "structural retrogression".
The author does not say which of the following statements in the passage?
Read the passage and answer the question following it
Artists should treat their art as art and take the process of making it as seriously as anyone takes their chosen profession. Great skill and insight are required in order to create truly original art. Transforming an idea or concept into a technically thought-provoking or emotion-arousing work of art in any medium is a talent that few people possess. And there you have the "purist's vision."
Now if an artist wants to create art and never sell it, then he or she never has to worry about how to price it. That artist can afford to be a "purist." as you put it, produce art free of any encumbrances or concerns about what the art world or anyone else might think, and avoid "prostituting" or "debasing" that art by placing dollar values on it." But if you're an artist who wants to sell your art or who has to sell it in order to survive as an artist, you must use whatever tools are available to figure out how much it's worth and how best to sell it.
Let's say you're just starting out as an artist, you have little or no experience showing or selling your work, and in a period of two minutes, you produce a pencil drawing on a piece of paper. You view this drawing as highly significant in your evolution as an artist and rank its creation as the single most important creative moment of your life.
Consequently, you put a price of $20, 000 on it because only for that amount of money will you agree to part with such an important work of art. This is a "purist's vision" approach to pricing as opposed to a "realities of the marketplace" approach. From a business standpoint, you'll have an extremely difficult time selling your drawing, as you won't be able to justify the $20,000 price to real art buyers in the real art world. You have no track record of selling artin that price range, and you have few or no shows, critical reviews, or supporting data from outside sources indicating that your art has that kind of value or collectibility in the marketplace. The overwhelming majority of art buyers who have $20,000to spend look for works of art by established artists with documented track records of showing and selling art in that price range.
Your drawing is still highly significant to you, but what someone is willing to pay for it on the open market is a matter for art buyers to decide. You can price it however you wish, but you can never force anyone to buy it. That's the way the art business works. So if you want to sell it, you have to figure out what dollar amount someone is likely to pay for it on the open market and then price it at that amount. But the tale of your drawing does not end here.
The art world may, one agree with you that the product of your two-minute moment precipitates a major transformational turning point in your career, and is well worth a $20,000 asking price, but you're going to have to prove first. Aspects of that drawing will have to be reflected in your art from the moment you created it onwards, the art world will have to recognize your art both critically and from the marketing standpoints, and you will have to successfully produce, show, and sell for many years. Then one day, when your first retrospective exhibition opens at the Four-Star Museum of Art, that drawing will hang framed and captioned as the first inspiration for all subsequent work. The art world will then understand and respect its significance, and a serious collector may well be willing to pay an extraordinary price to own this historically important document of your career.
Returning for a moment to the concept of a purist artist who creates art and never sells it, sooner or later (hopefully later), that purist will pass on and leave behind a body of work. Unless that artist leaves specific instructions in his or her will for that body of work to be destroyed, it will become subject to those market forces that the artist strived for a lifetime to avoid. At the very least, it'll have to be appraised for tax, donation, or inheritance purposes. In most cases, it eventually comes onto the market either through a probable sale, an auction, or as represented by a dealer, gallery, or family member. The moral of the story is that one way or another, someone somewhere at some point in time will use tried and true methods to realistically price and either sell, donate, trade or otherwise transact any work of art that comes onto the market in any way, shape, or form. I hope that that person will be you, the artist and that you'll price your art according to what the market will bear, sell plenty of it, and have a long and rewarding career. Answer the following question indicating your option for question:
For an artist to sell his piece of art at a higher price range, he/ she has to
Read the passage and answer the question following it
Artists should treat their art as art and take the process of making it as seriously as anyone takes their chosen profession. Great skill and insight are required in order to create truly original art. Transforming an idea or concept into a technically thought-provoking or emotion-arousing work of art in any medium is a talent that few people possess. And there you have the "purist's vision."
Now if an artist wants to create art and never sell it, then he or she never has to worry about how to price it. That artist can afford to be a "purist." as you put it, produce art free of any encumbrances or concerns about what the art world or anyone else might think, and avoid "prostituting" or "debasing" that art by placing dollar values on it." But if you're an artist who wants to sell your art or who has to sell it in order to survive as an artist, you must use whatever tools are available to figure out how much it's worth and how best to sell it.
Let's say you're just starting out as an artist, you have little or no experience showing or selling your work, and in a period of two minutes, you produce a pencil drawing on a piece of paper. You view this drawing as highly significant in your evolution as an artist and rank its creation as the single most important creative moment of your life.
Consequently, you put a price of $20, 000 on it because only for that amount of money will you agree to part with such an important work of art. This is a "purist's vision" approach to pricing as opposed to a "realities of the marketplace" approach. From a business standpoint, you'll have an extremely difficult time selling your drawing, as you won't be able to justify the $20,000 price to real art buyers in the real art world. You have no track record of selling artin that price range, and you have few or no shows, critical reviews, or supporting data from outside sources indicating that your art has that kind of value or collectibility in the marketplace. The overwhelming majority of art buyers who have $20,000to spend look for works of art by established artists with documented track records of showing and selling art in that price range.
Your drawing is still highly significant to you, but what someone is willing to pay for it on the open market is a matter for art buyers to decide. You can price it however you wish, but you can never force anyone to buy it. That's the way the art business works. So if you want to sell it, you have to figure out what dollar amount someone is likely to pay for it on the open market and then price it at that amount. But the tale of your drawing does not end here.
The art world may, one agree with you that the product of your two-minute moment precipitates a major transformational turning point in your career, and is well worth a $20,000 asking price, but you're going to have to prove first. Aspects of that drawing will have to be reflected in your art from the moment you created it onwards, the art world will have to recognize your art both critically and from the marketing standpoints, and you will have to successfully produce, show, and sell for many years. Then one day, when your first retrospective exhibition opens at the Four-Star Museum of Art, that drawing will hang framed and captioned as the first inspiration for all subsequent work. The art world will then understand and respect its significance, and a serious collector may well be willing to pay an extraordinary price to own this historically important document of your career.
Returning for a moment to the concept of a purist artist who creates art and never sells it, sooner or later (hopefully later), that purist will pass on and leave behind a body of work. Unless that artist leaves specific instructions in his or her will for that body of work to be destroyed, it will become subject to those market forces that the artist strived for a lifetime to avoid. At the very least, it'll have to be appraised for tax, donation, or inheritance purposes. In most cases, it eventually comes onto the market either through a probable sale, an auction, or as represented by a dealer, gallery, or family member. The moral of the story is that one way or another, someone somewhere at some point in time will use tried and true methods to realistically price and either sell, donate, trade or otherwise transact any work of art that comes onto the market in any way, shape, or form. I hope that that person will be you, the artist and that you'll price your art according to what the market will bear, sell plenty of it, and have a long and rewarding career. Answer the following question indicating your option for question:
From the point of view of the purist, the irony as far as pricing art is concerned is that:
- a piece from his collection is eventually sold at the same price that he had estimated it to be its real worth years earlier
- his art is subjected to the same market forces against which he strove his entire life
- "realities of the marketplace" is a concept that negates the very attributes that we associate with art-whim, fancy and imagination.
Read the passage and answer the question following it.
Roger Rosenblatt's book 'Black Fiction', manages to alter the approach taken in many previous studies by making an attempt to apply literary rather than socio-political criteria to subject Rosenblatt points out that criticism of Black writing has very often served as a pretext for an expounding on Black history. The recent work of Addison Gayle's passes judgment on the value of Black fiction by clear political standards, rating each work according to the ideas of Black identity, which it propounds. Though fiction results from political circumstances, its author reacts not in ideological ways to those circumstances and talking about novels and stories primarily as instruments of ideology circumvents much of the enterprise. Affinities and connections are revealed in the works of Black fiction in Rosenblatt's literary analysis; these affinities and connections have been overlooked and ignored by solely political studies.
The writing of acceptable criticism of Black fiction, however, presumes to give satisfactory answers to quite a few questions. The most important of all, is there a sufficient reason, apart from the racial identity of the authors, for the grouping together of Black authors? Secondly, what is the distinction of Black fiction from other modern fiction with which it is largely contemporaneous? In the work, Rosenblatt demonstrates that Black fiction is a distinct body of writing, which has an identifiable, coherent literary tradition. He highlights recurring concerns and designs, which are independent of chronology in Black fiction written over the past eighty years. These concerns and designs are thematic, and they come to form the central fact of the predominant white culture, where the Black characters in the novel are situated irrespective of whether they attempt to conform to that culture or they rebel against it.
Rosenblatt's work does leave certain aesthetic questions open. His thematic analysis allows considerable objectivity; he even clearly states that he does not intend to judge the merit of the various works yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For example, certain novels have an appearance of structural diffusion. Is this a defeat, or are the authors working out of, or attempting to forge, a different kind of aesthetic? Apart from this, the style of certain Black novels, like Jean Toomer's Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expressions?
Irrespective of such omissions, what Rosenblatt talks about in his work makes for an astute and worthwhile study. His book very effectively surveys a variety of novels, highlighting certain fascinating and little-known works like James Weldon Johnson's Autobiography of an Ex-Coloured Man. Black Fiction is tightly constructed, and levelheaded and penetrating criticism is exemplified in its forthright and lucid style.
The author is of the opinion that Black Fiction would have been improved had Rosenblatt
Read the passage and answer the question following it.
Roger Rosenblatt's book 'Black Fiction', manages to alter the approach taken in many previous studies by making an attempt to apply literary rather than socio-political criteria to subject Rosenblatt points out that criticism of Black writing has very often served as a pretext for an expounding on Black history. The recent work of Addison Gayle passes judgment on the value of Black fiction by clear political standards, rating each work according to the ideas of Black identity, which it propounds. Though fiction results from political circumstances, its author reacts not in ideological ways to those circumstances and talking about novels and stories primarily as instruments of ideology circumvents much of the enterprise. Affinities and connections are revealed in the works of Black fiction in Rosenblatt's literary analysis; these affinities and connections have been overlooked and ignored by solely political studies.
The writing of acceptable criticism of Black fiction, however, presumes to give satisfactory answers to quite a few questions. The most important of all, is there a sufficient reason, apart from the racial identity of the authors, for the grouping together of Black authors? Secondly, what is the distinction of Black fiction from other modern fiction with which it is largely contemporaneous? In the work, Rosenblatt demonstrates that Black fiction is a distinct body of writing, which has an identifiable, coherent literary tradition. He highlights recurring concerns and designs, which are independent of chronology in Black fiction written over the past eighty years. These concerns and designs are thematic, and they come to form the central fact of the predominant white culture, where the Black characters in the novel are situated irrespective of whether they attempt to conform to that culture or they rebel against it.
Rosenblatt's work does leave certain aesthetic questions open. His thematic analysis allows considerable objectivity; he even clearly states that he does not intend to judge the merit of the various works yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For example, certain novels have an appearance of structural diffusion. Is this a defeat, or are the authors working out of, or attempting to forge, a different kind of aesthetic? Apart from this, the style of certain Black novels, like Jean Toomer's Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expressions?
Irrespective of such omissions, what Rosenblatt talks about in his work makes for an astute and worthwhile study. His book very effectively surveys a variety of novels, highlighting certain fascinating and little-known works like James Weldon Johnson's Autobiography of an Ex-Coloured Man. Black Fiction is tightly constructed, and levelheaded and penetrating criticism is exemplified in its forthright and lucid style.
From the following options, which does the author not make use of while discussing Black Fiction?
The questions section is based on the passage. The question is to be answered on the basis of what is stated or implied in the passage.
In principle, a cohesive group-one whose members generally agree with one another and support one another’s judgments do a much better job at decision making than it could if it were non-cohesive. When cohesiveness is low or lacking entirely, compliance out of fear of recrimination is likely to be strongest. To overcome this fear, participants in the group’s deliberations need to be confident that they are members in good standing and that the others will continue to value their role in the group, whether or not they agree about a particular issue under discussion. As members of a group feel more accepted by the others, they acquire greater freedom to say what they really think, becoming less likely to use deceitful arguments or to play it safe by dancing around the issues with vapid or conventional comments. Typically, then, the more cohesive a group becomes, the less its members will deliberately censor what they say out of fear of being punished socially for antagonizing their fellow members. But group cohesiveness can have pitfalls as well: while the members of a highly cohesive group can feel much freer to deviate from the majority, their desire for genuine concurrence on every important issue often inclines them not to use this freedom. In a highly cohesive group of decision-makers, the danger is not that individuals will conceal objections they harbor regarding a proposal favored by the majority, but that they will think the proposal is a good one without attempting to carry out critical scrutiny that could reveal grounds for strong objections. Members may then decide that any misgivings they feel are not worth pursuing that the benefit of any doubt should be given to the group consensus. In this way, they may fall victim to a syndrome known as ‘groupthink’, which one psychologist concerned with collective decision making has defined as ‘a deterioration of mental efficiency, reality testing, and moral judgment that results from in-group pressures’. Based on analyses of major fiascos of international diplomacy and military decision making, researchers have identified groupthink behaviour as a recurring pattern that involves several factors: overestimation of the group’s power and morality, manifested, for example, is an illusion of invulnerability, which creates excessive optimism;
closed-mindedness to warnings of problems and to alternative viewpoints; and unwarranted pressures toward uniformity, including self-censorship with respect to doubts about the group’s reasoning and a concomitant shared illusion of unanimity concerning group decisions. The cohesiveness of the decision-making group is an essential antecedent condition for this syndrome but not a sufficient one, so it is important to work toward identifying the additional factors that determine whether group cohesiveness will deteriorate into groupthink or allow for effective decision making.
A group of closely associated colleagues has made a disastrous diplomatic decision after a series of meetings marked by disagreement over conflicting alternatives. It can be inferred from the passage that the author would be most likely to say that this scenario.
Read the given passages and answer the question with the help of the information provided in the passage.
A large number of branches of banks have been set-up in the villages. The main purpose of setting up these banks is to develop the habit of saving among the villagers and also to give loans to farmers for boosting production in one way or the other. So, banks had been concentrated in the bigger cities and Indian villagers had no faith in them.
The new banks also intend to re-channel bank credit -from the big industries to the small sectors. With the intention of promoting rural banking, regional rural banks were established. These aligned the local field with rural problems. These banks are not to replace the other credit-giving bodies but to supplement them.
The Steering Committee of the Regional Rural Banks considered some structural changes. First of all, they gave thought to the staffing spectrum, then to effective coordination among banks rural cooperatives and commercial and the possibility of bringing credit within the access to weaker sections. They wanted to recruit staff for the rural banks at lower salaries. But, this type of discrimination would have been unfruitful. So, it was given up.
A problem with regard to the rural banks is the creditworthiness of the poor. The Indian farmers are so poor that they cannot pay back their loans. The rural Indian surveys make it quite clear that practically rural farmers have no creditworthiness. Their socio-economic mobility is almost zero. That is why banks fear that their credit will never be paid back.
Another difficulty for the rural banks is that loans cannot be processed so easily. Processing loans also entails heavy expenditure. This was also going to affect their financial position. Still, the establishment of the rural banks was decided because the social advantages were more important than the commercial consideration.
Rural banks definitely encourage savings. No doubt the villagers do not have to pay income tax and they get many other concessions, yet their saving is not significant. Despite all the hurdles, the rural banking system will boost up the economy of villages and thereby the economy of the country.
Which of the following is possibly the most appropriate title for the passage?
Read the given passages and answer the question with the help of the information provided in the passage.
Under very early common law, all felonies were punishable by death. The perpetrators of the felony were hanged whether or not a homicide had been committed during the felony. Later, however, some felonies were declared to be non-capital offences. The common law courts, in need of a deterrent to the use of deadly force in the course of these non-capital felonies, developed the "felony-murder" rule. The first formal statement of the rule stated: '1\ny killing by one in the commission of a felony is guilty of murder." The killing was a murder whether intentional or unintentional, accidental or mistaken. The usual requirement of malice was eliminated and the only criminal intent necessary was the intent to commit the particular underlying felony. all participants in the felony were guilty of murder actual killer and non-killer confederates. Proponents of the rule argued that it was justified because the felony demon treated a lack of concern for human life by the commission of a violent and dangerous felony and that the crin1e was murder either because of a conclusive presumption of malice or simply by force of statutory definition. Opponents of the rule describe it as a highly artificial concept and "an enigma wrapped in a riddle." They are quick to point out that the rule has been abandoned in England where it originated, abolished in India, severely restricted in Canada and a number of other commonwealth countries are unknown in continental Europe and abandoned in Michigan. In reality, the real strength of the opponents' criticism stems from the bizarre and of times unfair results achieved when the felony-murder rule is applied mechanically. Defendants have been convicted under the rule where the killing was purely accidental, or the killing took place after the Felony during the later flight from the scene, or a third party killed another (police officer killed a citizen or vice versa, or a victim died of a heart attack 15-20 minutes after the robbery was over, or the person killed was an accomplice in the felony). Attacks on the rule have come from all directions with basically the same demand - re-evaluate and abandon the archaic legal fiction; restrict and F it vicarious criminal liability; prosecute killers for murder, not non-killers; increase punishment for the underlying felony as a real deterrent and initiate legislative modifications. With the unstable history of the felony - murder rule, including its abandonment by many jurisdictions in this country, the felony-murder rule is dying a slow but certain death.
The author believes that the felony-murder the rule is
