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नई प्रेजेंटेशन बनाने के लिए निम्नलिखित में से कौन-सा एम.एस. पॉवरप्वॉइंट 365 (MS-Power Point 365) कीबोर्ड शॉर्टकट उपयोग किया जाता है?

Which of the following aggregates is an example of crystalline surface texture? निम्नलिखित में से कौन सा मिलावा, क्रिस्टलीय सतह संरचना का एक उदाहरण है?

The archaeological site Daimabad of the Indus Civilisation is situated on the banks of the river?/सिंधु सभ्यता का पुरातात्विक स्थल दैमाबाद किस नदी के तट पर स्थित है?

While using an instrument for some measurement we place it in the wrong manner then possibly the error in result is:

Select the correct statement with respect to Lacey's theory of design of canals.

किस राज्य में हाल ही में जनजातीय विश्वविद्यालय स्थापित किये जाने की घोषणा की गयी है?

एक वर्गाकार पार्क की भुजा की लंबाई 18 m है। इसके बाहर चारों ओर 3 m चौड़ी एक सड़क बनाई गई है। सड़क का क्षेत्रफल ज्ञात कीजिए।

Read the passage given below and answer the questions that follow by choosing the correct/most appropriate options. The sharp division between the popular and the serious-creative ‘New Cinema’ came about gradually after the independence of the country in 1947. Until then, by and large, the cinema audience was dominated by the middle class which dictated its tastes and its attitudes towards social progress. Film-makers shared something of the political and social leadership’s urge towards a synthesis of Indian and Western, or traditional and modern values. This was very marked in the thirties and did not peter out until the fifties. One of the remarkable films of the thirties was Shantaram’s ‘Duniya Na Maane’ in which an old man marries a girl younger than his daughter. But the young wife refuses to consummate the marriage and is aided by the old man’s ‘modern’ English speaking reformist daughter to the extent that the two sing Longfellow’s ‘Psalm of Life’ together. The old man’s effort to bring his wife to bed is aided and abetted by his sister but in the end he acknowledges his mistake. Himanshu Roy made ‘Achchut Kanya’ which deplored untouchability. These trends continued into the fifties with Guru Dutt and Bimal Roy. Before 1947, the social content depicted in Indian cinema favoured