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In the 3rd paragraph, the writer says there needs to be further research done on----

In the 3rd paragraph, the writer says there needs to be further research done on---- Correct Answer The relationship between artistic works and the history of colour

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Maslow's need-hierarchy theory of motivation has classified the human needs into five categories as follows. Arrange the following needs in ascending order given by Maslow
1. Safety needs
2. Esteem needs
3. Social needs
4. Physiological needs
5. Self-actualisation needs
What is the sequence of domtion of these needs?
In the hierarchical theory of Maslow, the needs are classified as 1. physiological needs 2. self - actualization needs 3. needs of belong 4. esteem needs 5. safety needs Which of the following is the correct sequence of the hierarchy of these needs from bottom to the top according to Maslow?
Which of the following is the correct order of human needs as formulated in Maslow's hierarchy of needs? a) Safety needs b) Love and belonging needs c) Physiological needs d) Self-actualisation needs e) Esteem needs Choose the most appropriate answer from the options given below:
Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknows chikankari is known across the world yet very little research or documentation has been done. Articles or features haveappeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremelyinteresting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome withpassionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the bookrefreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making agarment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on whiteembroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustibletreasure trove.” Name one type of garment design style that Paola loves?
Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknows chikankari is known across the world yet very little research or documentation has been done. Articles or features haveappeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremelyinteresting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome withpassionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the bookrefreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making agarment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on whiteembroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustibletreasure trove.” Why did Paola come to India?
Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknows chikankari is known across the world yet very little research or documentation has been done. Articles or features haveappeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremelyinteresting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome withpassionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the bookrefreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making agarment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on whiteembroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustibletreasure trove.” When did Paola get her first experience of chikankari?
Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknows chikankari is known across the world yet very little research or documentation has been done. Articles or features haveappeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremelyinteresting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome withpassionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the bookrefreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making agarment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on whiteembroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustibletreasure trove.” The book, Chikankari - A Lucknawi Tradition is best described as a ____________ the art of chikankari.
Read the passage carefully and choose the best answer to each question out of the four alternatives. It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknows chikankari is known across the world yet very little research or documentation has been done. Articles or features haveappeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremelyinteresting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome withpassionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the bookrefreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari. Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making agarment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on whiteembroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustibletreasure trove.” What makes the book, Chikankari - A Lucknawi Tradition interesting?
A passage is given with five questions following it. Read the passage carefully and select the best answer to each question out of the given fouralternatives. Teaching about compassion and empathy in schools can help deal with problems of climate change and environmental degradation,” says Barbara Maas, secretary,
Standing Committee for Environment and Conservation, International Buddhist Confederation (IBC). She was in New Delhi to participate in the IBCs governing
council meeting, December 10-11, 2017. “We started an awareness campaign in the year 2005-2006 with H H The Dalai Lama when we learnt that tiger skins were
being traded in China and Tibet. At that time, I was not a Buddhist; I wrote to the Dalai Lama asking him to say that this is harmful and he wrote back to say, “We
will stop this.” He used very strong words during the Kalachakra in 2006, when he said, If he sees people wearing fur and skins, he doesnt feel like living. This sent
huge shock waves in the Himalayan community. Within six months, in Lhasa, people ripped the fur trim of their tubba, the traditional Tibetan dress. The messenger was ideal and the audience was receptive,” says Maas who is a conservationist. She has studied the battered foxs behavioral ecology in Serengeti,Africa. She heads the endangered species conservation at the Nature and Biodiversity Conservation Union (NABU) International Foundation for Nature, Berlin. “I met Samdhong Rinpoche, The Karmapa, HH the Dalai Lama and Geshe Lhakdor and I thought, if by being a Buddhist, you become like this, I am going for it, “says Maas, who led the IBC initiative for including the Buddhist perspective to the global discourse on climate change by presenting the statement, The Time to Act is Now: a Buddhist Declaration on Climate Change, at COP21 in Paris. “It was for the first time in the history of Buddhism that leaders of different sanghas came together to take a stand on anything! The statement lists a couple of important things: the first is that we amass things that we dont need; there is overpopulation; we need to live with contentment and deal with each other and the environment with love and compassion,” elaborates Maas. She is an ardent advocate of a vegan diet because “consuming meat and milk globally contributes more to climate change than all "transport in the world.” Turning vegetarian or vegan usually requires complete change of perspective before one gives up eating their favorite food. What are the Buddhist ways to bringabout this kind of change at the individual level? “To change our behavior, Buddhism is an ideal vehicle; it made me a more contented person,” says Maas, who grewup in Germany, as a sausage chomping, meat-loving individual. She says, “If I can change, so can anybody”. According to the passage, how can studying compassion and empathy in schools help?
A passage is given with five questions following it. Read the passage carefully and select the best answer to each question out of the given fouralternatives. Teaching about compassion and empathy in schools can help deal with problems of climate change and environmental degradation,” says Barbara Maas, secretary,
Standing Committee for Environment and Conservation, International Buddhist Confederation (IBC). She was in New Delhi to participate in the IBCs governing
council meeting, December 10-11, 2017. “We started an awareness campaign in the year 2005-2006 with H H The Dalai Lama when we learnt that tiger skins were
being traded in China and Tibet. At that time, I was not a Buddhist; I wrote to the Dalai Lama asking him to say that this is harmful and he wrote back to say, “We
will stop this.” He used very strong words during the Kalachakra in 2006, when he said, If he sees people wearing fur and skins, he doesnt feel like living. This sent
huge shock waves in the Himalayan community. Within six months, in Lhasa, people ripped the fur trim of their tubba, the traditional Tibetan dress. The messenger was ideal and the audience was receptive,” says Maas who is a conservationist. She has studied the battered foxs behavioral ecology in Serengeti,Africa. She heads the endangered species conservation at the Nature and Biodiversity Conservation Union (NABU) International Foundation for Nature, Berlin. “I metSamdhong Rinpoche, The Karmapa, HH the Dalai Lama and Geshe Lhakdor and I thought, if by being a Buddhist, you become like this, I am going for it, “says Maas, who led the IBC initiative for including the Buddhist perspective to the global discourse on climate change by presenting the statement, The Time to Act is Now: aBuddhist Declaration on Climate Change, at COP21 in Paris. “It was for the first time in the history of Buddhism that leaders of different sanghas came together to take a stand on anything! The statement lists a couple ofimportant things: the first is that we amass things that we dont need; there is overpopulation; we need to live with contentment and deal with each other and theenvironment with love and compassion,” elaborates Maas. She is an ardent advocate of a vegan diet because “consuming meat and milk globally contributes more toclimate change than all "transport in the world.” Turning vegetarian or vegan usually requires complete change of perspective before one gives up eating their favorite food. What are the Buddhist ways to bringabout this kind of change at the individual level? “To change our behavior, Buddhism is an ideal vehicle; it made me a more contented person,” says Maas, who grewup in Germany, as a sausage chomping, meat-loving individual. She says, “If I can change, so can anybody”. Why is Ms. Barbara an ardent follower of vegan diet?