The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question. Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy. It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday. The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . . . One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as ‘hallucinatory’. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible ‘frame’. The boundaries between art and non-art become almost invisible. A tribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.
Which one of the following best explains why tribals in India worship their dead ancestors?
For tribals, conversing with the dead becomes a way of seeking control over time.
The third paragraph says tribal communities, unable to dominate territorial space, turned to gaining domination over time.
It then says this urge is shown in their ritual of conversing with dead ancestors through worship and trance.
The terracotta objects describe how they worship, not why; the knowledge system is a separate point; and territorial domination is what the passage says they gave up.
Hence, For tribals, conversing with the dead becomes a way of seeking control over time.
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Important Questions from Non Grammar
- In formulating Principle VI (a), the ILC clarified the term "waging of a war of aggression" because:
- The author attributes the growing public frustration with the UN primarily to which pair of continuous failures?
- A primary point of divergence between the US Conservative position and the Secretary-General's Conservative position on security matters, according to the summary is:
- According to the critique's conclusion, the immediate, insurmountable barrier preventing the implementation of any reform, major or minor, is:
- The Secretary-General's 'Agenda for Peace' proposed a specific military capability intended to address the gap between traditional peace-keeping and full military action. This proposed unit was explicitly characterized by the summary as being:
