Tuesday 29 January 2013

CHEMICAL NAMES OF SUBSTANCES-PSC QUESTIONS

CHEMICAL NAMES OF SUBSTANCES


1. SPIRIT= ?

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2. BAKING SODA= ?

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3. GLASS= ?

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4. WASHING SODA= ?
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5. RAT POISON= ?

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6. CAUSTIC SODA= ?

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7. PENTOTHAL= ?

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8. ASPIRIN= ?

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9. BLUE VITRIOL= ?

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10. LIMESTONE= ?

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Saturday 19 January 2013

MADHYAKALA KERALABHASHA

MADHYAKALA KERALABHASHA-(Middle Malayalam) 
Author:- Dr. Shornur Karthikeyan.
Kerala Bhasha institute.
Price:-150/-

MANIPRAVALAM


                                                          Manipravalam 
Manipravalam was a literary style used in medieval liturgical texts in South India, which used an admixture of Tamil (early Malayalamof Kerala) and Sanskrit Manipravalam is termed a mixture of Sanskrit and Tamil. Tamil language was the language of the region, part of Tamilakam, at the time of Manipravalam's genesis and use and its introduction caused a significant transition of Malayalam from Tamil in Kerala. Mani-pravalam literally means ruby-coral, where Mani means ruby in Tamil while Pravalammeans Coral in Sanskrit. Malayalam is referred to as ruby and Sanskrit as coral. This was prevalent in Vaishnavite religious literature in Tamil Nadu and literary works in general in Kerala.

Since Tamil Vatteluttu did not have characters to represent some Sanskrit sounds, letters from the Grantha script were used to represent them. Native words and grammatical endings were written using Vatteluttu, and Sanskrit words were written using Grantha. Essentially, it was a hybrid script composed of Vatteluttu and the Grantha script.
A parallel literary tradition existed during the period that derived inspiration from the Tamil poetic tradition, known by the name pattu.Leelathilakam, a work on grammar and rhetoric, written in the last quarter of the 14th century in Kerala, discusses the relationship between Manipravalam and Pattu as poetic forms. It lays special emphasis on the types of words that blend harmoniously. It points out that the rules of Sanskrit prosody should be followed in Manipravalam poetry. This particular school of poetry was patronized by the upper classes, especially the Nambudiris. The composition of this dialect also reflects the way Aryan and Dravidian cultures were moving towards a synthesis.
Dramatic performances given in Koothambalams, known by the names of Koothu and Koodiyattom, often used Sanskrit and Malayalam. In Koodiyattom, the clown (vidooshaka) is allowed to use Malayalam while the hero recites slokas in Sanskrit. Tholan, a legendary court poet in the period of the Kulasekhara kings, is believed to have started this practice. The language of Kramadeepikasand Attaprakarams, which lay down the rules and regulations for these dramatic performances, is considerably influenced by the composite literary dialect of Manipravalam. Various hagiographies on the life of the Vaishnava saint Ramanuja were in manipravalam.

Thursday 10 January 2013

GREAK TRAGEDY


                             GREAK TRAGEDY   
        
                                                          Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state.Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE (from the end of which it began to spread throughout the Greek world), and continued to be popular until the beginning of the Hellenistic period. No tragedies from the 6th century and only 32 of the more than a thousand that were performed in the 5th century have survived. We have complete texts extant by Aeschylus, Sophocles, and Euripides.

                                                           Athenian tragedies were performed in late March/early April at an annual state religious festival in honor of Dionysos. The presentations took the form of a contest between three playwrights, who presented their works on three successive days. Each playwright offered a tetralogy consisting of three tragedies and a concluding comic piece called a satyr play. The four plays sometimes featured linked stories. Only one complete trilogy of tragedies has survived, the Oresteia of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scant. The theatre of Dionysus at Athens probably held around 12,000 people.
                                                           
   All of the choral parts were sung (to the accompaniment of an aulos) and some of the actors' answers to the chorus were sung as well. The play as a whole was composed in various verse meters. All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song").
Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. A prime example of the use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia, when the king's butchered body is wheeled out in a grand display for all to see. Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device was a crane, the mechane, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase "deus ex machina" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. 

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Monday 7 January 2013

THE HUMAN BODY-QUESTIONS-PSC

1. NUMBER OF BONES ?

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.2, NUMBER OF MUSCLES ?

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3. NUMBER OF BONES INHUMAN FOOT ?

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4. NUMBER OF BONES IN EACH WRIST ?

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5. NUMBER OF BONES IN HAND ?

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6. NUMBER OF BONES IN SKULL ?

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7. NUMBER OF BONES IN FACE ?

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8. NUMBER OF BONES IN CHEST ?

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9. NUMBER OF BONES IN ARMS ?

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10. NUMBER OF BONES IN EACH HUMAN EAR ?

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DUBBING OR RERECORDING



Dubbing, also known as rerecording, is the post-production process, used in film making and video production, in which vocal recording (like dialogue) occurs subsequent to the original recording stage. The term most commonly refers to the substitution of the voices of the actors shown on the screen by those of different performers speaking a different language; however the practice also involves the rerecording of audio segments and then synchronizing the recording with the existing footage. The procedure was sometimes practiced in musicals when the actor had an unsatisfactory singing voice, and remains in use to enable the screening of audio-visual material to a mass audience in countries where viewers do not speak the same language as the original performers.

                         
                                            ( Sound Rerecording)
This process whereby an actor rerecords lines spoken during filming in order to improve audio quality or reflect dialogue changes is called Automated Dialogue Replacement (ADR), also known as Additional Dialogue Recording. Music is also subject to the dubbing process in the post-editing stage of a film.
                       
                                        ( Sound Rerecording Room )
Films, videos and sometimes video games are sometimes dubbed into the local language of a foreign market. Where foreign distribution occurs, dubbing is common in theatrically released films, television series, cartoons and anime.



Automated Dialogue Replacement, or Additional Dialogue Recording (ADR), is the process of re-recording the original dialogue after the filming process for the purpose of obtaining a cleaner, more intelligible dialogue track (also known as "looping" or a "looping session") In the UK it is called "post-synchronisation" or "post-sync".
                                  
                                            ( Sound Rerecording Room )
In conventional film production, a production sound mixer records dialogue during filming. Accompanying noise from the set, equipment, traffic, wind, and the overall ambiance of the surrounding environment often results in unusable production sound, and during the post-production process a supervising sound editor or ADR Supervisor reviews all of the dialogue in the film and decides which lines must be re-recorded. ADR is also used to change original lines recorded on set to clarify context or improve diction and timing.
                                  
                                          ( Sound Rerecording Room )
For animation such as computer-generated imagery or animated cartoons, dialogue is recorded to a pre-edited version of the show. Although the characters' voices are recorded in a studio, ADR is necessary whenever members of the cast cannot all be present at once.
ADR is recorded during an ADR session, which takes place in a specialized sound studio. The actor, usually the original actor from the set, views the scene with the original sound, then attempts to recreate the performance as closely as possible. Over the course of multiple re-takes, the actor repeatedly performs the lines while watching the scene, and the most suitable take becomes the final version.


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Saturday 5 January 2013

PSC GK QUESTIONS..

1. METAL THAT IS INVOLVED IN PHOTO-SYNTHESIS IS ?
A) IRON
B) MAGNESIUM
C) MANGANESE
D) COPPER

See Answer:
OFFICIAL RESIDENCE...
2. PRESIDENT-INDIA ?

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3. PRESIDENT-INDONESIA ?

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4. PRESIDENT-EGYPT ?

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5. DALAI LAMA ?

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6. PRESIDENT-YUGOSLAVIA ?

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7. PRESIDENT-FRANCE ?

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8. PRESIDENT-USA ?

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9. PRESIDENT-SOUTH KOREA ?

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10. POPE ?

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Friday 4 January 2013

Gautama Buddha



Gautama Buddha
Gautama Buddha or Siddhārtha Gautama Buddha (Sanskrit: सिद्धार्थ गौतमबुद्ध; Pali: Siddhattha Gotama) was a spiritual teacher from the Indian subcontinent, on whose teachings Buddhism was founded.

                                                     (Discussion between Saint Buddha)
The word Buddha is a title for the first awakened being in an era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha(P. sammāsambuddha, S. samyaksaṃbuddha) of our age, "Buddha" meaning "awakened one" or "the enlightened one." Gautama Buddha may also be referred to as Śākyamuni (Sanskrit: शाक्यमुनि "Sage of the Śākyas").
Gautama taught a Middle Way compared to the severe asceticism found in theSramana (renunciation) movement  common in his region. He later taught throughout regions of eastern India such as Magadha and Kośala.
( Navathulika Editor with Saint Buddha)
The time of Gautama's birth and death is uncertain: most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE] but more recent opinion dates his death to between 486 and 483 BCE or, according to some, between 411 and 400 BCE. However, at a specialist symposium on this question held in 1988 in Göttingen, the majority of those scholars who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death, with others supporting earlier or later dates. These alternative chronologies, however, have not yet been accepted by all other historians.
Gautama is the primary figure in Buddhism, and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition, and first committed to writing about 400 years later.




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Wednesday 2 January 2013

- PSC QUESTIONS-AWARDS-2012

2012-AWARDS-

VAYALAR AWARD---------AKKITHAM ACHUTHAN NAMBUTHIRI, (ANDIMAHAKALAM)
VALLATHOL AWARD------------------YUSUF ALI KECHERY
EZHUTHTHACHAN AWARD--------------ATTOOR RAVI VARMA
MUTTATHTHU VARKEY AWARD-----------N PRABHAKARAN
ASAN PURASKARAM----------------------SREEKUMARAN THAMPI
THOPPIL BHASI PURASKARAM-----------K.P.A.C LALITHA
BALAMANIYAMMA PURASKARAM-------YUSUF ALI KECHERY
O V VIJAYAN AWARD-----------------------ZACHRIYA
                                          (Alfonsammayude Maranavum Shavasamskaravum -(Short-story Collection))
KENDRA SAHITHYA AKKADAMI AWARD--- K STACHIDANANDAN,
                                                                           (  MARANNU VACHCHA VASTHTHUKAL.)
LALITHAMBIKA SAHITHYA AWARD--------O.N.V KURUP

NET/SET EXAM -PART-2

NET EXAM PART 2

NET/SET EXAM PART-3

NET EXAM PART 3

NET/ SET EXAM-PART-4

NET EXAM PART 4