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letter J and w
MATERI PERKULIAHAN Sub-CPMK 1.7 Mampu menghitung performa produksi (IP, FCR) dan melakukan Analisis Usaha Broiler per satu siklus produksi 1. IDENTITAS MATERI Mata Kuliah : Produksi Ternak Potong Unggas Komersil Pokok Bahasan : Evaluasi Performa Produksi dan Analisis Usaha Broiler Sub-CPMK : 1.7 Capaian Pembelajaran : Mahasiswa mampu: Menjelaskan parameter performa produksi broiler. Menghitung Feed Conversion Ratio (FCR). Menghitung Indeks Performa (IP). Menganalisis hasil performa produksi dalam satu siklus pemeliharaan. Menyusun analisis usaha broiler per satu siklus produksi. Menarik kesimpulan kelayakan usaha berdasarkan hasil teknis dan ekonomis. ________________________________________ 2. TUJUAN PEMBELAJARAN Setelah mengikuti perkuliahan ini, mahasiswa diharapkan mampu: Memahami konsep dasar evaluasi performa broiler. Mengidentifikasi data teknis yang dibutuhkan dalam perhitungan performa. Menghitung mortalitas, deplesi, bobot badan rata-rata, FCR, dan IP. Menghitung biaya produksi, penerimaan, keuntungan, dan efisiensi usaha broiler. Menganalisis hubungan antara performa teknis dengan hasil ekonomi usaha. ________________________________________ 3. DESKRIPSI MATERI Dalam usaha broiler modern, keberhasilan produksi tidak hanya diukur dari bobot panen, tetapi juga dari efisiensi penggunaan pakan, tingkat kematian, umur panen, serta keuntungan yang diperoleh per siklus. Oleh karena itu, diperlukan kemampuan untuk menghitung parameter teknis produksi seperti FCR dan IP, serta mengaitkannya dengan analisis usaha agar dapat diketahui apakah usaha berjalan efisien dan menguntungkan. ________________________________________ 4. POKOK-POKOK MATERI A. Konsep Dasar Evaluasi Performa Produksi Broiler 1. Pengertian Performa Produksi Performa produksi broiler adalah gambaran tingkat keberhasilan pemeliharaan ayam broiler selama satu periode/siklus pemeliharaan yang dinilai dari indikator teknis tertentu. 2. Parameter Utama Performa Produksi Parameter yang umum digunakan meliputi: Populasi awal DOC Jumlah ayam hidup saat panen Mortalitas (%) Deplesi (%) Umur panen (hari) Bobot badan rata-rata panen (kg/ekor) Total konsumsi pakan (kg) Feed Conversion Ratio (FCR) Indeks Performa (IP) ________________________________________ B. Parameter Teknis dan Rumus Perhitungan ________________________________________ 1. Mortalitas (%) Pengertian: Persentase ayam yang mati selama masa pemeliharaan. Rumus: "Mortalitas (%)"="Jumlah ayam mati" /"Populasi awal" Ă100 Contoh: Populasi awal = 5.000 ekor Ayam mati = 150 ekor "Mortalitas"=150/5000Ă100=3% ________________________________________ 2. Deplesi (%) Pengertian: Persentase pengurangan populasi akibat kematian dan afkir/culling. Rumus: "Deplesi (%)"="Ayam mati + ayam afkir" /"Populasi awal" Ă100 Jika tidak ada afkir, maka deplesi = mortalitas. ________________________________________ 3. Persentase Ayam Hidup / Livability (%) Rumus: "Livability (%)"="Jumlah ayam panen" /"Populasi awal" Ă100 atau "Livability (%)"=100-"Deplesi (%)" ________________________________________ 4. Bobot Badan Rata-Rata Panen Rumus: "Bobot rata-rata (kg/ekor)"="Total bobot panen (kg)" /"Jumlah ayam panen (ekor)" ________________________________________ 5. Feed Conversion Ratio (FCR) Pengertian: FCR adalah rasio jumlah pakan yang dikonsumsi terhadap pertambahan bobot hidup atau bobot hidup yang dihasilkan. Rumus praktis broiler: "FCR"="Total konsumsi pakan (kg)" /"Total bobot hidup panen (kg)" Interpretasi: Semakin rendah nilai FCR, semakin efisien penggunaan pakan. Contoh: Total pakan = 16.000 kg Total bobot panen = 9.600 kg "FCR"=16.000/9.600=1,67 Interpretasi: Untuk menghasilkan 1 kg bobot hidup, dibutuhkan 1,67 kg pakan. ________________________________________ 6. Indeks Performa (IP) Pengertian: IP adalah indikator gabungan untuk menilai performa pemeliharaan broiler berdasarkan: daya hidup, bobot badan, umur panen, efisiensi pakan. Rumus umum IP: "IP"=("Livability (%)" Ă"Bobot rata-rata (kg)" )/("Umur panen (hari)" Ă"FCR" )Ă100 Contoh: Livability = 97% Bobot rata-rata = 2,0 kg Umur panen = 35 hari FCR = 1,67 "IP"=(97Ă2,0)/(35Ă1,67)Ă100 "IP"=194/58,45Ă100=331,9 Jadi, IP = 331,9 ________________________________________ C. Interpretasi Nilai FCR dan IP 1. Interpretasi FCR < 1,50 = sangat efisien 1,50 â 1,65 = efisien/baik 1,66 â 1,80 = cukup > 1,80 = kurang efisien Catatan: Nilai ini dapat berbeda tergantung strain, umur panen, sistem kandang, musim, dan standar perusahaan. ________________________________________ 2. Interpretasi IP (umum) > 400 = sangat baik / Ů
Ů
تاز 351 â 400 = baik 301 â 350 = cukup baik 251 â 300 = sedang < 250 = kurang Dalam praktik kemitraan, IP sering menjadi dasar evaluasi bonus performa. ________________________________________ 5. HUBUNGAN PARAMETER TEKNIS DENGAN KINERJA USAHA Performa teknis sangat menentukan keuntungan usaha broiler: FCR naik â biaya pakan meningkat â laba turun Mortalitas naik â ayam panen berkurang â penerimaan turun Bobot panen rendah â total kg jual turun â omzet turun Umur panen terlalu lama â biaya operasional naik â efisiensi turun IP tinggi â menunjukkan usaha lebih efisien dan berpotensi lebih menguntungkan ________________________________________ 6. ANALISIS USAHA BROILER PER SATU SIKLUS PRODUKSI A. Pengertian Analisis Usaha Analisis usaha broiler adalah perhitungan ekonomi untuk mengetahui: total biaya produksi, total penerimaan, pendapatan/keuntungan, efisiensi usaha, kelayakan usaha per satu siklus pemeliharaan. ________________________________________ B. Komponen Biaya Produksi 1. Biaya Tetap (Fixed Cost) Biaya yang relatif tidak berubah dalam satu siklus, misalnya: Penyusutan kandang Penyusutan peralatan Pajak/sewa lahan (jika dihitung) Bunga modal tetap (opsional) 2. Biaya Variabel (Variable Cost) Biaya yang berubah sesuai jumlah populasi, misalnya: DOC Pakan Obat, vitamin, vaksin (OVK) Sekam/litter Gas/LPG/bahan bakar brooder Listrik dan air Tenaga kerja Desinfektan dan sanitasi Biaya panen/angkut Biaya lain-lain operasional Catatan penting: Pada usaha broiler, pakan biasanya menyumbang 60â70% dari total biaya produksi. ________________________________________ 7. RUMUS ANALISIS USAHA 1. Total Biaya Produksi (TC) "TC"="Biaya Tetap"+"Biaya Variabel" ________________________________________ 2. Total Penerimaan (TR) Jika dijual berdasarkan bobot hidup: "TR"="Total bobot panen (kg)"Ă"Harga jual per kg" Jika ada penerimaan tambahan: "TR total"="Penjualan ayam"+"Penjualan kotoran"+"Penjualan karung pakan/bekas" ________________________________________ 3. Keuntungan / Pendapatan (Ď) Ď="TR"-"TC" ________________________________________ 4. R/C Ratio R/C="TR" /"TC" Kriteria: R/C > 1 â usaha menguntungkan R/C = 1 â impas R/C < 1 â usaha merugi ________________________________________ 5. B/C Ratio (opsional) B/C=("TR" -"TC" )/"TC" ________________________________________ 6. Harga Pokok Produksi (HPP) "HPP per kg"="Total biaya produksi" /"Total bobot panen (kg)" Interpretasi: Jika harga jual > HPP â usaha berpotensi untung. FAKTOR-FAKTOR YANG MEMPENGARUHI FCR, IP, DAN KEUNTUNGAN A. Faktor Teknis Kualitas DOC Mutu pakan Program brooding Kepadatan kandang Ventilasi dan suhu kandang Kualitas air minum Program vaksinasi dan biosekuriti Manajemen litter Ketepatan waktu panen B. Faktor Ekonomi Harga DOC Harga pakan Harga jual ayam hidup Biaya tenaga kerja Biaya energi (gas/listrik) Sistem usaha (mandiri vs kemitraan) STRATEGI MENINGKATKAN PERFORMA DAN KEUNTUNGAN Gunakan DOC berkualitas dan seragam Laksanakan brooding secara optimal (0â14 hari sangat krusial) Pastikan feed intake dan water intake normal Terapkan biosekuriti ketat Kurangi feed wastage Pantau bobot badan mingguan Lakukan culling selektif Tentukan umur panen berdasarkan kombinasi FCR, bobot, dan harga pasar Evaluasi performa tiap siklus dengan pencatatan lengkap Gunakan data historis untuk perbaikan keputusan produksi RANGKUMAN MATERI FCR menunjukkan efisiensi penggunaan pakan. Semakin kecil FCR, semakin baik. IP adalah indikator gabungan performa broiler yang mempertimbangkan: daya hidup, bobot panen, umur panen, efisiensi pakan. Analisis usaha broiler harus mengintegrasikan: aspek teknis (FCR, IP, mortalitas, bobot panen) aspek ekonomi (biaya, penerimaan, laba, R/C, HPP) Usaha broiler dinilai baik apabila: FCR efisien, mortalitas rendah, IP tinggi, HPP lebih rendah dari harga jual, R/C ratio > 1. PENUTUP Kemampuan menghitung FCR, IP, dan melakukan analisis usaha broiler per satu siklus produksi merupakan kompetensi penting dalam manajemen produksi broiler modern. Mahasiswa tidak hanya dituntut memahami teori, tetapi juga harus mampu membaca data produksi, melakukan perhitungan secara akurat, dan mengambil keputusan manajerial berbasis hasil analisis teknis-ekonomis. REFERENSI SINGKAT (untuk bahan ajar/RPS) North, M.O., & Bell, D.D. Commercial Chicken Production Manual. Leeson, S., & Summers, J.D. Commercial Poultry Nutrition. Bell, D.D., & Weaver, W.D. Commercial Chicken Meat and Egg Production. Saputra, dkk. Literatur manajemen broiler modern dan analisis usaha ternak unggas. Standar teknis perusahaan integrator/kemitraan broiler (CP, Japfa, Malindo, dll.) untuk benchmarking FCR dan IP.
Letter v and j puzzles
refreshment (n): (small amounts of food and drink ( Refreshments will be available during the interval.) stimulant (n): a substance which temporarily arouses physiological or organic activity ( Caffeine is a natural stimulant .) reinforcement (n): the act of making sth stronger / (plural) soldiers sent to join an army to make it stronger ( Constructors have been hired to add reinforcement to the foundations of the old bridge.) initiative (n): the ability to make decisions without waiting to be told what to do (Being a successful entrepreneur requires one to have great initiative.) inhibition (n): a shy or nervous feeling that stops you from expressing your real feelings (She drinks alcohol at parties to get over her inhibitions.) initiation (n): a ceremony, ritual, test, or period of instruction with which a new member is admitted to an organization or office (The initiation period for new employees lasts approximately six weeks.) initial (n): the first letter of a name, esp. when used to represent a name (Do you know what Ms Rowling's initials, J and K, stand for?) concise (adj): short and clear, expressing what needs to be said without unnecessary words (She gave a concise overview of the points she was about to make in her speech. ) direct (adj): happening or done without involving other people, actions, etc. in between ( You will only be hired if you have direct experience in this field.) devious (adj): not straightforward, sincere and honest about your intentions or motives; shifty (They came up with a devious plan to overthrow the chairman of the company.) circuitous (adj): not straight or direct (The professor gave a circuitous explanation confusing his students.) diluted (adj): (of a liquid) made weaker or less pure by being mixed with sth else( Orange squash should be diluted with water before it is served.) delicate (adj): easily hurt or destroyed.( This silk shirt is too delicate to put in the washing machine.) desolate (adj): extremely sad and feeling lonely. (After the death of his wife he led a desolate life.) diffused (adj): widely spread or scattered; not concentrated/ wordy ( He spoke in such a diffused manner that it was impossible to take notes on his lecture.) might (n): the power, force, or influence held by a person or group (The captive struggled with all of his might and managed to free himself of the chains.) plot (n): a secret plan made by several people to do sth that is wrong, harmful or not legal, esp. to do damage to a person or a government / a storyline ( The plot of the forthcoming Harry Potter book has yet to be revealed.) glaze (n): a thin clear liquid put on objects before they are finished, to give them a shiny surface ( She mixed sugar and lemon to make the glaze of the cake.) plight (n): an unpleasant condition, esp. serious, sad or difficult one ( Last night's documentary dealt with the plight of political asylum seekers.) comprise (v): to consist of be composed of( The final exam is comprised of three parts.)
Capital letters: J, U, X, Y and Z
Capital letters: A, H, K, T, S, J, U, X, Y, and Z
THE FIDE LAWS OF CHESS. Introduction FIDE Laws of Chess cover over-the-board play. The Laws of Chess have two parts: 1. Basic Rules of Play and 2. Competitive Rules of Play. The English text is the authentic version of the Laws of Chess (which were adopted at the 93rd FIDE Congress at Chennai, India) coming into force on 1 January 2023. Preface. The Laws of Chess cannot cover all possible situations that may arise during a game, nor can they regulate all administrative questions. Where cases are not precisely regulated by an Article of the Laws, it should be possible to reach a correct decision by studying analogous situations which are regulated in the Laws. The Laws assume that arbiters have the necessary competence, sound judgement and absolute objectivity. Too detailed a rule might deprive the arbiter of his/her freedom of judgement and thus prevent him/her from finding a solution to a problem dictated by fairness, logic and special factors. FIDE appeals to all chess players and federations to accept this view. A necessary condition for a game to be rated by FIDE is that it shall be played according to the FIDE Laws of Chess. It is recommended that competitive games not rated by FIDE be played according to the FIDE Laws of Chess. Member federations may ask FIDE to give a ruling on matters relating to the Laws of Chess. BASIC RULES OF PLAY. Article 1: The Nature and Objectives of the Game of Chess 1.1 1.2 1.3 1.4 The game of chess is played between two opponents who move their pieces on a square board called a âchessboardâ. The player with the light-coloured pieces (White) makes the first move, then the players move alternately, with the player with the dark-coloured pieces (Black) making the next move. A player is said to âhave the moveâ when his/her opponentâs move has been âmadeâ. The objective of each player is to place the opponentâs king âunder attackâ in such a way that the opponent has no legal move. 1.4.1 The player who achieves this goal is said to have âcheckmatedâ the opponentâs king and to have won the game. Leaving oneâs own king under attack, exposing oneâs own king to attack and also âcapturingâ the opponentâs king is not allowed. 1.4.2 The opponent whose king has been checkmated has lost the game. 1.5 If the position is such that neither player can possibly checkmate the opponentâs king, the game is drawn (see Article 5.2.2). Article 2: The Initial Position of the Pieces on the Chessboard 2.1 2.2 The chessboard is composed of an 8 x 8 grid of 64 equal squares alternately light (the âwhiteâ squares) and dark (the âblackâ squares). The chessboard is placed between the players in such a way that the near corner square to the right of the player is white. At the beginning of the game White has 16 light-coloured pieces (the âwhiteâ pieces); Black has 16 dark-coloured pieces (the âblackâ pieces). These pieces are as follows: A white king usually indicated by the symbol K A white queen Two white rooks Two white bishops Two white knights Eight white pawns A black king A black queen Two black rooks Two black bishops Two black knights Eight black pawns usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol usually indicated by the symbol K usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol Staunton Pieces p Q K B N R 9 2.3 The initial position of the pieces on the chessboard is as follows: 2.4 The eight vertical columns of squares are called âfilesâ. The eight horizontal rows of squares are called âranksâ. A straight line of squares of the same colour, running from one edge of the board to an adjacent edge, is called a âdiagonalâ. Article 3: The Moves of the Pieces 3.1 It is not permitted to move a piece to a square occupied by a piece of the same colour. 3.1.1 If a piece moves to a square occupied by an opponentâs piece the latter is captured and removed from the chessboard as part of the same move. 3.1.2 A piece is said to attack an opponentâs piece if the piece could make a capture on that square according to Articles 3.2 to 3.8. 3.1.3 A piece is considered to attack a square even if this piece is constrained from moving to that square because it would then leave or place the king of its own colour under attack. 3.2 The bishop may move to any square along a diagonal on which it stands. 3.3 The rook may move to any square along the file or the rank on which it stands. 3.4 The queen may move to any square along the file, the rank or a diagonal on which it stands. 3.5 3.6 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. The pawn: 3.7.1 The pawn may move forward to the square immediately in front of it on the same file, provided that this square is unoccupied, or 3.7.2 on its first move the pawn may move as in 3.7.1 or alternatively it may advance two squares along the same file, provided that both squares are unoccupied, or 3.7.3 the pawn may move to a square occupied by an opponentâs piece diagonally in front of it on an adjacent file, capturing that piece. 3.7.3.1 A pawn occupying a square on the same rank as and on an adjacent file to an opponentâs pawn which has just advanced two squares in one move from its original square may capture this opponentâs pawn as though the latter had been moved only one square. 3.7.3.2 This capture is only legal on the move following this advance and is called an âen passantâ capture. 3.7.3.3 When a player, having the move, plays a pawn to the rank furthest from its starting position, he/she must exchange that pawn as part of the same move for a new queen, rook, bishop or knight of the same colour on the intended square of arrival. This is called the square of âpromotionâ. 3.7.3.4 The player's choice is not restricted to pieces that have been captured previously. 3.7.3.5 This exchange of a pawn for another piece is called promotion, and the effect of the new piece is immediate. 3.8 There are two different ways of moving the king: 3.8.1 by moving to an adjoining square. 3.8.2 by âcastlingâ. This is a move of the king and either rook of the same colour along the playerâs first rank, counting as a single move of the king and executed as follows: the king is transferred from its original square two squares towards the rook on its original square, then that rook is transferred to the square the king has just crossed. 3.8.2.1 The right to castle has been lost: 3.8.2.1.1 If the king has already moved, or 3.8.2.1.2 With a rook that has already moved. 3.8.2.2 Castling is prevented temporarily: 3.8.2.2.1 if the square on which the king stands, or the square which it must cross, or the square which it is to occupy, is attacked by one or more of the opponent's pieces, or 3.8.2.2.2 if there is any piece between the king and the rook with which castling is to be effected. 3.9 The king in check: 3.9.1 The king is said to be 'in check' if it is attacked by one or more of the opponent's pieces, even if such pieces are constrained from moving to the square occupied by the king because they would then leave or place their own king in check. 3.9.2 No piece can be moved that will either expose the king of the same colour to check or leave that king in check. 3.10 Legal and illegal moves; illegal positions: 3.10.1 A move is legal when all the relevant requirements of Articles 3.1 â 3.9 have been fulfilled. 3.10.2 A move is illegal when it fails to meet the relevant requirements of Articles 3.1 â3.9. 3.10.3 A position is illegal when it cannot have been reached by any series of legal moves. Article 4: The Act of Moving the Pieces 4.1 4.2 Each move must be played with one hand only. Adjusting the pieces or other physical contact with a piece: 4.2.1 Only the player having the move may adjust one or more pieces on their squares, provided that he/she first expresses his/her intention (for example by saying âjâadoubeâ or âI adjustâ). 4.2.2 Any other physical contact with a piece, except for clearly accidental contact, shall be considered to be intent. 4.3 Except as provided in Article 4.2.1, if the player having the move touches on the chessboard, with the intention of moving or capturing: 4.3.1 one or more of his/her own pieces, he/she must move the first piece touched that can be moved. 4.3.2 one or more of his/her opponentâs pieces, he/she must capture the first piece touched that can be captured. 4.3.3 one or more pieces of each colour, he/she must capture the first touched opponentâs piece with his/her first touched piece or, if this is illegal, move or capture the first piece touched that can be moved or captured. If it is unclear whether the playerâs own piece or his/her opponentâs was touched first, the playerâs own piece shall be considered to have been touched before his/her opponentâs. 4.4 If a player having the move: 4.4.1 touches his/her king and a rook he/she must castle on that side if it is legal to do so 4.4.2 deliberately touches a rook and then his/her king he/she is not allowed to castle on that side on that move and the situation shall be governed by Article 4.3.1. 4.4.3 intending to castle, touches the king and then a rook, but castling with this rook is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.4.4 promotes a pawn, the choice of the piece is finalised when the piece has touched the square of promotion. 4.5 4.6 If none of the pieces touched in accordance with Article 4.3 or Article 4.4 can be moved or captured, the player may make any legal move. The act of promotion may be performed in various ways: 4.6.1 the pawn does not have to be placed on the square of arrival. 4.6.2 removing the pawn and putting the new piece on the square of promotion may occur in any order. 4.6.3 If an opponentâs piece stands on the square of promotion, it must be captured. 4.7 When, as a legal move or part of a legal move, a piece has been released on a square, it cannot be moved to another square on this move. The move is considered to have been made in the case of: 4.7.1 A capture, when the captured piece has been removed from the chessboard and the player, having placed his/her own piece on its new square, has released this capturing piece from his/her hand. 4.7.2 Castling, when the player's hand has released the rook on the square previously crossed by the king. When the player has released the king from his/her hand, the move is not yet made, but the player no longer has the right to make any move other than castling on that side, if this is legal. If castling on this side is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.7.3 Promotion, when the player's hand has released the new piece on the square of promotion and the pawn has been removed from the board. 4.8 4.9 A player forfeits his/her right to claim against his/her opponentâs violation of Articles 4.1 â 4.7 once the player touches a piece with the intention of moving or capturing it. 4.8. A player forfeits his/her right to claim against his/her opponentâs violation of Articles 4.1 â 4.7 .4.9. If a player is unable to move the pieces, an assistant, who shall be acceptable to the arbiter, may be provided by the player to perform this operation. Article 5: The Completion of the Game 5.1.1 The game is won by the player who has checkmated his/her opponentâs king. This immediately ends the game, provided that the move producing the checkmate position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.1.2 The game is lost by the player who declares he/she resigns (this immediately ends the game), unless the position is such that the opponent cannot checkmate the playerâs king by any possible series of legal moves. In this case the result of the game is a draw. 5.2.1 The game is drawn when the player to move has no legal move and his/her king is not in check. The game is said to end in âstalemateâ. This immediately ends the game, provided that the move producing the stalemate position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.2.2 The game is drawn when a position has arisen in which neither player can checkmate the opponentâs king with any series of legal moves. The game is said to end in a âdead positionâ. This immediately ends the game, provided that the move producing the position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.2.3 The game is drawn upon agreement between the two players during the game, provided both players have made at least one move. This immediately ends the game. COMPETITIVE RULES OF PLAY Article 6: The Chessclock 6.1 âChessclockâ means a clock with two time displays, connected to each other in such a way that only one of them can run at a time. âClockâ in the Laws of Chess means one of the two time displays. Each time display has a âflagâ. âFlag-fallâ means the expiration of the allotted time for a player. 6.2 Handling the chessclock: 6.2.1 During the game each player, having made his/her move on the chessboard, shall pause his/her own clock and start his/her opponentâs clock (that is to say, he/she shall press his/her clock). This âcompletesâ the move. A move is also completed if: 6.2.1.1 6.2.1.2 the move ends the game (see Articles 5.1.1, 5.2.1, 5.2.2, 9.2.1, 9.6.1 and 9.6.2), or the player has made his/her next move, when his/her previous move was not completed. 6.2.2 A player must be allowed to pause his/her clock after making his/her move, even after the opponent has made his/her next move. The time between making the move on the chessboard and pressing the clock is regarded as part of the time allotted to the player. 6.2.3 A player must press his/her clock with the same hand with which he/she made his/her move. It is forbidden for a player to keep his/her finger on the clock or to âhoverâ over it. 6.2.4 The players must handle the chessclock properly. It is forbidden to press it forcibly, to pick it up, to press the clock before moving or to knock it over. Improper clock handling shall be penalised in accordance with Article 12.9. 6.2.5 6.2.6 Only the player whose clock is running is allowed to adjust the pieces. If a player is unable to use the clock, an assistant, who must be acceptable to the arbiter, may be provided by the player to perform this operation. His/Her clock shall be adjusted by the arbiter in an equitable way. This adjustment of the clock shall not apply to the clock of a player with a disability. 6.3 Allotted time: 6.3.1 When using a chessclock, each player must complete a minimum number of moves or all moves in an allotted period of time including any additional amount of time added with each move. All these must be specified in advance. 6.3.2 The time saved by a player during one period is added to his/her time available for the next period, where applicable. In the time-delay mode both players receive an allotted âmain thinking timeâ. Each player also receives a âfixed extra timeâ with every move. The countdown of the main thinking time only commences after the fixed extra time has expired. Provided the player presses his/her clock before the expiration of the fixed extra time, the main thinking time does not change, irrespective of the proportion of the fixed extra time used. 6.4 Immediately after a flag falls, the requirements of Article 6.3.1 must be checked. 6.5 Before the start of the game the arbiter shall decide where the chessclock is placed. 6.6 At the time determined for the start of the game Whiteâs clock is started.6.7. Default time: 6.7.1 The regulations of an event shall specify a default time in advance. If the default time is not specified, then it is zero. Any player who arrives at the chessboard after the default time shall lose the game unless the arbiter decides otherwise. 6.7.2 If the regulations of an event specify that the default time is not zero and if neither player is present initially, White shall lose all the time that elapses until he/she arrives, unless the regulations of an event specify, or the arbiter decides otherwise. 6.8 A flag is considered to have fallen when the arbiter observes the fact or when either player has made a valid claim to that effect. 6.9 Except where one of Articles 5.1.1, 5.1.2, 5.2.1, 5.2.2, 5.2.3 applies, if a player does not complete the prescribed number of moves in the allotted time, the game is lost by that player. However, the game is drawn if the position is such that the opponent cannot checkmate the playerâs king by any possible series of legal moves. 6.10 Chessclock setting: 6.10.1 Every indication given by the chessclock is considered to be conclusive in the absence of any evident defect. A chessclock with an evident defect shall be replaced by the arbiter, who shall use his/her best judgement when determining the times to be shown on the replacement chessclock. 6.10.2 If during a game it is found that the setting of either or both clocks is incorrect, either player or the arbiter shall pause the chessclock immediately. The arbiter shall install the correct setting and adjust the times and move-counter, if necessary he/she shall use his/her best judgement when determining the clock settings. 6.11.1 If the game needs to be interrupted, the arbiter shall pause the chessclock. 6.11.2 A player may pause the chessclock only in order to seek the arbiterâs assistance, for example when promotion has taken place and the piece required is not available. 6.11.3 The arbiter shall decide when the game restarts. 6.11.4 If a player pauses the chessclock in order to seek the arbiterâs assistance, the arbiter shall determine whether the player had any valid reason for doing so. If the player has no valid reason for pausing the chessclock, the player shall be penalised in accordance with Article 12.9. 6.12.1 Screens, monitors, or demonstration boards showing the current position on the chessboard, the moves and the number of moves made/completed, and clocks which also show the number of moves, are allowed in the playing hall. 6.12.2 The player may not make a claim relying only on information shown in this manner.
A. Arundhati Roy B. Jhumpa Lahiri C. Salman Rushdie D. Anita Desai ________________________________________ 2. The Lowland was published in: A. 2001 B. 2013 C. 2010 D. 2005 ________________________________________ 3. Which earlier work earned Lahiri the Pulitzer Prize? A. The Namesake B. Unaccustomed Earth C. Interpreter of Maladies D. The Lowland ________________________________________ 4. The novel is primarily about: A. Technology and modernity B. Immigration, family, and political violence C. Business rivalry D. Mythology and folklore ________________________________________ 5. The two central brothers in the novel are: A. Rahul and Anil B. Subhash and Udayan C. Gogol and Ashoke D. Amit and Nikhil ________________________________________ 6. Where did the brothers grow up? A. Mumbai B. Dhaka C. Calcutta D. Delhi ________________________________________ 7. Udayan becomes involved in: A. Peace activism B. Cinema C. Naxalite movement D. Business ________________________________________ 8. Subhash moves to: A. London B. Rhode Island C. Toronto D. Chicago ________________________________________ 9. Udayan is killed in: A. Jail B. A riot C. The lowland near his house D. A car accident ________________________________________ 10. Why does Subhash marry Gauri? A. Love B. To protect her and her unborn child C. Financial benefit D. Family pressure ________________________________________ 11. Gauri eventually: A. Becomes a politician B. Starts a business C. Leaves her family D. Returns to India ________________________________________ 12. Subhash raises Bela: A. With Gauri B. Alone C. With help from his parents D. In India ________________________________________ 13. Bela grows up believing: A. Udayan is her father B. Subhash is her father C. She has no father D. Her father died in war ________________________________________ 14. The setting of political unrest is linked to: A. Partition B. Naxalbari uprising C. Independence movement D. Civil War ________________________________________ 15. The narrative style uses: A. Magical realism B. Non-linear structure C. Poetry D. Second-person narration ________________________________________ 16. Gauriâs character represents: A. Traditional motherhood B. Obedient wife C. Intellectual autonomy and emotional detachment D. Political activism ________________________________________ 17. Belaâs character signifies: A. Rebellion against education B. Second-generation identity struggle C. Complete assimilation D. Materialistic living ________________________________________ 18. Memory in the novel functions as: A. A simple recollection B. A haunting presence affecting identity C. A forgotten history D. A symbolic decoration ________________________________________ 19. The lowland itself symbolizes: A. Wealth B. Stability C. Transitional, unstable space D. Escape ________________________________________ 20. Lahiriâs prose style can be described as: A. Flowery and ornate B. Minimalistic and restrained C. Dramatic and verbose D. Highly poetic ________________________________________ 21. Water imagery reflects: A. Joy and happiness B. Power and victory C. Memory and emotional fluidity D. Evil ________________________________________ 22. Which theory applies strongly to this novel? A. Structuralism B. Postcolonial hybridity C. Absurdism D. Modernism ________________________________________ 23. Postcolonial hybridity is linked to: A. Complete assimilation B. Identity in-between cultures C. Traditional values D. Language fluency alone ________________________________________ 24. Which character best reflects second-generation identity conflict? A. Gauri B. Bela C. Subhash D. Udayan ________________________________________ 25. What does Subhash struggle with most? A. Career failure B. Language C. Guilt and secrecy D. Wealth ________________________________________ 26. Udayanâs ideology centers on: A. Business growth B. Armed communist revolution C. Religious reform D. Education ________________________________________ 27. The novel shows how political violence leads to: A. Personal healing B. Economic prosperity C. Emotional trauma across generations D. Cultural unity ________________________________________ 28. Betrayal appears as: A. Only political B. Only emotional C. Both political and familial D. A background idea ________________________________________ 29. The genre of the text best fits: A. Fantasy B. Realistic political family saga C. Science fiction D. Thriller ________________________________________ 30. The narrative constantly shifts between: A. Dream and reality B. India and America C. Past and future India D. Fiction and nonfiction ________________________________________ 31. Homi Bhabhaâs "third space" represents: A. Physical land B. A zone of cultural in-betweenness C. A literal building D. A heavenlike vision ________________________________________ 32. Gauri symbolizes: A. Traditional widowhood B. Female agency vs social expectation C. Blind loyalty D. Economic dependence ________________________________________ 33. Bela unknowingly inherits: A. Udayanâs ideology B. Gauriâs academic passion only C. Subhashâs calmness D. Grandparentsâ wealth ________________________________________ 34. Lahiri uses silence to: A. Avoid details B. Deepen psychological complexity C. Reduce story relevance D. Simplify events ________________________________________ 35. A major structural device is: A. Letters B. Non-linear flashbacks C. Mythic storytelling D. Metafiction ________________________________________ 36. Which text offers a migrant theme comparison? A. The God of Small Things B. The White Tiger C. The Namesake D. Train to Pakistan ________________________________________ 38. The Naxalite movement first emerged in: A. Mumbai B. Naxalbari village C. Delhi D. Kerala ________________________________________ 39. Which theme repeats strongly? A. Celebration of success B. Silence and secrets C. Fantasy D. Heroism ________________________________________ 40. What does Bela do as an adult? A. Becomes a doctor B. Engages in environmental activism C. Joins corporate life D. Moves into politics ________________________________________ 41. The immigrant experience in the novel is portrayed as: A. Full belonging B. Alienation and partial belonging C. Achievement D. Liberation ________________________________________ 42. Which idea does Lahiri question through Gauri? A. Heroism B. Maternal expectation C. Religious devotion D. Wealth ________________________________________ 43. Subhash represents: A. Pure rebellion B. Survival and adaptation C. Anti-immigrant sentiment D. Total withdrawal ________________________________________ 44. Lahiriâs writing expects readers to: A. Passively accept the plot B. Read emotional subtext in silences C. Ignore symbols D. Only enjoy the story ________________________________________ 45. The lowland as a metaphor mainly signifies: A. Joy B. Unstable cultural ground C. Triumph D. Isolation from family ________________________________________ 46. Why is The Lowland considered significant? A. Its fantasy themes B. Its deep engagement with politics & identity C. Its humor D. Its romantic style ________________________________________ 47. Which comparative author also writes about diaspora identity? A. Chetan Bhagat B. Amitav Ghosh C. Premchand D. Ruskin Bond ________________________________________ 48. Udayanâs death drives the plot because: A. Family hides it B. It forces new relationships & trauma C. People forget him D. It has no consequence ________________________________________ 49. The narrative ends emphasizing: A. Closure and peace B. Lasting consequences of secrets C. National identity D. Religious conflict ________________________________________ 50. Scholars study this work because it explores: A. Only Indian history B. Trauma, diaspora, gender & politics C. Folk storytelling D. Comedy