Of the three numbers, the first is twice the second and the second is twice the third. The average of the reciprocal of the numbers is 7/72. The numbers are

An article is listed at Rs 65. A customer bought this article for Rs 56.16 after getting two successive discounts of which the first one is 10%. The other rate of discount of this scheme that was allowed by the shopkeeper was :

The probability that in the random arrangement of the letters of the word ‘UNIVERSITY’, the two I’s does not come together is

A wire bent in the form of a square enclosed an area of 121 sq cm. If the same wire is bent so as to form a circle, then the area enclosed will be :

16 men and 12 women can complete a work in 20 days. 18 women can complete the same work in 40 days. In how many days will 12 men 27 women complete the same work?

Study the following chart carefully to answer the questions that follow. 

The line graph shows the percentage of boys and girls from class XIIth of five schools of Sasaram taking part in a cultural fest on Independence Day of 2017.

In BVV, a total of 30 boys and 81 girls participated in the fest, then find the total number of students in class XIIth of BVV?

Study the following chart carefully to answer the questions that follow. 

The line graph shows the percentage of boys and girls from class XIIth of five schools of Sasaram taking part in a cultural fest on Independence Day of 2017.

The ratio of girls to boys of class XIIth do not take part in fest from DAV are in ratio 5 : 4. Find the ratio of total boys to total girls of same class and school.

Study the following chart carefully to answer the questions that follow. 

The line graph shows the percentage of boys and girls from class XIIth of five schools of Sasaram taking part in a cultural fest on Independence Day of 2017.

There are 250 students in class XIIth of St. Paul in which boys and girls are in ratio 12 : 13. Find the difference between the boys and girls who did not participated from same class and school.

Study the following chart carefully to answer the questions that follow. 

The line graph shows the percentage of boys and girls from class XIIth of five schools of Sasaram taking part in a cultural fest on Independence Day of 2017.

There are 300 students in class XIIth of KVS. Total 160 students took part in fest. Find the number of total girls in class XIIth.

Study the following chart carefully to answer the questions that follow. 

The line graph shows the percentage of boys and girls from class XIIth of five schools of Sasaram taking part in a cultural fest on Independence Day of 2017.

Find the average number of boys who participated in the fest if all schools have same number of boys i.e. 150 in class XIIth.

What is the compound interest on Rs. 5,000 for 4 years if the rate of interest is 10% p.a. for the first 2 years and 20% per annum for the next 2 years?

The total number of possible proper three-digit integers that can be formed using 0, 1, 3, 4 and 5 without repetition such that they are divisible by 5 are:

These questions are based on five words given below:

( Note: The words formed after performing the given operations may or may not be a meaningful English word.)

If we replace all the consonant of the each given word with the succeeding alphabet according to alphabetical series, then how many words thus formed have more than one vowel?

These questions are based on five words given below:

( Note: The words formed after performing the given operations may or may not be a meaningful English word.)

If we replace 3rd alphabet of each word with the previous alphabet according to alphabetical series, then how many words thus formed does not contain any vowels?

These questions are based on five words given below:

( Note: The words formed after performing the given operations may or may not be a meaningful English word.)

How many letters lies between the 2nd letter of 2nd word from left end and 3rd letter of last word from left end?

These questions are based on five words given below:

( Note: The words formed after performing the given operations may or may not be a meaningful English word.)

If we replace all the vowels of each word with 2nd succeeding alphabet of alphabetical series, then how many words thus formed contain maximum 2 consonant?

These questions are based on five words given below:

( Note: The words formed after performing the given operations may or may not be a meaningful English word.)

If all the alphabets of each word are arranged according to alphabetical order within the word then how many words thus formed will begin with a vowel?

Study the following information carefully and answer the question given below-

Eight people are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row 1-M, N, O and P are seated and all of them are facing south. In row 2- D, F, G and H are seated and all of them are facing north. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. They like different colors i.e. Black, Pink, Violet, White, Blue, Grey, Yellow and Green.
The one, who likes Yellow sits at extreme left end of the row. The one who likes black color sits 2nd left from the one who faces that person who likes yellow. D is an immediate neighbor of the one who likes black. Only one person sits between F and D. The one, who faces D, does not sit at any extreme end. N sits 2nd left of the one who likes Blue color who does not face the one who likes Black color. The one who likes Pink faces the one who sits immediate right of G. The one who likes white sits diagonally opposite to the one who likes Yellow. O does not face the one who likes Black and White. D does not like Grey. P likes Green sits immediate left of M who faces the one who sits immediate left of G.

Who among the following likes Grey color?

Study the following information carefully and answer the question given below-

Eight people are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row 1-M, N, O and P are seated and all of them are facing south. In row 2- D, F, G and H are seated and all of them are facing north. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. They like different colors i.e. Black, Pink, Violet, White, Blue, Grey, Yellow and Green.
The one, who likes Yellow sits at extreme left end of the row. The one who likes black color sits 2nd left from the one who faces that person who likes yellow. D is an immediate neighbor of the one who likes black. Only one person sits between F and D. The one, who faces D, does not sit at any extreme end. N sits 2nd left of the one who likes Blue color who does not face the one who likes Black color. The one who likes Pink faces the one who sits immediate right of G. The one who likes white sits diagonally opposite to the one who likes Yellow. O does not face the one who likes Black and White. D does not like Grey. P likes Green sits immediate left of M who faces the one who sits immediate left of G.

How many person sits between G and D?

Study the following information carefully and answer the question given below-

Eight people are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row 1-M, N, O and P are seated and all of them are facing south. In row 2- D, F, G and H are seated and all of them are facing north. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. They like different colors i.e. Black, Pink, Violet, White, Blue, Grey, Yellow and Green.
The one, who likes Yellow sits at extreme left end of the row. The one who likes black color sits 2nd left from the one who faces that person who likes yellow. D is an immediate neighbor of the one who likes black. Only one person sits between F and D. The one, who faces D, does not sit at any extreme end. N sits 2nd left of the one who likes Blue color who does not face the one who likes Black color. The one who likes Pink faces the one who sits immediate right of G. The one who likes white sits diagonally opposite to the one who likes Yellow. O does not face the one who likes Black and White. D does not like Grey. P likes Green sits immediate left of M who faces the one who sits immediate left of G.

Who among the following faces the one who likes violet color?

Study the following information carefully and answer the question given below-

Eight people are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row 1-M, N, O and P are seated and all of them are facing south. In row 2- D, F, G and H are seated and all of them are facing north. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. They like different colors i.e. Black, Pink, Violet, White, Blue, Grey, Yellow and Green.
The one, who likes Yellow sits at extreme left end of the row. The one who likes black color sits 2nd left from the one who faces that person who likes yellow. D is an immediate neighbor of the one who likes black. Only one person sits between F and D. The one, who faces D, does not sit at any extreme end. N sits 2nd left of the one who likes Blue color who does not face the one who likes Black color. The one who likes Pink faces the one who sits immediate right of G. The one who likes white sits diagonally opposite to the one who likes Yellow. O does not face the one who likes Black and White. D does not like Grey. P likes Green sits immediate left of M who faces the one who sits immediate left of G.

Who among the following sits at extreme end of the row?

Study the following information carefully and answer the question given below-

Eight people are sitting in two parallel rows containing four people each, in such a way that there is an equal distance between adjacent persons. In row 1-M, N, O and P are seated and all of them are facing south. In row 2- D, F, G and H are seated and all of them are facing north. Therefore in the given seating arrangement each member seated in a row faces another member of the other row. They like different colors i.e. Black, Pink, Violet, White, Blue, Grey, Yellow and Green.
The one, who likes Yellow sits at extreme left end of the row. The one who likes black color sits 2nd left from the one who faces that person who likes yellow. D is an immediate neighbor of the one who likes black. Only one person sits between F and D. The one, who faces D, does not sit at any extreme end. N sits 2nd left of the one who likes Blue color who does not face the one who likes Black color. The one who likes Pink faces the one who sits immediate right of G. The one who likes white sits diagonally opposite to the one who likes Yellow. O does not face the one who likes Black and White. D does not like Grey. P likes Green sits immediate left of M who faces the one who sits immediate left of G.

Who among the following likes Blue color?

In a certain code ‘RIPPLE’ is written as ‘613382’ and LITE is written as 8192. How is PILLER written in that code?

A man is facing north –west. He turns 90 degree in the clockwise direction, then 180 degree in the anticlockwise direction and then again 90 degree in the same direction then in which direction, he is facing now?

Aniket is 7 ranks ahead of Prakash in a class of 39. If Prakash’s rank is 17th from the last, then what is the Aniket’s rank from the starting?

If the letters in the word PARAMOUNT rearranged as they appear in the English alphabetical order then the position of how many letter will remain unchanged after the rearrangement?

If it is possible to make only one meaningful word with the 2nd, 3rd, 6th and ninth letters of the word DIFFICULTIES, which of the following will be the second letters of the word ? If no such word can be made, give ‘X’ as the answer and if more than one such word can be made, give ‘Y’ as the answer.

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

According to the author, which of these statement(s) about the film is (are) correct ?

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

Arseniev’s search for Dersu’s grave:

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

How is Kurosawa able to show the erosion of Dersu’s way of life?

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

In the film, Kurosawa hints at Arseniev’s reflective and sensitive nature:

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

According to the author, the section of the film following the prologue:

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

The film celebrates Dersu’s wisdom:

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

Choose the word/group of words which is most SIMILAR in meaning to the word/group of words printed in bold as used in passage.

Condescension

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

Choose the word/group of words which is mostSIMILAR in meaning to the word/group of words printed in bold as used in passage.

Desolately

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

Choose the word/group of words which is most OPPOSITE in meaning to the word/group of words printed in bold as used in passage.

Evocative

Read the following passage carefully and answer the questions given below it. Certain words are given in bold to help you locate them while answering some of the questions.

The narrative of Dersu Uzala is divided into two major sections set in 1902 and 1907 that deal with separate expeditions which Arseniev conducts into the Ussuri region. In addition, a third time frame forms a prologue to the film. Each of the temporal frames has a different focus, and by shifting them Kurosawa is able to describe the encroachment of settlements upon the wilderness and the consequent erosion of Dersu’s way of life. As the films opens, that erosion has already begun. The first image is a long shot of a huge forest, the trees piled upon on another by the effects of the telephoto lens so that the landscape becomes an abstraction and appears like a huge curtain of green. A title informs us that the year is 1910. This is as late into the century as Kurosawa will go. After this prologue, the events of the film will transpire even farther back in time and will be presented as Arseniev’ recollections. The character of Dersu Uzala is the heart of the film, his life the example that Kurosawa wishes to affirm. Yet the formal organization of the film works to contain, to close, to circumscribe that life by erecting a series of obstacles around it. The film itself is circular, opening and closing by Dersu’s grave, thus sealing off the character from the modern world to which Kurosawa once so desperately wanted to speak. The multiple time frames also work to maintain a separation between Dersu and the contemporary world. We must go back farther even than 1910 to discover who he was. But his narrative structure has yet another implication. It safeguards Dersu’s example, inoculates it from contamination with history, and protects it from contact with the industrialized, urban world. Time is organised by the narrative into a series of barriers, which enclose Dersu in a kind of vaccum chamber, protecting him from the social and historical dialectics that destroyed the other Kurosawa heroes. Within the film, Dersu does die, but the narrative structure attempts to immortalize him and his example, as Dersu passes from history into myth.
We see all this at work in the enormously evocative prologue. The camera tilts down to reveal felled trees littering the landscape and an abundance of construction. Roads and houses outline the settlement that is being built. Kurosawa cuts to a medium shot of Arseniev standing in the midst of the clearing, looking for a grave. A man passing in a wagon asks him what he is doing, and the explorer says he is looking for a grave. The driver replies that no one had died here, the settlement is too recent. These words enunciate the temporal rupture that the film studies. It is the beginning of things (industrial society) and the end of things (the forest), the commencement of one world so young that no one has had time yet to die and the eclipse of another, in which Dersu has died. It is his grave for which the explorer searchers. His passing symbolizes the new order, the development that now they are all gone. The man on the wagon replies they were probably chopped down when the settlement was built, and he drives off. Arseniev walks to a barren, treeless spot next to a pile or bricks. As he moves, the camera tracks and pans to follow, revealing a line of freshly built houses and a women hanging her laundry to dry. A distant train whistle is heard, and the sounds of construction in the clearing vie with the cries of birds and the rustle of wind in the trees. Arseniev pauses, looks around for the grave that once was, and murmursdesolately, “Dersu.” The image now cuts farther into the past, to 1902, and the first section of the film commences, which describes Arseniev’ meeting with Dersu and their friendship.
Kurosawa defines the world of the initially upon a void, a missing presence. The grave is gone, brushed aside by a world rushing into modernism, and now the hunter exists only in Arseniev’s memories. The hallucinatory dreams and visions of Dodeskaden are succeeded by nostalgic, melancholy ruminations. Yet by exploring these ruminations, the films celebrates the timelessness of Dersu’s wisdom. The first section of the film has two purposes: to describe the magnificence and inhuman vastness of nature and to delineate the code of ethics by which Dersu lives and which permits him to survive in these conditions. When Dersu first appear, the other soldiers treat him with condescension and laughter, but Arseniev watches him closely and does not share their derisive response. Unlike them, he is capable of immediately grasping Dersu’s extraordinary qualities. In camp, Kurosawa frames Arseniev by himself, sitting on the other side of the fire from his soldiers. While they sleep or joke among themselves, he writes in his diary and Kurosawa cuts in several point-of-view shots from his perspective of trees that appears animated and sinister as the fire light dances across their gnarled, leafless outlines. This reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of reflective dimension, this sensitivity to the spirituality of nature, distinguishes him from the others and forms the basis of his receptivity of Dersu and their friendship. It makes him a fit pupil for the hunter.

Choose the word/group of words which is most OPPOSITE in meaning to the word/group of words printed in bold as used in passage.

Inoculates