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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 the fifth paragraph, the word 'endorsement' means
विकल्प
making a promise to do something.
expressing one's regret
expressing one's opposition
expressing one's approval or support
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उत्तर
'endorsement' means expressing one's approval or support.
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संबंधित प्रश्न
Direction: The passage given below is followed by a set of question. Choose the most appropriate answer to each question.
Ahmedabad’s Sunday market that sells junk is this 35-year-old artist’s favourite hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back home, he painstakingly dismantles his treasure of scrap and segregates it into big pieces (the video player's outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the works whirr. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can distract. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty autorickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself.
Which of the following would be a suitable title for the given passage?
Direction: The passage given below is followed by a set of question. Choose the most appropriate answer to each question.
Ahmedabad’s Sunday market that sells junk is this 35-year-old artist’s favourite hunting ground. That’s where he picks saw-blades, printer toners, monitors, busted VCDs and hard disks, video players and other castaway gems. Back home, he painstakingly dismantles his treasure of scrap and segregates it into big pieces (the video player's outer case), mid-sized (the insides of a hard disk) and small pieces (innards of a mobile). This is art you can get up, close and personal with. The works grab the viewer’s attention at several levels. Aesthetically, the creations themselves - such as Frivolity which uses feathers and terracotta diyas painted in dark fossil green that give it a strange life - appeal in a live-and-kicking sort of way. Look a little closer and hey, you spot a zipper. Then it’s a journey all your own. Your eyes identify hairpins, spray spouts that hairdressers use, paper clips, thread, computer ribbons and the insides of everything from watches to the sliding metal bits that support drawers. You can almost hear the works whirr. So Hashissh, constructed from paper clips, backpack clips, a shining CD and twirled thread, may invite you to study its water-blue, pinks and green or Nelumbeshwar may beckon, bathed in acrylic pink and grey-black. But once you’re standing in front of a piece, you spot the zips and the hairpins. Then you simply visually dismantle Har’s work and rebuild it all over again. Zoom in, zoom out. It’s great fun. Visualising the colour of his work demands a lot of attention, says Har. “During creation, the material is all differently coloured. So there’s a red switch next to a white panel next to a black clip. It can distract. I don’t sketch, so I have to keep a sharp focus on the final look I am working towards.” As his work evolved, Har discovered laser-cutting on a visit to a factory where he had gone to sand-blast one of his pieces. Hooked by the zingy shapes laser-cutting offered, Har promptly used it to speed up a scooter and lend an unbearable lightness of being to a flighty autorickshaw, his latest works. The NID-trained animation designer’s scrap quest was first inspired by a spider in his bathroom in Chennai when he was a teenager. He used a table-tennis ball (for the head), a bigger plastic ball (for the body) and twisted clothes hangers to form the legs. His next idea was to create a crab, and his mother obligingly brought one home from the market so that he could study and copy it. Winning the first Art Positive fellowship offered by Bajaj Capital Arthouse last year gave Har the confidence to believe that he could make it as an artist or ‘aesthete’ as he likes to call himself.
According to the author, what makes Har’s art fun?
Paragraph: At this stage of civilisation, when many nations are brought in to close and vital contact for good and evil, it is essential, as never before, that their gross ignorance of one another should be diminished, that they should begin to understand a little of one another's historical experience and resulting mentality. It is the fault of the English to expect the people of other countries to react as they do, to political and international situations. Our genuine goodwill and good intentions are often brought to nothing because we expect other people to be like us. This would be corrected if we knew the history, not necessarily in detail but in broad outlines, of the social and political conditions which have given to each nation its present character.
According to the author of 'Mentality' of a nation is mainly product of its ...
Paragraph: A fundamental principle of pharmacology is that all drugs have multiple actions. Actions that are desirable in the treatment of disease are considered therapeutic, while those that are undesirable or pose risks to the patient are called "effects." Adverse drug effects range from the trivial, e.g., nausea or dry mouth, to the serious, e.g., massive gastrointestinal bleeding or thromboembolism; and some drugs can be lethal. Therefore, an effective system for the detection of adverse drug effects is an important component of the health care system of any advanced nation. Much of the research conducted on new drugs aims at identifying the conditions of use that maximize beneficial effects and minimize the risk of adverse effects.
The intent of drug labeling is to reflect this body of knowledge accurately so that physicians can properly prescribe the drug; or, if it is to be sold without prescription so that consumers can properly use the drug.
The current system of drug investigation in the United States has proved very useful and accurate in identifying the common side effects associated with new prescription drugs. By the time a new drug is approved by the Food and Drug Administration, its side effects are usually well described in the package insert for physicians. The investigational process, however, cannot be counted on to detect all adverse effects because of the relatively small number of patients involved in premarketing studies and the relatively short duration of the studies.
Animal toxicology studies are, of course, done prior to marketing in an attempt to identify any potential for toxicity, but negative results do not guarantee the safety of a drug in humans, as evidenced by such well-known examples as the birth deformities due to thalidomide.
This recognition prompted the establishment in many countries of programs to which physicians report adverse drug effects. The United States and other countries also send reports to an international program operated by the World Health Organization. These programs, however, are voluntary reporting programs and are intended to serve a limited goal: alerting a government or private agency to adverse drug effects detected by physicians in the course of practice. Other approaches must be used to confirm suspected drug reactions and to estimate incidence rates. These other approaches include conducting retrospective control studies; for example, the studies associating endometrial cancer with estrogen use, and systematic monitoring of hospitalized patients to determine the incidence of acute common side effects, as typified by the Boston Collaborative Drug Surveillance Program.
Thus, the overall drug surveillance system of the United States is composed of a set of information bases, special studies, and monitoring programs, each contributing in its own way to our knowledge about marketed drugs. The system is decentralized among a number of governmental units and is not administered as a coordinated function. Still, it would be inappropriate at this time to attempt to unite all of the disparate elements into a comprehensive surveillance program. Instead, the challenge is to improve each segment of the system and to take advantage of new computer strategies to improve coordination and communication.
Which of the following can be inferred from the given passage?
Read the given passage carefully and attempt the questions that follow.
MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on, my grandparents' farm in Suffolk. My father was in the armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone: she taught me the names of wild flowers and got me interested in looking at the countryside, so it seemed obvious to go on to do Zoology at University.
I didn't get my first camera until after I'd graduated when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterward.
Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures that are always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually changing the natural surroundings to make them prettier. Unfortunately, many of the people who select pictures are looking for attractive images and, at the end of the day, whether it's truthful or not doesn't really matter to them. It's important to think about the animal first, and there are many occasions when I've not taken a picture because it would have been too disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behavior towards wild animals and it's a problem that more and more people are going to wild places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer.
Nevertheless, wildlife photographs play a very important part in educating people about what is out there and what needs conserving. Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious -you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my time. And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.
Which of the following describes the writer?
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 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 question in this section is based on a single passage. The question is to be answered on the basis of what is stated or implied in the passage.
The spread of education in society is at the foundation of success in countries that are latecomers to development. In the quest for development, primary education is absolutely essential because it creates the base. But higher education is just as important for it provides the cutting edge. And universities are the life-blood of higher education. Islands of excellence in professional education, such as Indian Institutes of Technology (IITs) and Indian Institutes of Management (IIMs), are valuable complements but cannot be substituted for universities that provide educational opportunities for people at large.
There can be no doubt that higher education has made a significant contribution to economic development, social progress and political democracy in independent India. It is a source of dynamism for the economy. It has created social opportunities for people, it has fostered the vibrant democracy in our polity. It has provided a beginning for the creation of a knowledge society. But it would be a mistake to focus on its strengths alone. It has weaknesses that are a cause for serious concern. There is, in fact, a quiet crisis in higher education in India that runs deep. It is not yet discernible simply because there are pockets of excellence, an enormous reservoir of talented young people and intense competition in the admissions process. And, in some important spheres, we continue to reap the benefits of what was sown in higher education 50 years ago by the founding fathers of the republic. The reality is that we have miles to go. The proportion of our population, in the age group 18-24, that enters the world of higher education is around 7%, which is only one-half the average for Asia. The opportunities for higher education, in terms of the number of places in universities, are simply not enough in relation to our need. What is more, the quality of higher education in most of our universities requires substantial improvement? IT is clear that the system of higher education in India faces serious challenges. It needs a systematic overhaul so that we can educated much larger numbers without diluting academic standards. This is imperative because the transformation of economy and society in the 21st century would depend, in significant part, on the spread and the quality of education among our people, particularly in the sphere of higher education. It is only an inclusive society that can provide the foundations for a knowledge society.
The challenges that confront higher education in India are clear. It needs a massive expansion of opportunities for higher education, to 1500 universities nationwide, that would enable India to attain a gross enrolment ration of at least 15% by 2015. It is just as important to raise the average quality of higher education in very sphere. At the same time, it is essential to create institutions that are exemplars of excellence at par with the best in the world. In the pursuit of these objectives, providing people with access to higher education in a socially inclusive manner is imperative. The realization of these objectives, combined with access, would not only develop the skills and capabilities we need for the economy but would also help transform India into a knowledge economy and society.
What kind of society can provide the foundation for a knowledge society?
Read the given passages and answer the question with the help of the information provided in the passage.
The Constitution of the United States protects both property rights and freedom of speech. At times, these rights conflict. The resolution then requires a determination as to the type of property involved. If the property is private and not open to the general public, the owner may absolutely deny the exercise of the right of free speech thereon. On the other hand, if public land is at issue, the First Amendment protections of expression are applicable. However, the exercise of free speech thereon is not absolute. Rather, it is necessary to determine the appropriateness of the forum. This requires that consideration be given to a number of factors including character and normal use of the property, the extent to which it is open to the public, and the number and types of persons who frequent it. If the forum is clearly public or clearly private, the resolution of the greater rights is relatively straight forward.
In the area of the quasi-public property, balancing these rights has produced a dilemma. This is the situation when a private owner permits the general public to use his property. When· persons seek to use the land for passing out handbills or picketing, how is a conflict between property rights and freedom of expression resolved? The precept that a private property owner surrenders his rights in proportion to the extent to which he opens up his property to the public is not new. In 1675, Lord Chief Justice Hale wrote that when private property is "affected with a public interest, it ceases to be private." Throughout the development of Anglo-American law; the individual has never possessed absolute dominion over property. Land becomes clothed with a public interest when the owner devotes his property to a use in which the public has an interest. In support of this position, the chairman of the board of the Wilde Lake Shopping Centre in Columbia, Maryland said: The only real purpose and justification of any of these centres is to serve the people in the area - not the merchants, not the developers, not the architects. The success or failure of a regional shopping centre will be measured by what it does for the people it seeks to serve. These doctrines should be applied when accommodation must be made between a shopping centre owner's private property rights and the public's right to free expression. It is hoped that when the Court is asked to balance these conflicting rights it will keep in mind what Justice Black said in 1945: "When we balance the constitutional rights of owners of property against those of the people to enjoy (First Amendment) freedom(s) ..... we remain mindful of the fact that the latter occupy a preferred position."
According to the passage, an owner's freedom to deny freedom of speech on his property is determined by all of the following except
